MIRROR OF COMPOSITION

A TREATISE

ON POETICAL CRITICISM,

BEING IN

ENGLISH IRANSLATION

THE SAHITYA-DARPANA OF VISWANATHA KAVIRAJA :

TRST 128 PANES REVIED FROM THE WORK OF TA LATE OR!R. BALL NTYNE, AND THE REST

PRANADA-DASA MITRA.

CALCUITA:

PRINTOOBY C. B. LEWIS, BAPTIST MISSION PEESSS 1875.

0

Acc N0 20, 114 Clase No 3914/2 Date: St Ca

Cat BLCad

PREFACE.

The translation of the Sahitya-darpana was commenced by the late lamentod Principal of the Benares College, Dr. Baul- lantyne, whose memory, be it said in passing, will be ever pherished 'with gratitude and affection by his pupils as well as the pundits of that institution. The performance of that emi- nent scholar, however, extends little beyond a quarter, ending with pago 128 of the present publication. At the particular instance and under the kind encouragoment of his worthy suc- cessor and my honoured tutor, Mr. R. T. II. Griffith, M. A., I undertook to continue tho work, which is now presented to the publie in its completed form. The former portion has been rovised and edited, and no pains have been spared in the task, wherein I had to compare the original and the translation word for word. I have, however, been particularly careful not to mako in the learned Doetor's work any alterations not absolute- ly required by the text, and such sentenees and passages only have heen entirely re-written as misrepresented tho original. I think I have sometones been over-scrupulous in this direc- tion, as, for instance, in adding only in a foot note what evi- dently is the correet interpretation (see p. 78). As I am personally responsiblo for tho alterations, I annex a list of ireferenees to the prineipal ones. I could wish Dr. Ballantyne thwul used the word ' taste' or 'relish' to render such an impor- iDant term as rasa, donoting, as it does, the very essence of the Ressential subject-matter of the work. But I was asked to orevise the former portion when the first two or three forms of gny work had already passod through the press, so I could not

iv Preface.

help retaining tho name 'flavour,' which will perhaps grato on the ears of better judges than myself as tasteloss and gross. I should think it is the most unpoetical oxpression that could, be used to denote the soul of poetry. Our author, I think, has furnished a very apt definition of Poetry, viz., 'A sentence the soul whereof is Relish.' Now the question arises-What is it that constitutes relish itself It is pleasure no doubt, but not the sort of ploasure which is felt, for instance, from hearing such words as simply con- vey a gratifying intelligence. It is a peonliar pleasure, it is a passion or emotion, it is love, or sorrow, or mieth, orf wrath, or magnanimity, or terror, or wonder, or even disgust or it may be pure and passionless joy, *- not excited by itst ordinary canses but delightfully suggested by a representa- tion of what are its causes, effects, and coneomitant mental and! bodily states in tho theatre of life. These, as exhibited in Poetry, are r spectively called Excitants (ribhara), Ensuant forudhaca) anl Accessories (ryabhichari) ; and a combination or these, whether wholly oxpressed, or partially espressed an ertially implied, devereping the nine modes of sentiment mon todel abure, constitutes Poetry which has thus a nine-folc charaoter, It is elear from the above elucidation that the In- dian Critio theld the right view, that an exhibition of human passion or omotion alone is poetry. Where, it might at first be objected, is the element of passion in the description of inanimato nature, or of irrational creatures ? A litde reflection would show "that, in order to be poetical, it must have the colouring of emo- tion; it must, to use Indian phraseology, call forth one of the -permanent sentiments by an exhibition of a part at least of the three-fold cause of its manifestation. Thus, the Sublime and the Beautiful in nature must come under ono or other of th o Relishes enumerated.t First, the ebjects described may b contemplated with wonder as the prevailing sentiment, and the Marvellous will be the Relish of such poetry. O. .. ondly * Sce Text 206, p. 109. t P'. 111. Text 209.

Preface. v

he poet may rise from the contemplation of Nature to Nature's God, roverence (bhava soe text 245) being the prevailing sentiment in such a case. Or, thirdly, the seenes may be de- pioted as heightening some passion-love, for instance, or as ministering to that pure and passionless joy which constitutes the Relish of Holy Tranquillity (the Quietistie Flavour*). In the first case the objects form the Substantial Excitant, and in the rest the Enhancing Excitant of the Relish.t The lower animals, however, may form the Excitants, Substantial or Enhancing, of nlmost all the varieties of Relish.# Shelley's celebrated Hymn to a Skylark, for instance, is throughout coloured with wonder Ar admiration, the other sentiments suggested by the varied nd exuberant imagery serving only to minister to that main fassion. We will seleet two or three stanzas for illustration : Iligher still and higher From the earth thou springest ; Like a cloud of fire, The.blue deep thon wingest; And singing still dost soar, and soaring ever singest.

• Text 238. t Text 62. $ Mill's remarks on the subjeet are so clear and impressive that I cannot help uoting them in exteuso :- " Deseriptive poetry consists, no doubt, in deseription of things as they appear, 'not as they are; and it paints them not in their bare and natnral lineamente, 'but seen through the med um and arrayed in the colours of the imagination 'set in action by the feelings, If a poet describes a lion, he does not describo 'him as a naturalist would, nor even as a traveller would, who was intent upon stating the truth, the whole truth, and nothing but the truth. He describes him by imagery, that is, by suggesting the most striking likenesses and con- trasts which might oceur to a mind contemplating the lion, in the state of awe, wonder, or terror, which the spectacle uaturally excites, or is, on the occasion, apposed to excite. Now this is deseribing the lion professedly, but the state of excitement of the speetator really. The lion may be deseribed falsely or with exaggeration, and the poctry be all the better; but if the human emotion e not ited with serupulous truth, the poetry is bad poetry, i. e., is not poetry a. , but a failure." Dissertations and Diseussions, Vol. I. p. 69.

vi Preface.

What thou art we know not : What is most like thee ? From rainbow clouds there flow not Drops so bright to see, As from thy presence showers a rain of melody.

Like a high-born maiden In a palace tower, Soothing her love-laden Soul in secret hour With music sweet as love, which overflows her bower.

It is remarkable that thongh wonder is evidently the leading sentiment of this short poem, the poet commits not even in a single instance the fault of bluntly naming it .* The Relish o 'the last stanza is ' love in separation,' here manifested in a sub mnete condition.t the coincidence of this view of poetry and that of Joht ,Mill is so remarkable that I eannot resist the tempta- of quoting here tho words of that thinker which would eed serve to thrqw. .some light on the third chapter of the ent work, treating of the essentials of poetry. Let us fir! bare our author's definition of poetry, which, by somewhat. fing the technical term rasa, may be more perspienously erod-'Words whose essence is emotional delight aro fiy' with the two approved by Mill, viz., ' Poetry is im- potsloned truth,'' (Poetry is) man's thoughts tinged by his ngs.' The Eusuants (anubbaca), ono of the three sets of ae essentials in the delineation of the Permanent or Principal entiaent (sthayi-bhava), are very clearly recognised in then Wowing remarks :- But there is a radical distinetion between the interest folt n e story as such, and the interest excited by poetry ; for trhe i derived from incident, the other from the representation ling. In one, the source of the emotion ercited is the es- Text 577. + See Text 212 and 215.

Preface. vii

hibition of a state or states of humon sensibility ; in the other, of a sories of states of mere outward circumstancos."* Dissert. and Disc., Vol. I. p. 65. Nor have the Permanent Sentiments (Text 206), themselves, of Indian critics escaped the keen observation of the British thinker and the nine pringipal feelings enumerated by tho latter, strikingly correspond to, and differ but little from, the nine recognised by the former. lIe says :

• The italics are ours. In spite of the distinction here drawn, it is impossible to deny that incident is often inseparably conneeted with feeling and indispen- sable to ite greatest manifestation as in the epos. Mill indeed seems in a manner to admit this by saying ' Many of the greatest poems are in the form of fictitious narratives, and in almost all good serious fietions there is true poetry.' But we should humbly think that the author ought to have more distinetly asserted the indissoluble relation of the two elements in the highest development of poetry. It is also to be observed that Hindu crities could not consent to the above re- stricted application of the word poem which, in their opinion, is a generie name equally applicable to a poetical fietion in prose. They were, however, quite sen- sible of the distinetion of incident and feeling, along with the fact of their mutuni subservieney (see text, 316). In his zeal for a distinction between a poem and a novel, Mill indeed makes certain remarks not perhaps quite warranted by truth. He says-'He (the novelist) has to describe ontward things, not the inward man ; actions and events, not feclings' Perhaps the writer means to declare the predominance of incident over feeling in a novel, otherwise a novel without a sufficient depiction of passion would be hardly readable, and the fact of' almost all good serions fictions' containing ' true poctry' is admitted by himself. The fact is that the terms ' poem' and ' novel' are vaguely used in English, and though the idea of a novel being written in verse is conceived by Mill, that of giving the designation of 'poem' to a work in prose never perhaps oceurred to him, the fetter being so entirely opposed to usage. The distinetion between a poem and a nogel may be thus stated: A poem, (at least, one of the higher order) is a work an which the feeling is principal and the incident is subordinate, though indispensable. A novel is its converse. Thus either of the elements is necessary in either, though in different proportions. It must not be forgotten that, though not h neeessary element of poetry, metre, like musie, assists considerably in the excitement of emotion. Where it is wanting, the defect has to be com- pensated by au adeqnate addition of feeling. Of two poems, for instauce, equal in other respeete, the poetry of the one which avails itself of the assistance of metre will certainly be the more striking, for the feeling itself is heightened by the melody of the versitication. Strip the Paradise Lost of its metre and it loses half its effect,

Viii Preface.

"Every truth which a human being can enunciate, every thought, oven every outward improssion, which can enter into his consciousness, may become pootry when shown through any* impassioned medium, when invested with the colouring of joy, or grief, or pity, or affection, or admiration, or reverence, or awe, or even hatred or terror: and unless so coloured, uo- thing, be it as interesting as it may, is poetry." (p. 70.) It will be observed that joy, except under the comic senti- ment, or mirth, is not recognised by Indian critics as one of the leading emotions in poetry, but only as one of the concomi- tant moods. The reason is obvious. Joy is eithe pure or mingled with passion. In the former case it comes under that passionless and holy repose of the soul called Quietism (s'ama Text 238) and is hence counted as one of its Accessories. In tho latter, its subordination need not be pointed out. The following noble lines of Coleridge, for instance, depicting joy, in a pro- minent manner, as forming the fountain of Creation's lustre, are a decided instanco of the Quiotistic Relish :

O pure of heart ! thon need'st not ask of me What this strong musie in the soul may be ! What and wherein it doth exist, This light, this glory, this fair luminous mist, This beautiful and beauty-making power. Joy, virtuous Lady ! Joy that ne'er was given Save to the pure, and in their purey hour, Life and life's effluenee, cloud at once and shower, Joy, Lady, is the spirit and the power Which wedding Nature to us gives in dower, A new Earth and new Heaven, Undreamt of by the sensual and the proud- Joy is the sweet voice, Joy the luminous cloud : We in ourselves rejoice ! And thence flows all that charms our ear or sight All melodies the echoes of that voice, Ail colours a suffusion from that light.

Preface. ix

What is this Joy which glows in such a brilliant imagery ? The poet himself tells us that it is the joy ' that never was given save to the pure and in their purest hour,' 'undreamt of by the sensual and the proud.' It has no admixture of earthly pas- sion, though it may be associated with holy love-lovo that takes the name of universal benevolence (Wa₹ar), another concomitant of the Quietistio Relish. The above verses sound indeed as if they were a long-continued echo to the sublime strain of the Upanishad which exclaims- को होवान्यात् कः प्राप्ात् यदेष व्याकाश* व्रानन्दो न स्यात्। (Taittiriyopanishad, p. 100, Bib. Ind.) (Who indeed, would inhale, who exhale, if this ether were not Joy !) Joy here, is the Deity himself, the Essential Excitant of the Relish. The three essential merits (guna) of poetry, according to the later school of Rhetoric to which our critic belongs, are Sweet- ness, Energy and Perspicuity. To guard against misconcep- tion, it is to be mentioned that Dr. Ballantyne had inappropri- ately rendered tho torm guna into ' style' by which name he refers to the subject of the eighth chapter, in his Advertisement. The proper equivalent of style is riti, the subject of the ninth chapter. It is with no ordinary pleasure that I have now obtained the long looked for opportunity of expressing publicly my gra- titude to Mr. R. T. H. Gsiffith, M. A., who (not to mention my great obligations as a pupil) has kindly revised, in MS. or proof, a great portion of my work. From that distinguish- ed scholar's paper on Indian Figures of Speech appended to his Specimens of Old Iudian Poetry, I have borrowed some of the renderings of names in the tenth chapter. Deeply too do I feel myself indebted to the accomplished Professor A. E.

• Sankaracharya construes TW as in the locative case, but we should prefer the nominative, as the natural and more forcible interpretation,

x Preface.

Gough, B. A., for the kind help he has lent me, in my weak health, in the translation of the conoluding portion of the seventh' and of the eighth and ninth chapters. My hearty acknowledgements are also due to the distinguished antiquarian and scholar, Babu Rajendralal Mitra, who has not only all along evinced a true interest in the work, but has actually urged me on to its completion. PD. M.

List of references to the principal alterations made in Dr. Ballan- tyne's portion of the work.

Page. Line. Page. Line. Page. Line. 1 20 39 11 85 4 2 16-18 41 25-26 87 28-29 4 31 45 7-8 92 28-29 5 5-6 46 23 93 20-22 6 2-13 47 4 95 21 7 13 48 8-12 97 30-31 12 10 48 34-35 98 2-5 12 28-31 49 13-14 100 2-3 12 35 51 13-15 102 36-38 13 2 55 11-12 103 32 22 14 56 11 106 2 -- 3 25 17-20 56 19 106 24-26 26 9 56 22 111 16 29 32-33 59 9 111 17-19 30 1 60 17-18 116 12 35 15 60 23-24 120 11-12 36 12-14 61 31 123 12-18 36 20 67 22-24 123 23 38 22 74 17-20 38 30-32 74 24-25

CONTENTS.

Page CHAPTER I .- The Declaration of the Nature of Poetry, ... 1-13 CHAPTER II .- The Declaration of the Nature ofa Sentence, 13-38 CHAPTER III .- The Declaration of Flavour, Incomplete Flavour, &c., 39-137 CHAPTER IV .- The Declaration ofthe Divisions of Poetry, 137-162 CHAPTER V .- The Establishment of the Function of Sug- gestion, 162-173 CHAPTER VI .- The Declaration of 'Poetry Visible' and 'Poetry Audible,' 173-270

CIIAPTER VII .- The Declaration of Blemishes, 270-317 CHAPTER VIII .- The Declaration of Merits, 318-327 CHAPTER IX .- The Discrimination of Styles, 328-332 CHAPTER X .- The Declaration of Ornaments, 333-444

ADVERTISEMENT.

SOME account of the work here offered to his notice may be not unacceptable to the reader. Among the Sanskrit texts printed at Calentta under the authority of the General Committee of Publie Instruction, there. are two works the titles of which are given in English as fol- lows :- " Kávya Prakús'a ; a treatise on Poetry and Rhetoric by MAMMATA ACHARYA. (1829)." "Sáhitya Darpana ; a treatise on Rhetorical Composition by VIS'WANATHA KAVIRAJA. (1828)." The Kavya Prakas'a-the " Illustration of Poetry,"-con- sists of a number of metrical rules (karika) interspersed with comments and illustrative examples. The rules are founded on the Aphorisms of VAMANA, who owed his knowledge of the subject to the divine sage BHARATA. The Sahdya Darpana- the " Mirror of Composition"-also has memorial verses as its text; and the rules are frequently illustrated by the same examples as those employed in the earlier work. Both works are held in high esteem; but that of VIS'WANA'THA-the more recent and the more copious of the two-is generally admitted as the standard of taste among the learned Hindus. Of the etymology of the term Sahitya two esplanations are offered. According to the one, it is derived from hita 'benefit' and saha ' with,' because a knowledge of it is beneficial in all departments of literature. The other, with less appearance of

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reason, explains it as denoting the sum total of the various sections of which the system itself is made up .. The term Rhetoric, as employed to denote the subject of a treatise of this description, is liable-according to our view of the division and denomination of the sciences-to an objection the converse of that to which we hold the term Logic liable, when employed to denote the all-embracing sphere of the Nyaya philosophy. In the Sahitya we have but a part and tho least important part of what, according to Aristotle,* belongs to Rhetoric. In order to attain its specific end of convincing or persuading-between which we agree with Mr. Smart in thinking that there is more of a distinction than a differencet -Rhetorie does not hesitate to avail itself of the graces of langnage which gratify the taste; but in the Suhitya, " taste" (rasa) is all in all. The difference between the political history of India and that of Greece or Rome so obvionsly suggests the reason why eloquence, in the two cases, proposed to itself ends thus different, that it would be idle to do more than allude to it in passing. The Sahitya Darpana is divided into ten sections-of lengths varying from eight or nine pages to eighty or ninety. The first seetion declares the nature of poetry. The second treats of the various powers of a word. The third treats of taste. The fourth treats of the divisions of poetry. The fifth discusses more fully one of the powers of a word adverted to in section second. The sixth takes particular cognizance of the division of poetry into ' that which is to be seen,' and 'that

• The main consideration boiug that of Arguments -- τά δ' άλλα προσθήκαι -. "but the rest mere out-work." Rhet. B. I. c. 1. t "That common situation in lifo, Vidro meliora proboque, deteriora, sequor, proves indced that there are degrees of conviction which yield to persuasion, as there are other degrees which no persuasion can subduo: yet perhaps we shall hereafter be able to show that such junctures do but exhibit one set of motives outweighing another, and that the application of the term persuasion to the one set, and of conviction to the other, is in many cases arbitrary, rather than dic- tated by a correspondent difference in the things." Sematrlogy-p. 175.

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which is to be heard.' The seventh treats of blemishes. The eighth treats of style. The ninth treats of the varicties of composition resulting from the blending of styles, and the predominance of one or other of them. The tenth and last treats of embellishment. To the subjeet of this tenth section the Kuvalayananda of APYAYYA D'IKSHITA, with which the stu- dent usually commences, confines itself. According to established enstom the Sahitya Darpana opens with an invocation. The author then proceeds to say that as his work is ancillary to poetry, its fruits can be no other than those which poetry bestows. These are de- clared to consist in the attainment of the four great objects of human desire-viz. Merit, Wealth, Enjoyment, aud Salva- tion-which, "by means of poetry alone, can be obtained pleasantly even by persons of slender capacity." Salvation, it is to be remembered, or liberation from the liability to being born again, is the reward held out to its followers by each of the various systems of Hindu doctrine. Even the Grammarians claim for their own art (-more than was claimed for the kindred Grammarye of the Dark Ages-) the power of leading the soul to bliss ;* and it is scarcely to be wondered at that the poets should contend that the goal might be gained, as surely as by any of the more rugged routes, and much more pleasantly, by the "primrose path" of P'oesy. Poetry is to conduce to this by setting before its votary such examples for imitation as that of Rama, and for avoidance as that of Ravana, and so training him up to virtne. After showing, how all the four great objects sought after by the wise have been at various times obtained throngh conversancy with poetry, our author gravely disposes of the objection that the possession of the Vedas renders the study of poetry with such

• According to the Grammarians -"A single word, perfeetly understood, and properly employed, is, alike in hoaven and on carth, the Kamadhuk" -the marvel. lous cow from which you may " milk out whatever yon desire" -- including, of course, final emnncipation, if yon wish it.

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views superfluous, by asking, where is the wisdom of seeking to remove by means of bitter drugs an ailment that can be cured with sugar-candy ? Having established the importance of Poetry, he proceeds to determine what it is that poetry consists in; and this he de- cides is ' Flavour' (rasa) .* Between this and the Vedantic con -. ception of the Deity, he does his best (in his third section) to make out a parallel, which the reader will be the more likely to understand, if he have some previous acquaintance with Vedántic speculations. It is worth noticing that the notion of reckoning metre amrng the circumstances that constitute poetry fs not even hinted at by our critic. The fact that the learned of India are accustomed to put into verse almost all their driest treatises- on law, physic, divinity, &c .- affords a ready enough explana- tion why the accident of metre should not be mistaken by them for the essence of poetry. Their test of poetry, (under which title, as we shall see, they reckon " poetry in prose"-gadya kávya), coincides pretty elosely with that specified by Whately as the test of "good poetry," when he says (Rhet. p. 344,) -"The true test is easily applied : that which to competent judges affords the appropriate pleasure of l'oetry, is good poetry, whether it answer any other purpose or not: that which does not afford this pleasure, however instructive it may be, is not good Poetry, though it may be a valuable work." The Arch- bishop goes on to say,~ Notwithstanding all that has been ad- vanced by some French criffes, to prove that a work, not in metre, may be a Poem, (which doctrine was partly derived. from a misinterpretation of a passage in Aristotle's Poetics,) universal opinion has always given a contrary decision. Any composition in verse, (and none that is not,) is always called, whether good or bad, a Poem, by all who have no favourite hypothesis to maintain." The pandits furnish ap- parently an exception to the universality of this dictum, for if * V'ákyam rasátmakang kávyam-see p. 10.

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you wish to astonish a pandit, you have only to ask him grave- ly whether, for example, that terse metrical composition, the Nyáya compendium entitled the Bhásha-parichchheda is a poem. If, in holding it to be as far removed as anything well can be from poetry, he goes on a " favourite hypothesis," it is because the notion of an opposite hypothesis probably never occurred to him. In the 2d chapter (on the various powers of a word) the explanation of some of the terms is rather curious. "Let that 'Indication' (says the author) be ' Superimponent' which makes one think of the identity with something else of an object not swallowed (by that with which it is identified, but expr sed along with it). That ' Indication' is held to be 'Introsuscep- tive' which makes one think of the identity with something else of an object swallowed-not expressed but recognised as it were within that with which it is identified." For ex- ample-"The horse-the white-gallops:" here "the horse" and "the white" mean just one and the same thing, and both terms are exhibited; but the same sense would be equally well understood (by a jockey, for example, to whom the horse was notoriously "the white"-or "the dun"-or "the chesnut"-) if the sentence were briefly "The white gal- lops." Here the " white" has swallowed the "horse," and the case is one of " Indication inclusive introsusceptive founded on Notoriety" (rúdhávupádána-lakshaná sádhyavasáná.) This classification of phrascology may serve to illustrate a passage in the "Poetics" of Aristotle, whi Mr. Theodore Buckley (of Christ Church) concurs with Dr. Ritter in condemning as spurious. The passage occurs in the 21st chapter, where, in speaking of metaphors, Aristotle, as rendered by Mr. Buckley, says " And sometimes the proper term is added to the relative terms." We incline to regard the calumniated passage as genuine. Let us see. Aristotle goes on to remark " I say, for instance, a cup has a similar relation to Bacchus that a shield has to Mars. Hence, a shield may be called the cup of Mars,

viii Advertisement.

and a cup the shield of Bacchus." Now, it seems to us that if the following proportion-viz. Cup : Bacchus :: shield : Mars wer'e not present to the mind of the hearer, then (to use Mr. Buckley's words-on a kindred passage in the 11th chapter 3d Book of the Rhetoric-) " with a view to guard the metaphor from any incidental harshness or obscurity," the proper term may be advantageously added-making what our author calls a case of the " Superimponent" (sáropá.) Thus, had Aristotle followed up his remark by a special example, we should have read, "The cup-the shield of Bacchus"-"The shield-the cup of Mars." According to the Hindu phraseology, when we omit the proper term and say, "The cup of Mars," then, (through Indication Introsusceptive) the cup has swallowed the shield- which latter, nevertheless, is discerned within the other by the eye of the the intelligent. From the chapters of the Sahitya Darpana which treat of Dramatic Poetry, many interesting extracts have been given by Professor H. H. Wilson in the Introduction to his "Select Specimens of the Theatre of the Hindus." J. R. B. Benures College, 5th January, 1851.

THE MIRROR OF COMPOSITION.

SALUTATION TO GANES'A!

CHARTER I .- The Declaration of the Nature of Poetry. Ar the beginning of his book, desiring the unobstructed completion of what he wishes to begin, he i. e., the author-commenting on his own metrical treatise-makes his address to the Goddess of Speech, because in the province of Eloquence it is she who is the constituted authority. TEXT. Invocation. 1 .- May that Goddess of Language, whose radianco is fair as the autumnal moon, having removed the overspreading dark- ness, render all things clear in my mind! COMMENTARY. a. As this book is ancillary to Poetry, by the fruits of Poetry only can it be fruitful :- therefore he states what are the fruits of Poetry :- TEXT. 2 .- Singe the attainment of the fruits consisting of clared by impli. the class of four i. e., the four great objects of human The subject de.

cation. desire -- viz., Merit, Wealth, Enjoyment, and Libera- tion-is pleasantly possible even in the case of those of slender capacity, by means of Poetry only, therefore its nature shall be now set forth.

COMMENTARY. a. The allegation in the text is borne out by facts-for it is notorious that the fruits of the " class of four" have been attained by means of the counsels, as to doing and forbearing to do respecticely what ought to be done and what ought not to be done, deduced from B

2 The Mirror of Cumposition.

Poetry-to the effect that " one ought to do as Rama and the like, not as Ravana and the like." And it has been said-"Addiction to good Poetry produces sagacity in regard to Merit, Wealth, Enjoyment, and Liberation, and it produces also fame and favour." Further- to erplain these assertions severally-the attainment of Merit through Poetry may take place, for instance by means of the laudation of the lotus-feet of the divine Narayana. That this is the case is notorious, from such statements of the Vedas as this one, viz. ;- "A single word, properly employed, and perfectly understood, is, in heaven and on earth, the Kamadhuk-the cow from which you may ' milk out whatever you desire.'" And as for the attainment of Wealth-that this may take place by means of Poetry is established by the evidence of the senses, for we see men make money by it :- and the attainment of Enjoyment is possible just by means of Wealth. And finally-by means of Poetry the attainment of Liberation may take place by not aiming at or having no desire of the fruits-at best but transitory -of Merit arising from it i. e., arising from Poetry, as above explained -or Liberation may be atlained through the possession of conversancy with statements conducive to Liberation-such as are to be met with in sacred poems like the Bhagavad Gita. The praise of b. And justly may this pursuit be commended Poetry. above others, for, from the Seriptures and the Insti- tutes of Science, by reason of their insipidity or dryness, the attain- ment of the " class of four" (§. 2.) takes place painfully, even in the case of men of ripe understanding ; whilst, from nothing but Poetry, by reason of its producing a fund of the highest delight, does the attain- ment take place pleasantly, even in the case of the very tender-minded. An objection c. "But then-some one may here object-since answered. there are the Scriptures and the Institutes of Science, why should men of mature minds take any pains about poems ?"-this too is not proper to be said in the way of objection-for, truly, when a disease, curable by bitter drugs, happens to be curable by candied sugar,-in the case of what man, having that disease, would the employment of candied sugar not be most proper? d. Further-the excellence of Poetry is declared also in the A'gneya Purana-thus-"In this world to attain to be a man is hard, and there very hard to attain is knowledge; to attain to be a poet there is

The Mirror of Composition. .3

hard, and very hard to attain there is poetic power." And again- " Poetry is the instrument in the attainment of the ' class of three' -viz., Merit, Wealth, and Enjoyment,-see §. 2." And in the Vishnu Purana it is declared-"And the utterances of Poetry, one and all, and all songs,-these are portions of Vishnu, the great-souled, who wears a form composed of sound." e. By the word " therefore" in the text-see §. 2-is meant " for that reason"-and by the word "its"-" of Poetry." The nature thercof-or what it is that Poetry consists of-is to be set forth :-- and by this i. e., by the statement, in the text, that the nature of Poctry is about to be set forth, has the subject of the treatise-viz., Poetry-Inon by implication, and hence all the more ingeniously pro- pc anded. The definition f. In regard, then, to the question-"of what- of Poetry in the Kávya Prakás'a leaving everything else apart-does Poetry consist?" -- objected to. a certain person viz., the author of the Kanya Pra- kas'a-says-"This-i. e., Poetry-consists of words and meanings faultless, with Excellence or Beauty (-see Chapter 8th)-even though sometimes undecorated." This requires some consideration-as thus :- if that only which is faultless be held poetry, then look at the following speech of Ravana, in Bhavabhuti's drama of the Vira-charitra .- " For this indced is an utter contempt of me that there are foes of mine at all, and amongst these this anchoret too! He, too, even here in my own island of Ceylon, slaughters the demon-race! Ha! Doth Ravapa live ? Fie, fie, my son,-thou conqueror of Indra! what avail is there from Kumbhakarna awakened untimeously from his six months' slumber-gigantic ally though he be-or what from these my own score of brawny arms that IN VAIN swelled with the pride of carrying off the spoils of the poor villages of Heaven?" --

to tho definition. then the nature of Poetry would not belong to these Firstobjection If faultlessness, I say, were essential to Poetry,

verses, by reason of their being tainted with the fault termed " non- discrimination of the predicate"-see Chapter 7th :-- for the expression "in vain" is faultily mixed up in a descriptire epithet applied to the subject-the " arms"-whilst the speaker really intended to say " howo vuin are now these arms that then did swell." On the other hand he- the author of the Kavya Prakas'a admits that the essence of the high- B 2

4 The Mirror of Composition.

est Poetry is Suggestion which-see Chapter 2nd-the erample above- quoted presents in abundance-for the speaker does not really entertain any doubt of his being himself" alive," whilst his making a question of it suggests in a lirely manner his astonishment ;- nor is he speaking of a literal " anchorct" when he contemptuously indicates by that term the hero Rama who had been dwelling in banishment in the forest ; hence the definition has the fault of " not extending" to cases which it unquestionably ought to include. A compromise g. "But then," some one may say, "a certain rejectod. PORTION is faulty here i. e., in the example under §. 2, f. but not, again, also the WHOLE ;"-now if we were to apply the definition with this qualification then see what would kappen-in what portion there is a fault, that portion urges that the case is one of not-poetry; in what portion there is Suggestion, that portion urges that the case is one of the highest poetry ; hence, being dragged in two opposite directions by its two portions, it would be neither one thing nor another-poetry nor not-poetry. h. Nor do such faults as unmelodiousness (see Chapter 7th) mar only a certain portion of a poem, but quite the whole, if any part of it-that is to say-when there is no damage to the Flavour (see Chapter 3rd,) it is not admitted even that these are faults; else there could be no distribution such as the recognised and unquestioned one -see Chapter 7th-of faults under the heads of "the invariably a fault" and " the not invariably a fault;"-as it is said by the author of the work called the Dhwani-" And the faults, such as unmelodi- ousness, which have been exhibited, are not so invariably : they have been instanced as what must be invariably shunned when the sentiment of Love is the sole essence of what is poetically figured or suggested. Moreover, were it thus-(i. e., were it the case, as your view of the matter implies, that none but a faultless piece is poetry) then the nature of poetry would have very few objects of which it could be predicated -or probably would find place nowhere, from the exceeding unlikeli- hood of faultlessness in every respect. A second com- i. "But then," some one else may say, " the ne- promise rejected. gative particle is employed in the definition §. 2,f. not absolutely, but in the sense of ' a little.'" If it were so, then, as on this interpretation the statement would be this-that " Poetry

The Mirror of Composition. 5

consists of words and meanings A LITTLE faulty," this absurdity would follow, that the name of Poctry would not belong to what words and meanings are absolutely FAULTLESS. Second objec- tion-to a redun- j. Should you, however, explain the expression daney in the dofi- to mean-'with a little fault, IF ANY,' I reply this nition. too is not to be mentioned in the DEFINITION of Poe- try ; just as, in the definition of such a thing as a jewel, one omits such a cireumstance as its being perforated by insects-that circumstance not tending to constitute anything a jewel, though it may not cause it to cease to be regarded as such :- for such circumstances as its perforation by insects are not able, I grant you, to repel a jewel's claim to the name of jewel, Iet the effect thercof is only to render applicable to the case the degrees of comparison. In like manner, here, such faults as unmelo- diousness render applicable such terms as " superior" and " inferior" in the case of Poetry: And it has been said by the author of the Dhwani : "The nature of Poetry is held to reside even in faulty compositions where taste &c. are distinctly recognised, in like man- ner as the character of a jewel, or the like, is held to belong to such a thing as a jewel perforated by insects." A third objec- k. Moreover in the definition under § 2. f. the tion. application of the distinction conveyed in the expres- sion " with Excellence" to words and meanings is inappropriate-as is proved by the fact of its having been declared by him-the author of the Karya Prakas'a himself, that the Excellences are properties of the Fla- vour or sentiment alone and hence not of words or their meanings, by mneans of such unmistakable expressions employed by him as this-viz., " which Excellences are properties of the Flavour or sentiment, just as heroism and the like are properties of the soul." A compromiso l. If some one should yet argue, saying, "This in regard to the third objection employment of terms objected to in § 2. k. is appro- rejocted. priate, because thero is here a metaphor the expression "words and meanings" standing for the Flavour, since these viz., the words and meanings are what REVEAL the Flavour or sentiment ;"- even that way it-the definition would be unfitting. To explain :- in these " words and meanings," which he chooses to regard as constitut- ing Poetry, there either is Flavour or there is not. If there is not, then neither is there the possession of any excellence-since the excellences,

6 The Mirror of Composition.

being properties of the Flavour, conform-as regards the being present or absent-to the presence or absence thercof. If on the other hand there Is-then why did he not state that distinction thus-"worda and meanings possessing Flavour." If in reply to this, you contend " That is UNDERSTOOD, since otherwise there is an unfitness in predicat- ing the possession of Excellences which are properties of Flavour." Then Irepeat that the proper course was to say " words and mean- ings with Flavour" and not " with Excellence ;" for no one, when he has to say " The regions possess LIVING BEINGS," says " The regions possess HEROISM AND THE LIKE"-although from the expression we infer that the regions possess living beings-in whom only can the pro- perties of heroism and the like reside. A second com- m. But then some one, in defence of the definition promise in re- in the Kavya Prakas'a, may further contend-" In gard to the third objection reject- saying ' words and meanings with Excellence,' the aim ed. was to state this-that in Poetry there are to be employed those words and meanings which develope some one of the three varieties of Excellence"-if any one does urge this-then I say No,-this defence will not avail-for, in the case of Poctry, the pre- sence even of words and meanings which develope Excellence, is a cause of its ELEVATION only-§ 5., but not the cause of its ESSENCE-and we are not enquiring what HEIGHITENS Poetry, but what Is Poetry ;- for it has been said by the author of the Dhwani, whose authority the author of the Kavya Prakas'a never questions-" Words and meanings are merely the body of Poetry ; and Flavour and the like its soul or essence ;" the Excellences or qualities of Elegance, Energy, and Perspicuity,-see Ch. 8th-in respect of Poetry, as mentioned in § 2. k. are like heroism and the like in regard to men ; Faults (see Ch. 7th) are like one-eyedness and the like; Styles (see Ch. 9th) are like the particular dispositions of the members of the body ; Ornaments (see A 4th objec- Ch. 10th) are like bracelets, carrings, and the like. tion. Hence that also which he says-(sce the definition of Poetry quoted under § 2 f:) viz., "and, again, even though undecor- ated"-I reject-for (-to state his meaning without ellipsis-) he means to say " Everywhere, when ornamented-and sometimes even when no ornament appears-faultless words and meanings constitute Poetry"-and, I eay, I must reject this, because here, too, as well as

The Mirror of Composition. 7

in the case referred to under § 2. m., embellished words and meanings, as regards Poetry, serve only to heighten it. Another defi- n. For this reason I reject also the position of the nition rejected. author of the Vakrokti-jivita, viz., that " Equivoque is the life of Poetry," because equivoque is of the nature of ornament -and hence not the body even -- much less the soul or essence. 0. . And as for what he-the author of the Kavya Prakas'a- instances as exemplifying his assertion that there may be Poetry " sometimes when there is no obvious ornament"-viz., these verses : "There is that very husband who gained me as a girl, and those same April nights, and the bold breezes wafting perfume from the Naucleas, and fragrant with the odours of the full-blown jasminc,- and -I too am the same :- but still my heart longs for the sportive doings, in the shape of toyings, under the ratan-trees on the banks of the Reva :" -- -this requires some consideration-for here where we were told that there was no obvious ornament it is plain that there is that du- biously mixed ornament to be described in Ch. 10th which has its root either in the description of an effect without a cause-the lady describing herself, not as regretting, but, as longing for what she had already possessed-whereas possession annihilates longing-or in a cause without an effect-the lady having sufficient reason for not longing-while she yet speaks of herself as doing so .*

Other similar, p. For the same reasons I reject such definitions as dofinitions object- that involved in the following verse of the Raja Bhoja ed to. in his Saraswati Kanthabharana,-viz., "The poet, making Poetry-i. e., what is faultless and possesses Excellence, embellished with ornaments, and having Flavour-wins fame and favour."

A definition q. And as for what the author of the Dhwani says acnittod with a -that " the soul of Poetry is Suggestion"-what does proviso. he thereby mean? Is it Suggestion in its three-fold

• It is but fair to mention that, in tho Kavya Pradipa, a commentary on tho work containing the definition which our author persecutes'so perseveringly, it is remonstrated that if there bo no other ornament in these verses than that which it required so much ingenuity to detoet, then it was not so vory great a mistako after all to instance the verses as being without " obvious ornament."

8 The Mirror of Composition.

aspeet-(1) as regards Matter, (2) as regards Embellishments, and (3) as regards the Flavour and the like, *- that is the soul of Poetry ? Or is it only that which takes the shape of Flavour? Not the first- for then it-i. e., the definition of Poetry-would improperly extend to such things as enigmas-where more, no doubt, is suggested than is uttered. But if the second is what he means to assert-then we say "Agreed."

Objections to r. "But then," some one may object, to the defi- the proviso re- nition with our proviso,-"if Suggestion be the soul pelled. of Poetry only when it is in the shape of Flavour and the like-then, in such cases as the following-viz., "My respected mother-in-law lies here; and here I myself. While it is day, observe this; and do not,-O traveller, since you get blind at night like other people afflicted with night-blindness-lie down upon my couch, mistaking it for your oun'"- -in such cases as this-the objector may ask-" As there is the suggestion of a matter simply-the speaker here intending to suggest the traveller's doing the reverse of what she says -- how on such terms can you apply the name of Poetry to this?" If any one asks this- we say that here also-whilst we admit that there is Poetry-we admit it only because there is a semblance of Flavour and the semblances of Flavour, as we shall have occasion to declare further on-see § 3. b. -are admitted to constitute Poetry ;- and there is here the semblance of the Flavour of Love-a sentiment real only where legiiimate-for otherwise-i. e., if we admitted the foregoing to be Poetry without shewing that it had any reference to Flavour then there would by parity of reasoning be Poetry in the proposition " Devadatta goes to the village" -- from its being understood that there is here also some- thing suggested-in the shape, viz., of his being attended, as a gentle- man usually is, by his followers. If you say, " Be it so"-that the expression " Devadatta goes to the village" Is Poetry, on the strength of the unqualified definition given by the author of the ' Dhwani'-then I say, No,-for I will allow the name of P'oetry to that only which has Flavour.

Concurrent tes- 8. For the aim of Poetry is by means of giving a pimonies cited, fund of delight in the shape of the relishing of * See Ch. IV. § 255-56-57-58.

The Mirror of Composition. 9

Flavour,-in the case of princes and the like, averse to the Scriptures and the Institutes of Science, with very tender minds, and proper to be taught,-to inculcate the practising of what ought to be done and the forbearing from what ought not to be done,-and this it aims at effecting by inculcating thus-" One ought to act like Rama and not like Ravana"-as has been declared even by the ancients. And so too it is stated in the Agneya Purana -viz.,-"In this,-Poetry, which is rendered first-rate by skill in words, Flavour alone is the LIFE." Also by the author of the Vyakti-viveka it is said,-" As to the fact that the soul of Poetry -- meaning by the soul that in respect of which everything else is something subordinate-is Flavour and the like-no one has any difference of opinion." So also the author of the ' Dhwani' says .- as for instance,-" For not merely by narrating-' Thus it fell out'-is the soul of Poetry compassed ;- for that-viz., the mere narration of events can be effected even through Histories* and the like such as the Mahabharata-which historics, though in verse, are not held to be poems." Objections re- u. "But," some one may object-" if Flavour is pelled. the essence of Poetry-then some flavourless-e. y., simply narrative-verses in the composition will not be Poetry-and thus the difficulty will recur-see § 2. g .- as to whether the compo- sition, as a whole, is poetry or not poctry ;"-if any one argues thus, then I say, No, -- for, as we allow that words, themselves tasteless, have a flavour when included in tasteful verses, so do we hold that those verses which may, in themselves, be insipid have a flavour through the flavour of the composition itself in which they are embodied. And as for the customary application of the term Poetry to those separate copies of verses even that are without Flavour, in consideration of the presence of such letters (-see Ch: 8th-) as give rise to some of the varicties of Excellence, and the absence of faults, and the presence of ornaments-that is merely a secondary, not a strictly technical appli- cation of the term, which has come into use from the superficial re- semblance of such verses to poetical compositions which do possess Flavour and which alone are Poetry in the strict application of the term.

• So Aristotlo-Poetics, Ch. IX .- says, "the history of Herodotus might be writton in vorse, and yot be no less a history with motro thau without mutro," &c. C

10 The Mirror of Cumposition.

v. And as for what Vamana says in his Aphor- tions objected to. isms-that "The soul of Poetry is the Style"-or Other defini-

Diction-see Ch. 9th-it is not so :- for a Style is a species of dis- position-and disposition consists in the arrangement of parts-and the soul is something different from that. And as for what has been said by the author of the ' Dhwani'-that " A Sense commended by the man of taste-, which, it has been settled, is the soul of Poetry, -- of this i. e., of such Senses two kinds are mentioned, named respee- . tively the expressed, or literal, and the understood otherwise than literally"-the allegation, I say, here-that the soul of Poetry can consist of an expressed Sense-is to be rejected, by reason of its contrariety to his own declaration, quoted under § 2. w-viz., that " The soul of Poetry is SUGGESTION"-See $ 10. The author's own definition of 20. Then what, after all, Is Poetry ? To this it Poetry. is replied as follous :-

TEXT. 3. Poetry is a Sentence the soul whercof is Flavour.

COMMENTARY.

a. We shall declare (in Ch. 3rd) what it is that Flavour consists of. Flavour alone-the text declares-is the soul of Poetry-essentially the cause of its life-since it is not admitted that, without thie, any- thing is P'oetry. b. The Sanskrit word for Flavour -viz., 'rasa,' by regular deriva- Three degrees tion from the verb ras " to taste or relish," signifies of emotion recog- nized in the defi- " what is tasted, or relished." So in this-i. e., under nition. the term rasa are included the incomplete Flavours, and the semblances, &c. thereof-which will be treated of in Ch. 3rd. The first degree -or Flavour pro- Among these, then, we may have I'lavour complete

per. as well as real as exemplified in the following verses -viz., " Perceiving that the house was empty, having arisen very gently from her couch, and having for a long time gazed upon the face of her husband counterfeiting sleep, having confidently kissed him,-then seeing his cheek quiver, the girl, with face downcast through modesty, was long kissed by her laughing lover."

The Mirror of Composition. 11

For in this example there is the Flavour, or Sentiment, called, to distinguish it from the love of separated lovers, " love in union." The second de- c. Incomplete Flavour is exhibited for example gree, or Flavour not attaining its in the following verses of the great minister, man- full development. ager of the questions of peace and war, Rághava- nanda :- "To the limit only of whose lowest seales, when incarnate as the Fish, the ocean reached ; on whose tortoise back rested the globe of the world ; 'on whose boar's tusk the carth was upheld ; on whose man-lion claws the lord of the sons of Diti expired; in whose footstep, as the dwarf Vamana, both worlds found their measure as he traversed each at one step ; at whose rage as, Parusarama, the bands of the Kshattras melted aeay ; on whose arrow, as Rama, the ten-headed Ravana met his death ; in whose hand, as Krishna, Pralambasura erpired; in whose contempla- tion, as Buddha, the universe melted into its proper nothingness ; on whose sword the race of the evil-doers will perish when the tenth incarnation shall take place ; to Him, whoe'er he be, all hail !" In this example the Flavour of love -- its objeet being the Deity- is an ipcomplete Flavour -- sceing that the Deity is no fit objeet, for instanee, of those tendernesses, &e., ihich belong to the Sentiment of Loce proper-any more than a son, against achom one may feel angry for a moment, is a fit object of those hostile attacks in which Anger proper naturally cents itself, and the description of which conduces to repreduce, in Poetry, the Sentiment itself in ite completeness. The third de- d. The semblance of Flavour is exhibited, for ex- gree, or the sem- blance of Flavour ample, in the following verses -- whether fully de- " Accompanied, in one flower-bell, by his loved veloped or not. mate, the honey-bee drank nectar ; and the black deer, with his horn, seratehed the doe, who, at the toueh, bent down her eyelids." For since, in this example, the Flavour of " love in union"-$3. b. is located in the lower animals, there is a semblance of that Flavour which is regarded as real when it oceurs in mankind ; and so of others for, having cxemplified the three-fold varicty of poetic emotion in the case of one of the passions, it is unnecessary to exemplify it in all. Fanlts defined e. Then, again, -- in Poetry, of what nature are generally. faults -- ichich we do not consent-see § 2. f .- to c 2

12 The Mirror of Composition.

regard as destructine of Poetry ? To this it is replied in the follow- ing half of a line which completes the half-line No. 3.

TEXT. 4. Faults are depressers thereof.

COMMENTART. a. Unmelodiousness, incompleteness in the sense, &c., operate depreciatingly on Poetry through the words and meanings-as one- eyedness and lameness operate depreciatingly on man through the ' body; and in the second place, such faults as the mentioning of the Accessories or the like-sce $ 168-by their own names bluntly, instead of suggestively,-these being faults which depreciate the Flavour which is the soul of Poetry, not mediately, like the former class of faults, but direetly, as idiocy depreciates directly the soul of man-both of these classes, are called in the tert the depressers of Poetry. Special examples of these various faults we shall mention in their proper place-viz., in Ch. 7th. Excellences, &c., b. Of what nature are the Excellences, or Merits, defined generally. &c., which were alluded to under § 2.f .? To this it is replied- TEXT. 5. Excellences-Ch. 8th-ornaments-Ch. 10th,-and Styles-Ch. 9th -- are called the causes of its elevation.

COMMENTARY.

a. Excellences, or good qualities-as already remarked under § 2. k .- are, in regard to Poetry, as heroism, &c., in regard to the soul of man. Ornaments are to the language of Poetry as bracelets, earrings, &c., to the human figure. Styles are a kind of arrangement of parts lead- ing to different rarieties of Poetry, as different muscular arrangements may give a man the symmetry of a Hercules or that of an Apollo. Elevating, as they do, through words and meanings, as through its body, the Flavour simply which is the soul of Poetry, these are not incorrectly called the heighteners of Poctry, for this rises, of course, with the Flavour, of which it consists. b. Although the Excellences here-spoken of in the text-are pro- perties of Flavour, -and how-it might be asked-can they be heighten-

The Mirror of Composition. 13

ers of it through words and meanings to which they do not belong ?- yet the word " Excellence" is employed here by synecdoche for " the words and meanings which develope Excellence or poetical merit ;" and hence what is meant is this- that words which develope Excellence are heighteners of the Sentiment, as was said beforc-sce § 2. m. Special examples of thesc-i. e., of ornaments, &c.,-we shall mention in the proper place. c. So much for the " Declaration of the Nature of Poetry"-the first chapter of the " Mirror of Composition," the work of the illus- trious Vis'wanatha Kaviraja, that bee of the lotus-feet of the divine Narayana, the pilot of the oceun of composition, the best of guides on the road of ingeniously poetic Suggestion, the jewel-mine of the poet's finest utterances, the lover of that nymph embodied in the Eighteen Dialects employed in dramatic composition-see Ch. 6th-, minister of the peace and war department.

CHAPTER II.

THE DECLARATION OF THE NATURE OF A SENTENCE.

Having declared-§ 3-that Poetry is a kind of Sentence, and the meaning of the term Sentence being as yet undefined, he declares what a Sentence consists of. TEXT.

A Sentenco do- 6. Let a Sentence mean a collection of words pos- fined. sessing Compatibility, Expeetancy, and Proximity. COMMENTARY. a. 'Compatibility' means the absence of absurdity in the mutual association of the things signified by the words. If the nature of a sentence belonged to a collection of words even in the absence of this compatibility of the things signified, then such a collection of words as " He irrigates with fire" would be a sentence, which it is not here held to be ;- fire-and everything but water-being incompatible with irrigation.

11 The Mirror of Composition.

b. 'Expectancy' -- " the looking out for" some other word in con- struction-means the absence of the completion of a sense; and this absence of a complete sense consists in the listener's desire, on hearing the word, to know something which the other words in the collection acill inform him of-if the collection of words is a sentence. If tho nature of a sentence belonged even to that collertion ef noninter- dependent words where this expectaney is wanting-then such a colleetion of words as " cow, horse, man, elephant" would be a sentence. c. 'Proximity' means the absence of an interruption in the appre- hension of what is said. If there could be the case of a sentence even when there is an interruption in the apprehension, then there would be a coalescence-into one sentence-of the word " Devadatta," pronouneed just now, with the word " goes" pronouneed the day after. d. Since expeetancy ($ 6.b.) and compatibility (§ 6. a.) are proper- ties, the one, of the sour, and the other, of rHINGS ;- it is by a figure of speech that they are here-i. e., in the text $ 6 .- taken as properties of a collection of WORDS. TEXT.

7. A collection of Sentences is a Great Sentence.

C'OMMENTARY.

a. Only if this Great Sentence too possess the requisites mentioned in § 6-of compatibility, expectancy, and proximity.

TExT.

8. Thus is a Sentence held to be of two kinds.

COMMENTARY. a. "Thus"-that is to say, inasmuch as it may be a Sentence (sce § 6) and inasmuch as it may be a Great Sentence (ser § 7). b. And, if a justification of this employment of terms be required, it is said by Bhartrihari in his Vakyapadiya : " Of Sentences, com- pleted as regards the conveying of their own meaning, when put to- gether, there becomes further, through their being viewed under the relation of parts and whole, the nature of a single Sentence." c. To gice examples of these two kinds of Sentences, there is the Sentence simple-as in the verses given at length under § 3. b.

The Mirror of Compesition. 15

-ris .- "Percciving that the house was empty, &c." The Great Sentence is such a collection of sentences as the Rúmáyana of Vál- miki, the Mahabharata of l'yasa, and the Raghuvans'a of Kulidúsa .* d. It has been stated in § 6 that a collection of WORDS is a Sen- tence. But the question remains then what is the criterion of a WORD? Therefore he says :-

TEXT.

Definition of tho 9. A word means letters so combined as to be term word. suite for ure, not in logical connection one part wcith another-conveying a meaning, and only one.

COMMENTARY. a. As-for erample -- "jar" is a word. b. By the erpression employed in the definition " suited for usc" the crude form, in which a vocable appears in the Grammar before receiring its inflection, is excluded from being regarded as a word. c. By the expression employed in the definition " not in logical connection" the exrlusion is effeeted both of Sentences and Great Sentences ichich-$ 8-consist of letters, and are suited for use,- but which, as their parts are connected in sense, are not to be deno- minated " words." d. By the eapression employed in the definition " only one" the exclusion is cffected of sentences containing a plurality of words inter-dependent-sre $ 6. b .- yet not excluded by the limitation under § 9. c., which refers only to words in logical connection, without ellipsis ; while, by the present exclusion, a collection of iords not in logical connection but yet, when the ellipses are supplied, inter-de- pendent, is dobarred from being regarded as a " word." e. By the expression employed in the definition " conveying a meaning" the exclusion is effected of such unmeaning combinations of letters as ' kachatatapa'-which is an unmeaning combination of the first letters of the fice classes of consonants.

• Comparo Aristotle-Poetics, Ch. xx .- " But a sentenco is one in a two-fold respeet; for it is eithor that which signifies one thing, or that which becomes one from many by conjunction. Thus the Hliad, indeed, is one by conjunction."

16 The Mirror of Composition.

f. By " letters" in § 8 it is not intended to speak of a plurality,. -for a word may consist of a single letter. g. In that-i. e., in a " Word"-what meaning may reside, is next to be considered. TEXT. 9. The meaning that may belong to a word is held to be threefold. -viz., Expressed, Indicated, and Suggested. COMMENTARY.

The three pow- a. The nature of these three Meanings he next ers of a word- Denotation, Indi- states :- cation and Sug- TEXT. gestion. 10. The Expressed meaning (vachya'. is that conveyed to the understanding by the word's Denotation (abhidha); -the Meaning Indicated (lakshya) is held to be conveyed by the word's Indication (lakshana) ; the meuning Suggested (vyangya) is held to be conveyed by the word's Suggestion (vyanjana). Let these be the three powers of a word. COMMENTARY. . " These"-i. e., Denotation and the others. TEXT. Denotation the leading power of 11. Among these three powers of a word the a word. primary one is Denotation, for it is this that conveys to the understanding "the meaning which belongs to the word by convention which primarily made it a word at all. COMMENTARY. How the con- ventional force of a. How one learns the conventional meaning of words is learnod. words may be illustrated thus :- On the old man's saying-when giving directions to the middle-aged man-" bring the cow,"-the child, having observed him-the man to whom the order was given by his senior, employing himself in bringing the cow, determines, first that " the meaning of this sentence was the fetching of a body possessing a dewlap, &c." and afterwards, through the insertion and omission of the portions of the sentence " bring the cow" which he as yet understands only in the lump, in such other sentences heard by the child as "fasten the cow"-"bring the horse"-he ascertains the convention that the word " cow" shall mean " the thing with a dewlap, &c.," and

The Mirror of Composition. 17

the word " bring" shall mean " fetching." b. And this is not the only process by which the conventional mean- ing of a word may come to be knoun-for, sometimes the meaning of a word may be gathered from the utterance of familiarly known words along with it-as in this example-viz., "In the bosom of the ex- panded lotus the honey-maker drinks honey"-where the hearer, know- ing that bees drink the juices of the lotus,. infers that it is the bee that is here called the honey-maker, and that the juice of the lotus, ex- tracted by the bee, is called honey. c. Sometimes the conventional meaning of a word is learned from the instruction of one wortny of confidence-as when such a one declpres "This"-pointing-suppose to the animal-" is what is denoted by the word horse." d. And it is that power of a word which conveys to the under- standing the conventional meaning without the intermediacy of any other power of the word that is called here-in the text § 11-Deno- tation. TEXT.

Four-fold Divi- sion of words in 12. A convention whereby the expressed meaning respeet of what of a word is settled is accepted, by men among them- they denoto. selves, in regard to Kinds, Qualities, Things, and Actions .* COMMENTARY.

Kinds. a. By a "Kind" -- or genus-is meant the nature of a cow and the like which resides in the particular body called cow and the like-and in virtue of which the thing is a cow or the like. Qualitios. b. By " Quality" is meant a settled habit of a thing which is a cause of making a distinction between one thing and other things of the same genus :- for the qualities white, and the like, differentiate such a thing as a cow from its congeners-such as a black cow. Things. c. Names of "Things" are those that denote a single individual-as Hari .- the name of the god Vishnu, Hara-the name of the god Siva, Dittha, Davittha, and other proper names. * These four are the Categories of the Hindu grammarian, D

18 The Mirror of Composition.

Actions. d. " Actions" are habits of a thing not settled; as qualities are-see § 12. b .- but in course of accomplishment- such as " cooking"-which is the habit of a thing whilst in progress towards being ready for eating :- for, what is denoted by such a word as " cooking" is the collection of proceedings, from first to last, such as the putting on the pot with the rice to boil and ultimately taking it off the fire again. e. For only in respect of these four-§ 12 .- distinguishing charac- ters of all individual cases that call for the employment of words is a convention made, and not in regard to individual cases themselves- lest there should befal the fault of encressness in the fabrication of words, or of vagueness, inasmuch as-to usethe illustration of the Kavya Pradipa-if, in assigning to such and such individuals the name of " cow," we made no convention as to the generic character of the individuals, then water-jars would lay claim to the name as fairly as any cows not specified individually. f. Now " Indication"-the second power of a word-see § 10-is explained. TEXT. Indication- 13. Where the principal meaning of a word-see what power of a word. § 11-is incompatible with the rest of the sentence -see § 6. a .- this power of Indication is communicated to the word, whereby another meaning than the expressed one-yet in connection therewith, becomes apprehended, either through Notoriety of the employment of the word in some particular secondary sense or through a Motive-discernible in the connotation-for using the word rather than some other word which would have merely denoted the thing expressly.

COMMENTARY. a. The power by which, in such an expression as " The impetuous Kalinga," a word, such as " Kalinga," incompatible with the epithet "impetuous"-if taken in its own sense-such as that of a particular country on the Coromandel coast, causes one to think of, not the country, for instance, that the word denotes, but the men, for instance, connected therewith ;- and-to give a second example-the power by which, in such an expression as " A herd-station on the Ganges,"

The Mirror of Composition. 19

a word, such as " the Ganges," incompatible with the matter in ques- tion-here, viz., the actual site of the station of herdsmen-inasmuch as the thing that it denotes is in the shape, for instance, of a mass of water, on the surface of which the herdsmen could not have built the huts of which the herd-station consists, causes one to think of some- thing connected with itself by the relation of proximity or the like- such as the river's bank,-THIS power of a word-COMMUNICATED to it (§ 13)-other than the power which (-to use the language of some-) belongs to it naturally, or which is not (-to use the lan- guage of others-) that given to it by God-this second power it is that is called Indication. Two sources of b. In the former of the two examples under § tho power of Indi- cation-Notorie- 13. a. the reason why the word denoting the region ty, and a Motive. of Kalinga has the power of indicating the inhabit- ants of that region is " Notoriety"* see § 13.,-the fact, simply, of its being familiarly known that the name of the region is employed to signify its inhabitants. In the latter of the examples, the " Motive" -see § 13 .- for using the word " Ganges," when we really mean " bank of the Ganges," consists in this, that it causes one to think of the extreme of coolness and purity pertaining to the Ganges itself, which would not have been thought of from the exposition of the same matter in the shape of the expression " A herd-station on the bank of the Ganges."

of the power of whatsoever has any relation to that which the word Why the sources c. If a word were, without a reason, to indicate

quire to be spoci- denotes, then there would be an excessive influx of Indication re-

fied. all sorts of associated ideas-everything in the world being related in some way or other to everything else-, hence in the text-§ 13-it is stated that this power of Indication arises " either through Notoriety or through a Motive"-the ordinary relations furnishing which latter, are specified under § 17. e. Alleged instan- ces of Indication d. But somo-among whom is the author of the rejected. Kávya Prakás'a-instance the expression " Expert in business" as an example of the power of Indication arising-see § 13from " Notoriety." What they mean to say is this-that the primary meaning of the word kus'ala " expert"-that, viz., of " a * In the original, fe which might be more intolligibly rendered usage. P. M. D 2

20 The Mirror of Composition.

gatherer of sacrificial grass"-from the etymology kus'am lhti " who gets sacrificial grass"-being incompatible with the matter in question -viz., "business," causes one to think of the sense of "expert" which is connected with the primary sense of " the gatherer of sacrifi- cial grass" through the relation of a similarity of character in respect of the being a person of discrimination-which the gatherer of sacrifi- cial grass must be, else he could not tell one kind of grass from an- other. Others do not accept this view of the matter, for, according to the view which these prefer, the primary meaning of the word kus'ala is simply that of " expert"-notwithstanding that the sense of "gather- er of sacrificial grass" might be gathered from the etymology :- for, the reason for the technically recognised etymology of words is one thing-viz., the convenience of the Grammarians, who must find an etymology, however far-fetched, for every word that is not a radical-, and the reason for the employment of a word is another-viz., the fact of the word's having, by convention, such a denotation as the speaker happens to have occasion for. If the primary meaning of every word were that which is to be gathered from the etymology, then in the example " The cow sleeps" also there would be " Indication"-because when speaking of the animal even at the time of its slecping and therefore lying still, one makes use of the word 'go' (cow,) which word 'go' is formed by the affix ' do' put after the root gam " to move"-according to the direction of Panini-viz. "gamerdoh" i. e., " let the affix " do" come after the root " gam" and the word " go" ' a cow' will be the result." Indication divid- e. He next states the distinctions of this power ed into inclusive and indicative. of Indication. TEXT. Indication in- 14. The primary meaning's hinting something clusive defined. else which is required,in addition,for the establishment of a logical connection among the things, and not a mere grammatical connection among the words in the sentence-lct this, when the primary meaning itself also is taken in, be called therefore ' Inclusive Indication' (upádána-lakshana). COMMENTARY. a. Inclusive Indication, where the source of the power-see § 13. b .- is Notoriety is exemplified in such sentences as "The White

The Mirror of Composition. 21

gallops;"-and where the source is a Motive-in such as "The Lances enter." For, in theso two cases, " white" and " lances," being things inanimate, cannot alone have a logical connection, as agents, with the actions " galloping" and " entering," and so, with a view to the establishing of this logical connection among the things expressed in each sentence, they hint "horses," and " men," which are connected with themselves i. e., with "white" and "lances"-so that we understand " The white HORSE gallops," " The Indication in- MEN WITH lances enter." In the former of the two clusive - twofold -according to its cases exemplified, as there was no Motive for speak- sonrce. ing, for instance, of the horse as white-which term hints nothing beyond the whiteness,-the source of the Indicatory power in the expression is Notoriety-the horse being necessarily well known as " the white" by the person to whom the remark was intelli- gibly addressed. In the latter of the two cases esemplified, the Motive for speaking, for instance, of " lances" instead of " men with lances" was to direct attention to, for instance, the extreme denseness of the phalanx of lances. And in these cases the primary sense also § 13. is taken in-for the whiteness accompanied the horse in its gallop, and the lances accompanied the men who entered with them. But in simply Indicative Indication there is implication only of something else-to the exclusion of that which indicates. Such is the distinction between the two kinds of Indication; and it is this first kind that is spoken of as " the use of a word without abandonment of its sense."

TEXT.

Indication in- 15. The abandonment of self, with a view to the dicativo defined. establishment of the logical connection of something else with something in the sentence-this, since it is the cause of an indication, and of nothing more; is ' Indicative Indication' or Indica- tion' simply-(lakshana-lakshana).

COMMENTARY. a. For instance-" The impetuous Kalinga," and " A herd-station on the Ganges"-see § 13. a .- are examples of Indication simply- for, in these two examples, the two words " Kalinga" and " Ganges" give themselves up-sacrificing their oun sense-of a region and a 20114. TH' PAMARR'SHNA IIRSION INSTIT. 1 OF LLTUNE LIBRARY

22 The Mirror of Composition.

river-for the purpose of establishing, in logical connection with the things in the sentence, " a man" and " a bank;" or we may have In- dicative Indication in such a case as the following-addressed to one who had injured the speaker-viz., " Much'benefit have you done :- how is it to be expressed ? Bene- volence alone has been exhibited by you, Sir. Acting thus ever, O friend, may you be happy therefore for a hundred years." Here, in order to establish, in logical connection with the other matters in the sentence, "injuries," &c. which are what are really meant to be spoken of-, the words " benefit" and the like give them- selves up and stand, ironically, for injuries and not for benefits at all. In this example, there is an incompatibility in the primary meaning of the sentence, since it ascribes benefit &c. to an injurer. The relation between what is here indicatory and what it indicates is that of CONTRARIETY-the mode of Irony-, and the result is this that the EXCESS of injury is understood to be complained of and imprecated. It is this kind of Indication that is spoken of as " the use of a word WITH abandonment of its sense."

TEXT.

Further subdivi- sion of fourfold 16. These, further, are severally twofold, through Indication intothe Superimposition (aropa) and Introsusception (adhya- Superimponent and the Introsus- vashna). ceptive. COMMENTARY. a. " These"-i. e., the aforesaid four kinds of Indication-see § 13, b. and e.

TEXT. 17. Let that Indication be Superimponent which makes one think of the identity with something else of an object not swallowed by that with which it is identified, but expressed along with it. That Indication is held to be Introsusceptive which makes one think of the identity with something else of an objcct swallowed-not expressed, but recognised as it were inside of that with which it is identified. COMMENTARY. a. Thus, then, first we may have Superimponent Inclusive Indi- cation (§ 14) the source of the power-§ 14. a .- being Notoriety :- a8

The Mirror of Composition. 23

in the following example-" The horse-the white-gallops." For here the horse, the possessor of the quality " white,"-in the shape of the unsuppressed term " horse"-and hence of something " not swallowed" (§ 17),-is thought of as identical with the colour " white" which inheres in it :- that is to say-"the horse" and " the white" are understood to mean here just one and the same thing. b. Secondly, we may have Superimponent Inclusive Indication-S 17. a .- the source of the power-§ 14. a .- being a Motive :- as in the following example-"These-the lances-enter." Since the pronoun denotes the men bearing lances-who-see § 14. a .- are denoted also by the word " lances"-there is here a case of the Su- perimponent. c. Thirdly we may have Superimponent Indicative Indication, (§ 17. a.,) the source being Notoriety (§ 13. b.,) as in the example " The Kalinga-the man-fights." Here it may be remarked that the relation between the " man" and the region of " Kalinga" is that of location and located. d. Fourthly, we may have Superimponent Indicative Indication the source (§ 14. a ) being a Motive-as in the example " Longevity -butter." Here " butter," the cause of "longevity," is thought of as identical with the " longevity" related to it through the relation of cause and effect. The Motive for speaking of butter as " longevity" is the fact, which it is desired to call attention to, of its causing lon- gevity differently from anything else-no other article of Hindu diet being so nutritious-, and invariably-butter, as a prolonger of life, being reckoned infallible. e. Or of this fourth case-§ 17. d .- to take other examples illus- trating the most ordinary relations, besides that of cause and effect, by which this employment of language is prompted-as-when a mau belonging to the king is going-one may say " The king-this one -goes." Here the relation is that called the relation of owner and owned. Or as-when there is meant only the foremost portion of the arm from the elbow-all of which, in Sanskrit, is called " the hand;" -one may say " The hand-this-from the wrist downwarde." Here the relation is that called the relation of whole and part. Or when it is even a Brahman that one is speaking of, one may say "The carpenter-he"-while, strictly speaking, it is impossible that a man

24 The Mirror of Composition.

of the Brahman tribe, though working in wood, should be a man of the carpenter tribe. Here the relation is that of the doing the work of so and so. Or when sacrificial posts to which the victims are tied. for Indra are spoken of-one may say " These Indras." Here the relation is that of being for the sake of so and so. And so in other cases. f. The Introsusceptive Indication which makes one apprehend the identity with something else of the " object swallowed" (§ 17), on the other hand,-the examples from § 17. a. downwards having il- lustrated the case of objects " not swallowed"-of this, in its four varieties, the preceding examples may serve as exemplifications, if you expunge the term denoting the " object swallowed,"-thus reducing the examples to the following form-viz. " The White gallops"-" The Lances enter"-"The Kalinga fights"-and-BUTTER being meant by it-' Longevity"-as when we say " Ie eats longevity," meaning " He eats butter, which will make him long-lived." TEXT.

Further subdi- 18. All these, when the relation is other than that vision of eightfold of LIKENESS, are called Pure (suddha) ; but when Indication into the Pure and the they arise from likeness, they are reckoned Quali- Qualitative. tative (Gauna). By this they are divided into sixteen. COMMENTARY. a. " These"-i. e., the aforesaid eight kinds of Indication. " Re- lations other than that of likeness" are the relation of cause and effect. &c. see (§ 17. e.) b. Of the Pure varieties among these, the preceding examples from § 13. a. to 17. b. inclusive are exemplifications. c. Superimponent Inclusive Indication Qualitative, when the source of the power (see § 17. a.)-is Notoriety, is exhibited in such an example as "These oils-pleasant in the cold weather, when, rubbed on the body, they keep out the cold." Here the word " oil," taking along with it-(whence the Indication-see § 14-is "inclu- sive"-) its primary meaning, which is in the shape of the unctuous matter expressed from sesamum seeds (-the Sanskrit name of this fuid viz., taila-being derived from the name of its most usual source-viz., tila " the seeds of the sesamum," as the English word " oil" is derived from the Latin name of the olive tree,) is applied

The Mirror of Composition. 25

notoriously to other unctuous fluids also, such as that expressed from mustard seed, which fluids are like it. It may be remarked that the Indication in this example is termed Superimponent because of the presence of the pronoun " these :"-see § 17. b. d. This form of Indication-the Superimponent Inclusive Quali- tative-when the source of the power is a Motive is exemplified in such sentences as "These-the princes-go"-employed,-as such a sentence often is, when princes and persons LIKE thereto, are going. e. Introsusceptive Inclusive Indication Qualitative, when the source of the power is Notoriety, may be exemplified by the example under § 18. c., omitting the pronoun-thus-"Oils-pleasant in the cold seasun :" and when the source of the power is a Motive, by the ex- ample under § 18. d., with the like omission-thus-"The princes go." f. Then again ice have Superimponent INDICATIVE Indication Qualitative, when the source of the power is Notoriety :- as " The king clears away the paltry foc-the chief of Gauda,"-where the word ' kantaka' which primarily means a thorn* is idiomatically, or accord- ing to common usage,t used in the sense of a small foe, from a likeness between the two objects :- and when the source of the power is a Motive -in such an example as " That cow-the ploughman." g. Further, we have Introsusceptive Indicative Indication Quali- tative-when the source of the power is Notoriety :- as "The king clears away the paltry foe (kantaka) ;"-and when the source of the power is a Motive :- as " That cow talks"-these two examples differing from those under § 18. f. in the suppression, or introsusception of a term. Misconceptions h. In this case-that of " That cow-the plough- disposod of. man"-"§ 18. f .- instead of admitting, as they ought, that the man is indicated by the word " cow"-some say "The qua- lities which belong to a cow, such as senseleseness and sluggishness, are indicated ; and these serve as causes why the word ' cow' denotes the thing properly called 'ploughman.' " This is not right- because the word " cow" cannot DENOTE the thing properly called " ploughman," in respect of which no convention was entered into (-it being only through CONVENTION-see § 11-that a word

Indication. P. M * Which sense it entirely gives up, and hence this is a case of Indicatire t So it is an Indication under Notoriety, or Usuye, P. M. E

26 The Mirror of Composition.

can primarily DENOTE anything) ; and because it denotatively makes one think only of the dewlapped and long-tailed thing meant by the word " cow," since the power of denotation is exhausted there- in, and there is no resuscitation of that power thus exhausted-or functus officio, in making one think of the genus " cow"-see § 12. Others again, partially correcting the statement above quoted, say, "The THING properly called ' ploughman' is not DENOTED by the word ' cow,' but only the QUALITIES belonging to the 'ploughman' are INDICATED as being of the same kind as the qualities belonging to the thing which the word ' cow' itself denotes." This second view also, others and we ourselves do not accept. To explain :- In this expression under discussion, is the sense of " ploughman," understood from the word " cow," or is it not? On the former of these alter- nutives-is this sense understood merely from the word " cow" em- ployed denotatively, or, through the ins parableness of qualities from that in which they inhere-is it, I ask, understood from the qualities of sluggishness, &c. indicated by the word " cow ?" Not the first, of this subordinate pair of alternatives, can be accepted, because this word " cow" is not assigned by convention to the thing properly called "ploughman ;" nor the second, because there is no room for a sense gathered from inseparableness-such, e. g., as that of a quality in respect of that whereof it is inseparably the quality-when there is a concordance between the WORDS-as we see there is in the example -the two words being in apposition-in the same case-as denoting the same thing, for a WORD's expectancy-when looking out for another to agree with it-see § 6. b .- is fultilled only by a wORD-and not by a sense connoted in a word and such as, if expressly declared, would appear under the form of a word in a DIFFERENT case -- e. g .- " a man OF bovine stupidity." Nor is the second alternative, of the first pair, admissible-for, if the sense of "plouglman," is NOT understood from the word "cow," then the agreement in case, of this and of the word " ploughman" which the example exhibits, would be improper-it being only words signifying the same thing that agree in case. Hence here the word " cow" having no logical connection in its PRIMARY character i. e., as a denotative term-see § 11-with the word " ploughman," INDICATEs the thing properly called " plough- man" through the relation (see § 13. c.) of community of properties

The Mirror of Composition. 27

between the cow and the man-such as ignorance. The Motive ($ 13.,) in which the power of Indication here takes its rise is the causing one to think of the EXCESS of ignorance and the like in the ploughman. Why tho torms i. And this kind of Indication-§ 18. c. d. e. f. Pure and Qualita- tivo aro made use g .- is called Qualitative because of the association of. of a quality-the thing indicated being understood, in this case, to have the QUALITIES of that by the name of which it is metaphorically indicated ; but the former kind of Indication-§ 18. b .- is Pure, there being no admixture of METAPHOR in it. For Meta- phor consists in the simply covering up the apprehension of the difference between two things absolutely distinet, by means of a reference to the greatness of the amount of their likeness :- as that of " fire," and " a boy" so hot-tempered that we call him a perfect fire. But in " white" and " cloth," there is no apprehension of difference at all-that which is really " cloth" being that which at the same time is really " white" and is not merely metaphorically called " white"- whilst that which is really a " boy" is not really " fire," but only LIKE it, and hence metaphorically called it. Hence in such cases as that where " cloth" is called " white" the Indication is quite pure-(§ 18).

Further subdi- TEXT. vision ofone eight- fold branch of In- dication accord- 19. Let Indication FOR A PURPOSE be twofold, ing to the Ab- in respect of the Abstruseness or the Obviousness of strusenoss or the Obviousness of what is suggested. whatis suggosted.

COMMENTARY. a. Where the source of the power of Indication-§ 13 b. is a Mo tive, Indication of eight sorts has been exhibited-(§ 18.) These, having become severally twofold in respeet of the Abstruseness and the Obviousness of what, in the shape of the Motive, is suggested, are sixteen. Of these-the abstruse and the obvious-the " Abstruse" is that which is to be understood only by the force of an intelleet matured by the study of the sense of Poetry-as is exemplified in the passaye given under § 15. a., viz., " Much benefit have you done, &c." The " Obvious" is that which, through its extreme clearness, is intelligible to every body-as is the purport of the following-viz., " It is the 2

28 The Mirror of Composition.

intoxication of youth alone that teaches the blandishments of enamour- ed maidens." Here, by the word " teaches," the sense of " brings out into manifestation," is indicated; and the emphatic character of the manifestation-i. e., how perfectly the intoxication does bring out the blandishments-is apprehended as clearly as if the thing had been stated expressly, instead of being indicated by the word " teaches."

TEXT. Further subdi- vision of the six- 20. These also are twofold, through the fact that teenfold branch of the fruit-viz., the excessiveness suggested-see § Indication accord ing to the site of 14. a., pertains to the thing indicated, or pertains what is suggested. to a quality not inherent in the thing.

COMMENTARY. a. "These"-i. e., the sixteen kinds of Indication just mentioned -under § 19. a. These, having severally become doublel through the fruit's pertaining to the thing or to the quality, give thirty-two kinds. He exemplifies the two kinds in succession :- "There are the clouds, in which the cranes disport, and with whose smooth dark loveliness the sky is overspread :- there are the dewy winds, and the melodious joyful screams of peacocks, friends of the clouds. Be all these as they list. I, very firmly stout of heart, am RA'MA. I endure all, hard though it be to bear those vernal sights and sounds with patience, which enhance the joy of lovers when united. But how will SHE be now-Videha's daughter? Alas-my goddess -O do thou be patient." In this speech of Rama, from the Vira Charitra of Bhavabhuti, Rama being indicated by the expression " I am Rama," which is insignificant taken literally, in the shape of a porson extremely patient of affliction, and this indicated Rama being the possessor of the quality of patience-suggested, under the circumstances, by the em- phatic and indicating employment of the proper name-which- proper name otherwise, being simply denotative, would connote nothing,-the fruit-the exceedingness of the patience-pertains to him the thing indicated. b. Again in this second example viz., "a herd-station on the Ganges"-see § 13. a., where the BANK is indicated, the fruit, the EXCEEDINGNESS, pertains to the character consisting of coolness, purity,

The Mirror of Composition. 29

&c., and NOT to the BANK-the thing indicated-which-see § 13. b. -is not regarded as the locus of these qualities. TEXT, 21. Thus then are the varieties of Indication held by the intelli- gent to be forty. COMMENTARY. a. That is to say there are eight where the source of the power is Notoriety § 18, and thirty-two where the source of the power is a Motive in the shape of some fruit (§ 20. a.) ; hence the varieties of Indication-so far as 'we have yet seen-are forty. Moreover- TEXT. Final subdivi- sion of fortyfold 22. These also are severally twofold accordingly Indication accord- as it -- the power of Indication-resides in a WORD ingly as its instru- ment is a word or or in a SENTENCE. u sentence. COMMENTARY. a. "These"-i. e., these kinds of Indication just mentioned under § 21. Among these we have an example of Indication distinguished by the fact of its residing in a Word in such a case as " A herd-station on the Ganges-(sce § 13. a) ; and of Indication distinguished by the fact of its residing in a Sentence-and not in any separate word there. of-in such a case as " Much benefit have you done, &c."-(see § 15. a.) b. Thus is Indication of eighty different kinds. c. Now " Suggestion"-the third power of a word-see § 10-is explained. TEXT. Suggestion- 23. When Denotation &c., repose after having what power of a word. done their duty, that function, of a word or its sense &c., by which a further meaning is caused to be thought of, is what we call Suggestion (vyanjaná), COMMENTARY. a. It is a maxim that when a Word, a Cognition or Idea,* and an Action cease after a single exertion, there is, as far as that individual

• For instance, the act of my Cognitive Faculty by which I have this moment the idea or perception of Fire is limited to, and onds in, that perception only ; and the perception I continue to have through the succeeding moments is not one and the samc-is not indirisible but the continuous result of distinet nets of the Cognitive Faculty, or (to speak more strictly and plainly) is a succession of

30 The Mirror of Composition.

case is concerned, an annihilation of their agency, When, in accordance with this maxim, the three functions called Denotation (§ 11), Indica- tion (§ 13) and Drift-or purport of the sentence as a whole-which may be found treated of in the Kavya Prakas'a-are exhausted, after having caused each its own appropriate thing to be thought of, that function of a word, or of a sense, or of a radical, or of an aflix, &c., through which another meaning is caused to be thought of,-that function which takes the various names of " suggesting," "hinting," "conveying," "acquainting," and the like, is what we call the power of Suggestion. 20114. b. In this power of Suggestion, two varieties are comprised-for : TEXT.

. Suggestion two- 24. Founded on its Denotation, or founded on fold, as founded on Denotation or its power of Indication, a word's power of Suggestion on Indication. is twofold.

COMMENTARY. a. He describes that which is founded on Denotation as follows.

TEXT. Of Snggestion founded on Deno- 25. That power of Suggestion which is the cause tation. why something else is understood from a word which, though having possibly more meanings than one, has been restricted to a single meaning by conjunction or the like, is that power of Sug- gestion which is spoken of-in § 21-as being founded on Denotation. COMMENTARY. a. By the expression " or the like"-in the phrase " restricted to a single meaning by Conjunction or the like"-is meant Disjunction, &c .- for, to expand the " &c.," it is said by Bhartrihari in his Vakya- llow the Deno- padiya-" Conjunction, and disjunction, companion- tation of ambigu- ship, hostility, a motive, the circumstances of the ous terms is re- stricted. case, a characteristic, the juxtaposition of another word, power, congruity, place, time, gender, accent, &c., are causes of one's recollecting a special sense of some word when the sense of the word is not of itself definite." Thus-to exemplify the defining power

distinct cognitions. These nice thinkers had observod what Berkeloy himsclt failed to do, viz. that the ideas which we are accustomed to call the same, are not really the same but czuctly similur. Sce Mill's Logic, Vol. 11, B. V. p. 450. P. M.

The Mirror of Composition. 31

of each of these causes in their order-in the example " Hari with his conch-shell and discus," the word Hari denotes Vishnu alone-and not a " lion" or a " monkey" or any other of the meanings of the Sanscrit word hari-because of the 'conjunction' of the conch-shell and the discus; and in the example " Hari without his conch-shell and discus," it denotes him alone too-seeing that the ' Disjunction' would be unmeaningly declared in respect of what-e. g., a lion-had never been conjoined with a characteristic conch-shell or the like. In the example " Bhima and Arjuna," the Arjuna is. the son of Pritha- he, and not the thousand-armed king of the same name slain by Paras'u- rama-as told in the Mahabharata-being the ' comrade' of Bhima. In the example " Karna and Arjuna," the Karna is the son of the Sun-god-famed for his 'hostility' to Arjuna-and not any one else of the persons named Karna. In the example " I salute Sthanu," the word sthanu means the god S'iva-and not a " post"-as there is no 'motive' for saluting a post. In the example " My lord knows all," the word "lord" means " you, Sir,"-and not the Deity-the 'circumstances of the case' being understood to be these, that the words are addressed to a king or some other great man. In the example " the angry one on whose banner is the alligator," the God of Love is meant-and not the Ocean, which also has an alligator for a heraldic device, but of which anger is held to be no ' characteristic.' In the example " The God, the foe of Pura," S'iva is meant-as we gather from the ' juxtaposition' of the word " God"-for, otherwise, the term purari might have stood as well for the " foe of the city" as for the " foe of the demon Pura." In the example " The cuckoo intoxicated with the Spring" the word madhu, it is obvious, means the "Spring" -- the Spring-time being the only thing, among those denoted by the word, that has ' power' to intoxicate the cuckoo-and not " nectar" or "distilled spirits" which it does not meddle with. In the example "May the meeting with your beloved preserve you," the word "mukha" means "encountering" or " coming face to face"-because there is no 'congruity' between the desired result and " a face" or any other sense of the word mukha. In the example "The moon shines in the sky," we are certified, by the ' place' that the word 'chandra' means the " moon" and not " gold" or " camphor," &c. In the example " The fire at night," we know, from the ' time,' that the word

32 The Mirror of Composition.

'chitrabhanu' here means a " fire" and not. the "sun." In the example "The wheel glows," we know that the word 'rathanga' means a "wheel" and not a "ruddy goose," from its having the termination of the neuter 'gender.' As 'accent' modifies the sense in the Vedas only, and not in Poetry, no example of its occurrence is here given. b. And some, not able to endure this assertion,- The rejection of Accent from in § 25. a .- that Accent operates for the removal of among the re- stricters of De- ambiguities not in poetry, but only in the Veda- notation justifi- which assertion was made before me by the author of ed against objec- tors. the Kavya Prakas'a,-say " Accent also, in the shape of change of voice and the like, is really, in Poetry, the cause of the understanding in a partieular sense something that would otherwise be ambiguous :- and again, according to the showing in the lectures of the holy sage Bharata, 'It,-viz., accent in the shape of the acute, &c., is really the cause of one's understand- ing, to be intended, some one particular Flavour-as, for example, the Erotic-when, in the absence of accent, the Flavour intended might have been doubtful'-hence, in the case of this also-i. e., in the case of Accent, as well as the other defining agencies exemplified under § 25. a .- some exemplification is proper ;"-but, to these objections, I reply, this is not right. The accentuations, whether as changes of voice, &c., or as the three varieties of accent called the Acute, &c., cause one to understand one particular sense consisting in that only which is suggested; and not, assuredly, does accentuation acquaint us with any distinction in the shape of the restricting to a single sense some word with more senses than one-which-see § 25. a .- and not anything respecting the matter suggested, is the present subject of discussion. . Accent to be c. Moreover-if there were to be directed the re- avoided in the stricting on every occasion, to a single sense, by the case of "double entendre." force of an appropriate accentuation, even of two meanings of anbiguous words left undetermined through the absence of fixation by the circumstances of the case or the like-see § 25 a .- then, in such a case, we should not find recog- nised that Ornament, among those treated of in Ch. 10th-called Paronomasia :- but it is not so,-for we do find this ornament

The Mirror of Compcsition. 33

recognised by all the authorities, in cases where there would be no place for it, if the duplicity of meaning were banished by accentuation ; and therefore has it been said that " when the exhibition of parono- masia is the business in hand, then, in the paths of Poetry, accentu- ation is not esteemed but is to be carefully avoided ;"-and this is a maxim of common sense-secing that the accentuation would defeat the end in view. But enough of this idly censorious glancing-on the part of these objectors-see § 25. b .- at the declarations of the venerable author of the Kavya Prakas'a, to whom-though constrained to find fault with him occasionally myself-I am indebted for so much of the materials of my work, that I may call him justly the bestower of my livelihood. d. By the " &c." in the extract from Bhartrihari given under § 25. a., is meant, in such a case as that of one's saying " A female with breasts just so big," the making one aware by gestures of the hand, &c.,-the fingers being just so far opened as to mark the size intended-that the breasts, or the like, resemble the unexpanded lotus ; and so in other cases. e. When a word is thus restricted, in respect of its Denotation, to a single meaning, that power which is the cause of one's thinking of another sense of the word, is the power termed, in § 25, Suggestion founded on Denotation. This occurs, for example, in the following verses of my father-literally, of the feet of my father-the great minister, the lover of the nymph consisting of the fourteen dialects, the chief of great poets, the venerable Chandra S'ekhara, minister of peace and war,-the verses being these -- riz., " Whose body is embraced by Durga, overwhelming by his radiance the god of Love, on whom, as a crest-ornament, has arisen a digit of the moon, venerable, surrounded everywhere by his snakes, whose eyes are made of the chief of stars, who has a solid affection for the most majestic of mountains-the Himalaya,-having mounted on a cow -the emblem of the earth,-with his body adorned with ashes,-re- splendent is this beloved of Umá." Here, from the " circumstances of the case"-see § 25. a .- the minister intending to describe, not the god S'iva who reduced the god of Love to ashes by a glance of his eye, and who is decorated with cobra da capellos, but his own king who is lovelier than Cupid, and

34 The Mirror of Composition.

who is surrounded by his ministers-and so on through the weary string of puns-the sense of the terms in the expression " beloved of Uma" being restricted, in respect of the Denotation, to that of the queen named Uma and her husband king Bhanudeva, it follows that the sense of the " beloved of the goddess Gauri," -- i. e. the god S'iva-is understood-to the glorification of king Bhanudeva by the comparison -only through Suggestion. And so of other cases. f. He next describes that power of Suggestion which is founded on Indication (§ 24.)

TEXT.

Suggestion founded on Indi- 26. But that Motive for the sake of which the cation. power of Indication is resorted to, let that power whereby that Motive is caused to be thought of be called Suggestion founded on Indication.

COMMENTARY.

a. When, in such an expression as " A herd-station on the Ganges" -see § 13. a .- the power of Denotation has desisted-see § 23. a .- after causing one to think of such an object as a mass of water which the word " Ganges," denotes, and the thereto subsequent power of Indication has desisted after causing one to think of such an object as the bank,-then that power by which such a thing as the excess of coolness and purity-the ' Motive' for employing the particular form of expression-scc § 13. b., is caused to be thought of, is the power called ' Suggestion founded on Indication.' b. Having thus described-in § 25 and 26-Suggestion pertaining to WORDS-see § 23, he describes Suggestion pertaining to the THINGS signified by the words.

TEXT.

Suggestion 27. That arises from the SENSE of words which founded on the Sense. causes one to think of something else through the speciality of the Speaker, or the Addressed, or the Sentence, or the Proximity of another, or the Drift, or the Occasion, or the Place, or Time, or Emphasis, or Gesture, or the like.

The Mirror of Composition. 35

COMMENTARY. a. In saying " That arises, &c." .the word " Suggestion" is to be supplied in construction-the text, without ellipsis, being " That (power of) Suggestion arises, &c." b. Among these various specialities, there may be an example where there is some speciality in respect of the Speaker, the Sentence, the Oecasion, the Place, and the Time-as is the case in my own lines here following-viz., " The season is the Spring-time-and he of the flowery bow, the god of Love now rages -: gently flow the breezes that bear away with them the languor of love ;- this pleasure-garden too is beautiful with its arbours of the cane :- my husband is far away :- tell me- what is to be done to-day ?" Here some one hints to her confidante -- likely to guess the ' drift' of this ' Speaker'-" let my unavowed lover be sent speedily to this place." c. Where the speciality is in respect of the person addressed-§ 27-we may have such an example as the following, viz., " The border of thy breasts has lost the whole of the sandal-wood with the cooling unguent of which they had been anointed :-- the colour of thy lip has been rubbed out :- thine eyes are quite devoid of colly- rium :- this thy slender body has every hair erect :- O falsely speaking go-between !- heedless of the access of pain to me thy friend, thou wentest hence to bathe in the lake-not, as I had sent thee, to that wretch." Here, by 'Indication of the contrary'-see § 15. a .- "Thou hast gone near him" is indicated; and, through the speciality of the mes- senger ' addressed'-she being not a messenger simply, but onc regarded as "falsely speaking"-it is understood to be suggested-on the ground of this sense-see § 27-that " Thou wentest to dally with that wretch." d. Whore the speciality is in respect of the Proximity of another -§ 27-we may have such an example as the following-viz. "That crane stands unmoved and undisturbed on the leaf of the lotus-like a conch-shell placed on a tray of pure emerald." Here, from the immobility of the crane its security is inferred, and, from that, the fact that the place is devoid of people ; and thus i. e., by dirccting attention to the fact, it is said not expressly but suggestively by some one to her unavowed lover by HER SIDE (-for else, the remark F 2

36 The Mirror of Composition.

on the solitariness of the spot, would not have given rise to the same suggestion,)-"This-where the wary crane stands fearing no intrusion -is the place for an assignation." Here the Motive for the remark -or, in other words, the thing sought to be suggested-is that spe- ciality-of fitness, namely, for an assignation-of a thing antecedently suggested-this thing antecedently suggested consisting in the fact that the place is devoid of people :- 80 that here we have Suggestion founded on Suggestion. Emphasis- e. " It is an emotional alteration of the sound in what. the throat that is called, by the lcarned, Emphasis (kaku.)"* The varieties of Emphasis, which is of the just mentioned description, are to be learnt from the original works on Poetry by Bharata, &c. To take an example where the speciality consists in this, we may have such a couplet as the following :- viz. " In submission to his preceptor, alas, he is prepared to depart to a far country. In the Spring-time, joyous with its bee-swarms and its cuckoos,-he WONT come back-eh, friend of mine ?" Here she says " he wont come back"-but, by the slily appropriate Emphasis, it is suggested that " he assuredly WILL come back." f. Where the speciality consists in Gesture (cheshta) we may have such an example as the following-viz. " Perceiving that her lover had his mind anxious about the time of assignation, the quick-witted dame closed the lotus-flower with which she was playing-whilst her laughing eye conveyed to it the import." Here, by the gesture of closing the lotus, &c., it is suggested by some woman that "The twilight-when the lotus-flowers close their petals-is the time of assignation." g. In the same way as in the cases above exemplified the case is to be understood when there is a Speciality in respeet of the Speaker and the rest, enumerated in § 27,-taken either separately or any way combined. TEXT.

Division of Sug- 28.+ Through the threefold division of Meanings, gestion according to the threefold the power of Suggestion is beld to be, in respeet division of Mean. of each of the above-mentioned varicties-threc- ings. fold.

• Röer mistakes this sentonce for a text of the book. P. M. + 29 in Röer's edition.

The Mirror of Composition, 37

COMMENTARY. a. By reason that Meanings have a threefold nature, through their being Expressed or Indicated or Suggested-see § 9,-all the just- mentioned powers of Suggestion are threefold. Among these-there is-for instance, the power of Suggestion belonging to an EXPRESSED meaning-as-in the example under § 27. b .- "The season is the Spring-time, &c.," the words of which are all to be understood liter- ally :- 2ndly there is that belonging to an INDICATED meaning-as in the example under § 27. c. "The border of thy breasts has lost the whole of the sandal-wood, &c."-where the words indicate the reverse of what is said, and the Suggestion originates in this indicated meaning :- and Brdly there is that belonging to a SUGGESTED mean- ing-as in the example under § 27. d .- "That crane stands unmoved, &c.," where the Suggestion of its being a suitable place of assignation arises out of the suggested secludedness of the spot. b. But Suggestiveness pertaining, (see § 23. a.,) to the RADICAL PART of a word or to an AFFIX will be treated at length in the latter portion of chap. 4th. c. Some one might object that we were told, at § 3., that Poetry is a Sentence, and further, at § 6., that a Sentence consists of Words ; but, on the other hand, we are told, at § 2. r., that Poetry consists in Suggestion, and further, at § 23, that Suggestion may come from the sense and not from the words-so that we are left in perplexity as to which does constitute Poetry-the words or the sense. To remove this perplexity the author declares, as follows :- TEXT.

The mutual ro- 29 .* The MEANING conveyed by a word suggests, lation of Words and Meanings in and so also does a WORD applied in another sense respect to the con- -than that which it then suggests, but might else- stituting of Pootry. where denote see the example under § 25. e. When the one suggests, then the other is its coadjutor. COMMENTARY. a. Because a WORD, when it suggosts, has an eye to another MEAN- ING without which it would fail of suggesting ; and so too a MEANING, when it suggests, has an eye to the word-without which the meaning * 30 in Röor's edition.

38 The Mirror of Composition.

would vanish :- hence, when the one suggests; the co-operation of the other must needs be admitted. TEXT.

Division of a 30 .* Through the being distinguished by the Word according to the accident three accidents of Denotation, &c. (§ 10.) a Word of its function. also is held-as the Meaning thereof is -- to be of three kinds-Expressive, Indicative, and Suggestive. COMMENTARY. a. When it has the accident of the power of Denotation, the word is simply Expressive (vachaka) ;- when it has the accident of Indication, it is Indicative (lakshaka) : when it has the accident of Suggestion, it is Suggestive (vyanjaka). b. Moreover-the senses conveyed by separate words, in virtue of their ererting one or other of these three functions, being supposed decided-a difference of opinion presents itself in regard to how words act in concert. On this the author proceeds to remark. TEXT.

Purport, a func- 31.+ Some say that there is function called Pur- tion of the sen- tence, according port (tatparyya) which function consists in making to the Naiyayikas. one apprehend the connection among the meanings of the words ; the sense from the Purport being the ' drift,' and the Sentence, as a whole, being what conveys that drift by the said function.

COMMENTARY. a. Because of the surcease of the power of Denotation-§ 23. a .- when the meanings of the several words have been conveyed, there is a function, called Purport, declaratory of the CONNECTION AMONG THE MEANINGS OF THE WORDS, in the shape of THE SENSE OF THE SEN- TENCE ; the sense coming from the Purport being called the Drift, and the sentence, as a whole, being the conveyer of that drift through that function (see § 267, b.) b. So much for the 2nd chapter of the Sahitya Darpana, entitled the " Declaration of the nature of a Sentence." * 31 in Röer's odition. + 32 in Röer's odition.

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CHAPTER III.

THE DECLARATION OF THE ' FLAVOURS,' THE ' MoODs,' &C. Now what is this Flavour-rasa-see § 3. b .? To this it is replied :- TEXT. Flavour defined. 32 .* Love or the like, brought out into manifest- ness, not by the direct mention thereof, but by an Excitant, an Ensuant or an Accessory, and being the permanent mood, or main sentiment in any composition-see § 203,-attains to the condition of a Flavour in the man of poetical sensibility. COMMENTARY. a. What the " Excitants, &c." are, will be mentioned under § 61- 160-and 166. b. And the ' Spontaneous' indications of strong feeling-see § 164 -are not mentioned separately in the text-although some persons may imagine that they ought to have been-because they really are Ensuants,-and these are mentioned in the text. c. When he speaks of the Flavour as something " brought out into manifestness," he means to say, that, Flavour is this something made manifest in a different character to which it is changed-just as curd or the like consists of milk or the like presented under a change of character ; but he does not mean to say that something previously completed and previously so extant, is, in this case, revealed, as a previ- ously extant jar is revealed, unchanged, by a lamp. This is stated by the author of the ' Lochana,'-the " Eye," scilicet of criticism-when he says " The expression The Flavours are perceived' is employed just as the expression ' He is cooking the boiled rice' is employed-neither expression, however convenient, being strictly correct, inasmuch as the matter operated upon in the one case is not ' boiled rice' but only be- comes such through being cooked ; and the matter operated upon in the other case is not ' Flavour' but only becomes such through being perceived." d. And in this text § 32, although merely through our taking the word, " Love, &c." the fact of its being a "permanent" mood is also implied there-" love, &c."-see 203-being just what constitute * 33 in Röer's edition.

40 The Mirror of Composition.

these permanent moods, or main sentiments in a composition-yet the word " permanent" is taken in again, not tautologically, but in reliance on the marim " exceptio probat regulam,"* with a view to the declar- ing that these are not necessarily main or permanent conditions where there are other Flavours. And hence Laughter, Anger, &c. are only Accessories (§ 168,) when there is, as the Flavour or Sentiment of the composition, the Erotic, the Heroic, or the like :- as it is said " Only when in the position of the Flavour of any given composition does a 'mood' (bhava) attain to being a main or permanent one." e. The manner of the fruition thereof, i. e. of Flavour, shall now be told-which will involve a deelaration of its nature. TEXT.

How Flavour is 33.+ This Flavour, arising from the cxaltation of apprehended. that leading element, of the three, held to constitute Nature, that is termed ' Purity,' indivisible, self-manifested, made up of joy and thought in their identity, free from the contact of aught else perceived, akin, as a uterine brother, to the ecstatic contemplator's perception of God, the life whereof is hyper-physical wonder, is enjoyed, by those competent, in inseparableness of the Flavour from the frui- tion thereof,-Jike the form of the Deity which is-according to the Vedanta-itself the joy with which it is recognised by the liberated soul. COMMENTARY. a. As it is said-" A mind untouched by Foulness and Darkness -- two out of the three that, according to the Sankhya Philosophy, constitute Nature-see " Lecture of the Tattwa-samasa," No. 49, and Prof. Wilson's Sankhya Karika, p. 52-is here called Purity (sattwa) :"-so a certain internal character, of this just-mentioned de- scription, which leads one to a turning away of the face from extrane- ous things cognizable, is what we speak of in the text as ' Purity.' Its " exaltation," spoken of in the text, is its manifestation when it has risen above the two other constituents of Nature, viz., Foulness and Darkness as above-mentioned. And the cause hereof-i. e., of this mental character-is the study of such like supermundane matters of Poctry as may be mentioned here or elsewhere. * Seo Whately's Logic-B. ii. Ch. v. § 6. + 34 in Röer's odition.

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b. By calling it " indivisible" he means to say that this Flavour -- though consisting, in some sort,-see § 52-of a number of elements, is one thing only -consisting of the wonder that arises from the dis- play of the " Excitants, &c." that give rise to Emotion-see § 61, and of the Emotions themselves-such as Love, &c. The cause of this- i. e., of its indivisibility we shall tell-further on-see § 60. c. It is " self-manifested," &c., the text informs us-and this it is in the way that we shall mention at § 60. d. In the epithet applied to Flavour-viz .- ' chinmaya,' the affix 'mayat'-see Panini V. 4. 21 .- gives the sense of " consisting of"- Flavour being made up of thought. e. " Wonder" is a kind of expanding of the mind. Another term with the same import is " Surprise." And the proof of this-that Theopinionthat the life of Flavour is ' Wonder'-is the dictum of all poetic Flavour is roducible, to my great great grandfather, the most venerable in ' Wonder.' the assembly of the intelligent, the chief of learned poets, the illustrious Nárayana. Dharmadatta mentions that dictum of my great great grandfather's, when he says :- " In Flavour, even in every case, Wonder is felt as its essence. Since Wonder is its essence, it follows that Flavour, even in every case, is that Sentiment or Fla- cour, called the ' Marvellous' (-see § 237,)-hence the learned Narayana has acknowledged only one Flavour, the Marvellous, and no other." f. By " those competent" he here means men with merits acquired in a former birth, in respect of whom the statement of the text is true, since it has been declared :- " The VIRTUOUs apprehend the expanse of Flavour, as the ecstatic contemplator discerns God in beatific vision." Indifference of g. We are told that " The gustation of Flavonr object and opera- tion in the Gusta- is the arising of joy in the soul from the contact of tion of Flavour. matters of Poetry" :- now, on this showing, it is plainly declared that Flavour is nothing distinct from the gustation thereof ;- but still, though admitting this, we find it convenient to employ such expressions as " Flavour is tasted," either admitting, for convenience, a FICTITIOUS distinction between the tasting and the flavour tasted, or employing the verb reflectively-see the Laghu Kaumudi, D. 313. The same thing is stated by another authority, who G

42 The Mirror of Composition.

says, "Since its essence consists in its being tasted,* Flavour is nothing other, in respect of its body-if it can be said to have one- than the body consisting of its manifestation." And so in similar places elsewhere such applications of the term Flavour as indicate something distinct from its perception-sce § 51. a .- are to be under- stood tropically. A supposed ob- h. "But then," some one-fancying that he is jection to this no objection. giving utterance to an objection-may say, " by all this you assert that Flavour-in which Poetry consists-see § 8. is not an OBJECT of knowledge but a MODE of knowledge; and since Suggestion is a mode of knowledge the result of which-see § 2. r. and 59-is declared to be alone Poetry-it turns out that these two are one. And yet hear what the author of the Vyaktiviveka says-viz .- ' What we mean by a Suggester or manifester-vyanjaka-is a causc, through the knowledge due to itself, of the knowledge of some other extant thing,-as a lamp is, in relation to a jar or the like. And if it be otherwise-i. e., if you do not grant that Suggestion is the mani- fester of Flavour already extant, then what difference is there between this manifester of something not previously extant and a maker ? which all deny, it to be-Flavour not being a product-see § 52. According to this showing, as opposed to your view of the identity of the manifes- tation and the thing manifested, there is really a distinction between the Suggested and the Suggester, as between a jar and a lamp,-and so how can Flavour, which you identify with the act of manifestation or Suggestion, be the thing Suggested ?"-If, O friendly objector, you say all this, you say rightly. And' therefore have they declared that this, the making of Flavour called Gustation, is a certain operation quite peculiar and distinct from the ordinary kinds of 'making' and ' manifesting ;' and therefore does the author of the Vyaktiviveka say Tasting, Relishing, and Wondering, are quite peculiar names." And therefore, by myself and others who take it to be established as the only explanation of the phenomena in question, that there is a function -viz., ' Suggestion'-denied by the Grammarians and by the Nai- yayikas-distinct from Denotation, &c., therefore, I repeat, by myself * Compare Berkeley's expressions with respect to ideas-"the existence of an idea consists in its being perceived;"-and aguin with respect to things,-"their esse is percipi." Principles of Human Knowledge, Chs, 2 and 3.

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and those who think with me it is stated that the Flavours, &c. consist of what we choose, for convenience, to regard sometimes as an object of knowledge, and which we then call the meaning 'Suggested' (vyangya). i. But again-adverling to the assertion of the text that Flavour is made up of joy-some one may object-" Then, since the ' Pathetic' (§ 228) and such like Flavours are made up of pain, they cannot be Flavours at all." To this it is replied as follows. TEXT. Things painful 84 .* Of the fact that, even in such a Flavour as in reality are in poctry sources of the 'Pathetic,' &c., in reality, pleasure only is pleasure only. the only proof. produced-the consciousness of the intelligent is

COMMENTARY. a. By the " &c," he means such other Flavours as the ' Disgust- ful,' the 'Terrible,' &e. see § 236 and 235. b. Still-though the authority cited in the text ought to suffice-yet, in order to close the mouths of those that want poetical sensibility, the opposite side of the argument-see Aphorisms of the Nyuya, 39 a .- is mentioned, and disposed of, as follows. TEXT. 35 .* Moreover, if in these (§ 31) there were pain, then no ono would turn a look towards them-which, however, people do- COMMENTARY. a. For no one, possessed of understanding, engages-knowingly, and without some ulterior view-in paining himself; and yet we see that every one enters with engrossing interest into the ' P'athetic,' &c. b. As another illustration of the unfitness of the objection, he remarks as follows. TEXT. 36. If it were so-see § 35-then such compositions as the Rámá- yana would be causes of pain-instead of giving delight to every man of taste. COMMENTARY. a. For since-according to the supposed objection see § 33. i, tho 'Pathetic' is a cause of pain, we should tind cause of pain even in * 35 & 36 in Röer's edition. G 2

44 The Mirror of Composition.

such heart-delighting compositions as the Rámayana, the leading Senti- ment of which is the ' Pathetic.' b. But how then, some one may ask, can pleasure arise from causes of pain? To this he replies as follows. TEXT. 37. Grant that mundane sorrow, joy, &c. be produced from what things, so far as they belong to the world, happen to be causes of sor- row, joy, &c .- yet what harm is there if we say that pleasure is pro- duced even from all these, when, through their being consigned to the transcendental world of Poetry, they have attained to being hyper- physical EXCITANTS ?

COMMENTARY.

a. For, what things indeed, such as the banished Rama's dwelling in the forest, are called causes of pain in the world-or in their ao- tual occurrence,-those very things, when consigned to Poetry and to dramatic representation, in consequence of their assuming the function of ' hyper-physical excitation,' (§ 44. b.,) having left off being denoted by the term CAUSES, possess the right to be denoted by the term hyper-physical EXCITANTS (vibhava) ;- and from these, only pleasure is produced-as from bites and scratches and the like in toying. And hence it is only in the actual world that the rule holds that from worldly causes of sorrow, joy, &c., worldly sorrow, joy, &c. respectively arise; whilst in the transcendental world of Poetry, on the other hand, pleasure alone arises from all the exciting agencies, &c .- and, accord- ing to this determination of the state of the tase, there is no fault in the text under consideration. Tears no proof b. But if the poetic representation of aufferings that in poetry any- thing bnt pleasure produces only pleasure, how then are tear-sheddings, is prodaced. &c. produced by the seeing or hearing, in a poem or in a dramatic performance, the ad adventures of Harischandra in the Maha-bharata and the like? To this it is replied as follows.

TEXT. 38. In like manner tear-sheddings, &c. (§ 37. b.) are held to come from the mind's being MELTED-not pained.

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COMMENTARY. Why poetry does a. How then does this perception of Flavour from not delight all a- like. Poetry not take place in the case of ALL ? To this he replies as follows. TEXT. 39. The Gustation thereof i. e., of Flavowr, does not take place without the Imagination of Love, &c .- i. e. without the capaaity of conceiving whatever passion is intended to be depicted.

COMMENTARY. a. And Imagination, or cultivated intellectual Susceptibility (vá- saná), both now developed and not neutralized by past demerit-liter- ally "present" and " ancient"-is the cause of the gustation of Fla- vour. If the former of these were not necessary, then this power of relish ing poetry would belong even to Brahmans learned in the Vedas, and to students of the old Logic, &c .- who, however, do not read poetry, and cannot therefore acquire a sensibility in regard to it-this sensi- bility requiring to be matured by cultivation-sce § 19. a. ; and if the second were not necessary, then it would not happen-as, however, it does happen-that even some of the most eager students of Poetry are seen not to have a right perception of Flavour-which is explicable, in the case of these commendable strugglers, only on the supposition that demerit incurred in some anterior state of existence frustrates their efforts. b. And it is said by Dharmmadatta-"Those present at a drama- tio representation who have Imagination, may relish the Flavour of the composition represented; but those devoid of Imagination are, in the theatre, like the wood-work, the walls, and the stones."

Sympathy arises c. But-from those causes which excite love, &c., from the specta- tor's identifying in Ráma, &c.,-such as his beloved Sitá, &c., how is himself with the it that love, &c., is excited in the SPECTATOR ? To hero. this it is replied as follows. TEXT. 40. The Excitants, &c, (§ 61) have an operation called the ' making common'-through sympathy, by force of which the person com- petent to appreciate Poetry-ses § 39-makes himself out to be not a distinet person from him-the hero-whose jumping across the sea

46 The Mirror of Composition. -as Hanuman does in the Ramayana-&c. are the matters represent- ed. COMMENTARY. a. But some one may ask-objecting to the possibility of one's imagining himself the possesser of superhuman power-how can a man imagine himself to possess the vigour to jump across the sea, &c. ? To this it is replied as follows. TEXT. 41. The idea arising in the mind even of mere Sympathy not prevented by tho men, of possessing such valour, &c., as is required in superiority of the hero to the spec- jumping across the sea, &c., is not censurable as an tator. impossibility-such idea resulting from the conceit of community with the hero of the poem. COMMENTARY. a. Love, &c., also-as well as heroism-are felt through this com- munity of the spectator with the hero-hence he remarks as follows. TEXT. 42. Through community or sympathy, in like manner, Love, &e., are felt. COMMENTARY. a. For if Love, &c., were recognised by each spectator as being located in one's self ONLY, then the spectators would ACTUALLY experi- ence shame, tremor, &c., which they do not,* or if the feclinys represented on the stage were recoynised by them as located in another ONLY-e. g., in the hero regarded as quite distinct from themselres, then there would be insipidity, or an absence of all Flavour : so they are recognised as COMMON to both one's self and the hero. b. Moveover not only are the emotions common to both, but the Excitants, &c., of emotion, in the first placc,-the Flavour eventually resulting being, logically and analytically if not chronologically and really, subsequent to the erciting ayencies-are recognised as being common to the hero with the spectator rightly recognising them-on which he remarks as follows. TEXT. 43. At the time of the gustation thercof i. e., of Flavour, there is no distribution of the Excitants, &c., of emotion-such as could put . And if they did, thoy would derive no pleusure from the performance. P. M.

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il into the head of a spectator to say " this is the other's ONLY i. e. the hero's exclusively-that is not the OTHER'S -- this is MINE-that is not MINE ;" so that of the Excitants &c. too, there is felt a COMMUNITY, and not an EXCLUSIVENESS to the hero or the spectator's self. COMMENTARY. a. But still-how have these Excitants, &c., a character thus ex- traordinary ? To this it is replied as follows. TEXT. 44. In the eyes of those who admit that the functions called Ex- citation, &c. are hyper-physical-see § 83,-their extraordinariness is their beauty not their blame. COMMENTARY. a. By the " &c." he means Accommodation (§ 44. c.) and Acces- soriness (§ 44. d.) 1. Here (§ 44.) ' Excitation,' or alterant action (vibhavana) means the producing the requisite arrangement for the germination* or springing up of the gustation of some particular kind of emotion such-e. g .- as Love-see § 61. a. c. 'Accommodation of the plastic mind or body to this alterant agency (anubhavana) means the perception of such Love, &c., as is spoken of in the preceding paragraph, in the shape of Flavour, &c.,- (meaning by the " &c." an 'incomplete Flavour' or a 'semblance of Flavour'-see § 3. c.,) immediately thereafter-i. e. immediately after the arrangement specified in § 44. b. d. 'Accessoriness' (sancharana means the promoting and serving by concomitance to heighten this Flavour that has become such as just described in § 44. c. e. But then-some one may ask-if the Excitants, &c., in the order of their enumeration, are-as they seem to have been just de- scribed to be, respectively, nothing other than Causes, EFFECTS, and Concurrent causes-how are all the three spoken of-at § 32-as if they were all Causes of the apprehending of Flavour ? To this it is replied as follows, that such is simply the fact. TEXT.

45. For, though in the ordinary course of life the Excitants, &c. (§ 61) are in the shape of Causes, EFFECTS, and Concurrent causes, yet * Compare Taylor's expression-"the undeveloped initiatives of good things to come :" -- see ' Saturday Evening,' p. 6.

48 The Mirror of Composition.

they are held to be Causes alone in respect of the apprehending of Flavour. COMMENTARY. a. But how then, in the gustation of Flavour, do these three seem to be ONE? To this it is replied as follows. TEXT. How Flavour · is single, though 46. Each, as perceived at first separately, is spoken of as re- spoken of as a cause ; and then all this commingled- sulting from a composition of the Excitants and the rest-when relished by the causes. man of taste, becomes Flavour, resembling the com- posite flavour of sherbet. COMMENTARY. a. As, from the commingling of sugar, pepper, &c., a certain un- precedented relish is produced in the shape of the flavour of the sherbet ; so is it here also, from the commingling of the Excitants, &c .- such is the meaning of the text § 46. b. But then some one may ask-if Flavour is produced only from Excitants, Ensuants, and Accessories COMMINGLED, how can it be found -as you will not deny that it is-where there exists but one of the three, or two? To this it is replied as follows. TEXT. What might seem wanting in 47. If there be present, out of the three-viz.,

the utterance of the Excitants and the others, two or even one, then poetry is supplied by the Association there is no fault, for there is instantaneously a supply- of Ideas. ing of the others by the Association of Ideas. COMMENTARY. a. And this supplying-of what is wanting may occur in virtue of the suggestive character of the matter in hand, or of something else. For example-take the following verses. " A face, long-eyed, fair as the autumnal moon ; arms sloping at the shoulders ; and a bosom compact, with close high breasts; sides -- as if polished; span-measured waist; loins joined with handsome hips; feet with the toes upturned ; and her whole person disposed just accord- ing to the wish of the Agitator of mind (Kama)."* Here, whilst Agnimitra, in love with Málaviká, describes only Exci- tants of the emotion of Love in the shape of the various beauties * Dr B.'s rendering of this portion was-'just like the utter unconstraint of a blithe dancer's mind'-which is more poetical but not correct. P. M.

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of Malavika, there is, through the mere fitness of things, a mental supplying of ' Accessories' such as the longing of the lover describing his mistress, and of Ensuants,-such as the rapturous rolling of the cyes. And thus in regard to the supplying of others of the three, when not all are conveyed in the poet's words, an inference is to be made by the intelligent reader, for himself-it being unnecessary to multiply examples. b. To those who-not holding the correct view laid down in § 43-say that the Flavour is located in the one represented-i. e. in the hero,-he says as follows. TEXT. Tho locus of the 48. The excitement of Love, &c. in the person Flavour not the hero-and why. represented,-recognized by the spectator-would not become Flavour-for this Love, &c., so far forth as belonging entirely to him, was limited to the hero himself, and was mundane-whereas Flavour-see $ 33-is hyperphysical,-and it, the Love, &e. of the Hero, is separated by a long interval,-the hero having possibly died a thousand years ago-whercas the spectator belongs to the time present -whatever that may be-and Flavour (see § 54)-is irrespective of Time. COMMENTARY. a. For, the excitement, or feeling, of Love or the like, in Rama or the like, produced by the sight of his beloved Sita or the like, was limited to the single lover, and does not belong to a whole theatrical audience ; and it pertained to the every-day world ; and it is separated by a long interval from the witnessing, &c., of the play or the poem in which the incident is described. Hence, how should ir attain (§ 32) to the state of being a Flavour-seeing that Flavour is characterized by its being devoid of this triad of characters-being not limited to one-not mundane but hyperphysical-and not of the past but irre- spective of Time ? b. He rejects also the notion of its being located in the representer of the hero -- i. e. of its being in the actor :- remarking as follows.

TEXT. Nor is the locns of the Flavour the 49. It is not the player-poor hungry wretch -- histrionio repro- that is the taster of the Flavour-exhibiting as he

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senter of the hero. does the appearance-i. e. performing the part-of Rama, or the like, merely as he has been taught, or as he has learned by practice. COMMENTARY. a. Moreover-to meet an obvious objection-he adds. TEXT.

The actor, so 50. By his realizing to himself-if he does 80- far forth as he is the import of the poetry-which he more probably a man of taste, ranks as a spec- repeats with indifference if not with weariness-he tator. too ranks as a spectator. COMMENTARY. a. That is to say-if, on the other hand, through his realizing the import of the poetry, he enacts the character of Rama as if he felt it to be his own, then he-the actor-too is reckoned among the audi- ence-and whatever we may remark of them, applies so far to him. TEXT.

Flavour not an 51. This Flavour is not something that may be objective entity. made known-for the perception of it is inseparable from its very existence. COMMENTARY. a. For, 'what may be made known' (jnápya,) as a jar for instance -by the light thrown upon it by a lamp or the like,-that, even whilst existing, is sometimes not perceived ; but not so this Flavour, for, apart from perception, it does not exist-(§ 33. h.). ȚEXT.

Flavour not a 52. Since this Flavour bas its essence, or is not product. itself except, in necessary connection with the aggre- gate of Excitants, &c, on which it depends, therefore it is not an effect or product. COMMENTARY. a. If Flavour were an effect-or product-like ordinary mundane things-then it would be one having for its cause-inasmuch as it could hare no other cause -- the knowledge, i. e. the perception, of the Exci- tants, &c .; and therefore, at the time of the perception of Flavour, the Excitants, &c., would not be perceived-for we do not see that there ocours simultaneously the perception of a cause and the percep- tion of the effeot of that cause :- for-to give an illustration of our

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meaning-the perception of the TOUCH of the sandalwood-unguent, and the perception of the PLEASURE produced thereby, cannot take place simultaneously, however rapidly the one may succeed the other ; and, on the other hand, the perception of the Excitants, &c. is not-in the mundane and ordinary sense of the word-the cause of the perception of Flavour, since this Flavour exists, as we have said, in necessary connection with the aggregate of the Excitants, &c. and is therefore perceived simultancously with them ;- and as these are therefore not to be spoken of as its cause, it is not to be called their effect ;- such is the purport of the text. TEXT. Flayour inde- 53. Nor is it eternal-as it does not reside in the pendent of Time past, present and perception previous to that of the Excitants, &c., future. and-as remarked at § 51. a., at the time when it is not perceived, it does not even exist. COMMENTARY. a. Verily it does not belong to a thing that is cternal to be incapable of existing at a time when it is not perceived. TEXT. 54. Nor is it, Flavour, moreover, something that will be-continu- ing perdurably, apart from the perception of it, after having once come into existence-because it consists in nothing else than its own manifestation in the shape of positively apparent joy felt then and there ;- and yet neither is it, moreover, of the present,-for it is of a nature distinct alike from an ' effect' (§ 52) and from 'what can be made known' (§ 51) *- to one or other of which heads everything merely mundane and of time present can be referred-while-like the Deity -this ' Flavour' is irrespective of Time. Since its object-or what furnishes the occasion of its manifestation-is the experiencing of the Excitants, &c. (§ 61,) and also since it is apprehended by the intelligent in the shape of pre-eminent delight, clearly its conveyer is not wished to be-i. e. cannot be allowed to be-' unconditioned' (nirvikapaka) know- ledge-the mere knowledge that ' this is SOMETHING ;' and yet in like manner neither it is perceived as 'conditioned' (savikalpaka), because of the absence of adaptability in it to being described by any combination of terms-as will be explained in the commentary here following. So much is incorporated by Roer with the preceding oommentary. P. M. H 2

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COMMENTARY. a. I say that the object apprehended, when ' Flavour' is appre- hended, is not ' conditioned' knowledge, because whatever cognitions are received through ' conditioned'* knowledge are adaptable to some employment of language,-i. e. an account can be given of them in separate and intelligible terms-but not so is ' Flavour'-which, being every way indivisible,-see § 60-cannot be analyzed and then defined in terms of the analysis. TEXT. No. 55. And it, " Flavour," is not something imperceptible, for it is something MANIFESTED (see § 30;) and yet its manifestation is not PER SE perceptible, because the possibility of its being apprehended is dependent on sound-i. e. on the words that constitute the poetry. COMMENTARY. a. " Do tell then"-the reader will be ready to exclaim-" what like is the real nature-the tattwa, or ' quiddity'-of this strangely characterised sort of thing such as was never seen or heard of before ?" To this it is replied. TEXT. Flavour altoge- ther hyperphysi- No. 56. Therefore, i. e. since ' Flarour' does not

cal fall under any division in these exhaustive classifica- tions of mundane knowledge-truly it is to be regarded by the in- telligent as hyperphysical (alaukika).

• The terms nirvikalpaka and savikalpaka are explained in the Tarka San- graha as follow :- " That-viz. Perception-pratyaksha-is of two sorts-nirvi- kalpaka and savikalpaka. That knowledge which does not involvo tho knowledge of the species or sort, is nirvikalpaka i. e. ' wiihout an alternatire'-as the know- ledge that ' This is something.' That knowledge which does include specifica- tion, or the reference of the object to one of the categories-sce § 12-is savikal- paka-i. e. ' with an alternative'-for the object might possibly be correctly refer- rible to a different subdivision of the category-as the knowledge that ' This is the man called Dittha,' ' This is a brahman,' 'This is black,' not red, or yellow." [The nirvikalpaka and savikalpaka pratyksha of the Hindn philosophers exactly correspond to Hamilton's simple Perception and Thought proper. The following example given by him in illustration of this distinction may, I think, be usefully quoted here: "An object is presonted, say a book; this objoct determines an impression, and I am even conscious of the impression, but without recognising to myself what the thing is; in that case, thero is only a perception, and not properly a thought. But suppose I do recognise it for what it is, in other words, compare it with and reduce it under a certain concept, class, or complement of attributes, which I call book; in that case, thore is more than a percoption,- there is a thought." Lectures, Vol. III. p. 14. P. M.]

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COMMENTARY. a. Then again what is the evidence that this ' Flavour' is an entity ? To this he replies. TEXT. Proof that thero is such a thing as No 57. The evidence of this-i. e. of Flavour's Flavour at all. being an entity-is considered by the learned to be just the Gustation thercof-which exists-see § 33. g .- in inseparable- ness from the ' Flavour' itself. COMMENTARY. a. 'Gustation' means tasting ;- and that is of the kind described by the author of the Dhwani as follows :- " 'Tasting' is the arising of soul-joy. from contact with the meaning of Poetry." b. But then some one may object-if ' Flavour' is not a product- as it is denied to be-here implicitly-and explicitly at $ 52-then how is it characterised, by the great saint Bharata, as follows-viz. -"The PRODUCTION of Flavour takes place from the union of the Excitants, the Ensuants, and the Accessories ?" To this it is replied. TEXT. No. 58. By reason of the production of its Gustation-which, in the sense to be explained in the Commentary, MAY be said to take place-the production of this ' Flavour'-which-see $ 52-is not a product, is spoken of TROPICALLY. COMMENTARY. a. Although the Gustation of ' Flavour' also is not really a pro- duet, seeing that it is nothing distinct from the Flavour itself-which is no product,-yet its being a product is spoken of tropically-for it is a product, in a SECONDARY sense of the word, in respeet of.its OCCA- SIONALNESS-seeing that every man does not experience it, nor any man at all times. TEXT. No. 59. Its not being the " Expressed, &c." but only the Sug- gested"-see § 2. v .- I shall declare in the exposition of ' Sugges- tion' in chap. 5th. COMMENTARY. a. "Its"-i. e. Flavour's. By the " &c." is meant its not being the ' Indicated, &c.' see § 9. b. But then some one may object-if ' Flavour' consists of ' Love and the rest'-meaning by " the rest" the appropriate concomitants of

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each emotion-COMMINGLED-as declared at § 46-how are we to understand its self-manifestation (see § 33) and its indivisibility (§ 33) ? To this it is replied. TEXT. Flavour, being knowledge, is self No. 60. Since ' Flavour' exists only from its being manifested. identical with the KNOWLEDGE of the emotions and concomitants, such as Love, &c .- hence is established its self-manifes- tation-knowledge being itself light,-and its indivisibleness. COMMENTARY. a. If ' Love, &c.' were something distinct from the body of light, or knowledge, then only could its self-manifestation not be established ; but the case is not so,-for its identity therewith is admitted by all the authorities, as it is declared by the author of the Dhwani-thus- "Although, by reason of its being nothing other than the ' Flavour,' the ' Gustation' of Flavour is NOT a product (§ 52,) still being assumed to be a product in respect of its OCCASIONALNESS (§ 58. a.,) it is more- over treated as divisible into Love and the various poetic emotions &c., these being supposed to subsist in the shape of modifications-as curd is a modification of milk-of that increate Imagination which is identical therewith i. e. with increate Flavour :"-and ' Flavour,' I repeat, is held to be identical with Knowledge as he elsewhere declares thus-"And on assenting to the identity of Joy, &c. with ' Gustation' and ' Flavour,' having reposed upon our couch of estab- lished doctrine, mayest thou enjoy the slumber of delight for a thou- sand years of the gods !" -- and as he again declares thus-"It, Flavour, is undivided from its enjoyer, being made an object of cognition identi- cal with the Love or other emotion, &c., of the possessor of Imagina- tion." b. On the shoulders of those who do not admit the fact that Knowledge rs self-manifesting-the rod must be let fall by the Vedán- tists who more especially cherish the tenet disallowed by these. c. The 'indivisibleness' theroof i. e. of Flavour-is to be inferred just from its identity with the knowledge of the emotions, &c .- for Love and the other emotions, &c., in the first place being recognised severally, attain to being ' Flavour' only as they appear when having all become ONE. This is declared by the author of the Dhwani as follows-"The Excitants, the Ensuants, the Involuntary indications of emotion, and the Accessories, being recognised first dividedly, attain

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to indivisibility :"-and again-as he remarks in prose-"But in strict reality this Flavour is to be apprehended only as something indivisible, like the nature of the Deity as set forth in the theological system of the Vedánta." d. Now what are those ' Excitants,' ' Ensuants' and ' Accessories' (§ 32)? With reference to this question, he tells us what is an ' Excitant,' as follows. TEXT.

What is meant No. 61. What things in the every-day world by an ' Excitant. awaken in one Love or any other of the emotions, are, when represented in Poetry and the Drama, called ' Excitants' (vibháva). COMMENTARY. a. What things,-e. g. Sita, the beloved of Rama, &c. are, in the actual world, causes of the excitement of Love or Laughter or any other emotion in Rama &c .- these same, when consigned to Poetry or the Drama, are called ' vibhava'-the term being derived from the causal form of the verb bhu ' to become' preceded by the particle vi implying 'difference' or ' alteration'-for, by these-which we may call ' Exci- tants' or ' Alterants'-the mental or bodily states (bhava), such as Love or other emotion, of the spectators are altered (vibhavyante), i. e. are made suitable for the manifestation (§ 32) of the first sprout of 'Gustation'-see § 44, b .- which sprout requires, for its full develop- ment, the artistic treatment which will be detailed in due order. This is declared by Bhartrihari in the Vakyapadiya as follows :- " He, the intelligent reader or spectator, thinks of the tyrant Kansa, and the like, energising as if they were presented to his senses, when these personages have become objects of his understanding in the shapes bestowed upon them by the poet's words." b. He next mentions the two varieties thereof-i. e. of the ' Exci- tants.' TEXT.

Division of tho No. 62. The two divisions thereof-i. e. of the Excitants into the Substantial and Excitants-see § 61-are those called the substan- the Enhancer. tial or essential (alambana) and the enhancer (uddi- pana).

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COMMENTARY. a. The meaning of the text is plain. Among these he proceeds to explain the former of the two varieties.

TEXT.

The Substan- No. 63. The substantial (§ 62) is such a material tials or indispens- able ingredients and indispensable ingredient as the hero, &c .- for of poetry. thereupon is the arising of Flavour altogether de- pendent. COMMENTARY. a. By the " &c." is meant the heroine, the rival of the hero, &c. b. The proper Excitant of each particular Flavour will be men- tioned in the exposition of the nature of the latter. c. Among these Excitants, then, there is the Hero-whose gencric description follows. TEXT.

Definition of the No. 64. Liberal, learned, of good family, graceful, Hero. with the ardour of youth and beauty, clever, a general favourite, and possessed of spirit, wit, and virtue,-such is the leading character. COMMENTARY. a. 'Clever'-i. e. swift in act .- ' Virtuc'-i. e. good conduct. b. The leading character possessed of qualities such as these is the Hero (nayaka). c. He now mentions the divisions thereof-i. e. of the genus Hero. TEXT. Fourfold divi- No. 65. He-t. e. the Hero-is first declared sion of the genus Hero. to be of four kinds-viz. (1) high-spirited, but tem- perate and firm' (dhirodatta) ; (2) ' firm and haughty' (dhiroddhata) ; (3) 'gay and thoughtless, yet firm (dhiralalita) ; and (4) 'firm and mild' (dhirapras'anta) .* COMMENTARY. a. All this is plain. b. Among these, the ' high-spirited, but temperate and firm' hero is of the following description.

• Firmness, though belonging to every kind of hero, is mentioned in the de- scription because its prosence or absonce occasions a subdivision of the heroines- (see § 102),

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TEXT. The hero high- No. 66 Not given to boasting, placable, very spirited but tem- perate and firm. profound, with great self-command, resolute, whose self-esteem is concealed, faithful to his engagements-such is the hero who is called ' high-spirited, but temperate and firm :' (§ 65.) COMMENTARY.

a. 'Not given to boasting'-i. e. not a practiser of self-praise. ' With great self-command'-i. e. who is not of a nature to be over- powered by joy or sorrow, &c. ' Whose self-esteem is concealed'-i. e. whose proper pride is covered by decorum. 'Faithful to his engage- ments'-i. e. who carries out what he has undertaken. b. Such is the first class of heroes-heroes such as Rama, Yu- dhishthira, and the like. c. Now the ' firm and haughty' hero is of the following descrip- tion.

TEXT.

The hero firm No. 67. Given to deceiving, hot, unsteady, hav- and haughty. ing much egotism and arrogance, fond of.praising himself-such is the hero who by the learned is called the ' firm and haughty.' COMMENTARY. a. Such is the second class of heroes-heroes such as Bhimasena and the like. b. Now the ' gay and thoughtless, yet firm' hero is described. TEXT. The hero gay No. 68. Free from care, ever gentle, devoted to and thoughtless yet firm. the arts-let this be the hero 'gay and thoughtless, yet firm.'

COMMENTARY. a. "Arts"-i. e. pantomimic action, &c. b. Such is the third class of heroes-heroes such as the king of Vatsa in the play called the Ratnavali .* c. Now the ' firm and mild' hero is described. * Translated in Wilson's " Specimens of the Theatre of the Hindus." I

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TEXT.

The hero firm No. 69. Possessing gely the generic good qua- and mild. lities of a hero-see § 64-a Brahman or the like- let this be the hero ' firm and mild.'

COMMENTARY. a. Such is the fourth class of heroes-heroes such as Madhava in the play of ' Malatf and Madhava,' &c." b. And he next states the subdivisions of these four classes of heroes-§ 65-according to their character as LOVERS. TEXT. Sabdivision of No. 70. But heroes are constituted of sixteen the four classes of heroes into six- kinds, by these four divisions-see § 65-which may teen kinds. have severally the character of (1) 'impartial,' (2) 'saucy' (3) ' faithful,' and (4) 'sly,' in matters of love. COMMENTARY. a. That is to say :- through the fact that these-viz. the 'high- * spirited, but temperate and firm,' &c., may be severally 'impartial,' 'saucy,' 'faithful,' or 'sly,' in the character of a lover-69. b.,-a hero may be of sixteen descriptions. TEXT. The hero whose fondness is impar- No. 71. But among these various kinds of heroes tially distributed. mentioned in § 70, that one is called the ' impartial' in matters of love who is equally attached to several women. COMMENTARY. a. That is to say the 'impartial' hero is he whose affection towards two, theee, four, or more women, is equal :- as is the case with the hero in the following example. "The daughter of the king of Kuntala stands awaiting you, having bathed; the turn is of the sister of the king of Anga; but the night has been won by Kamala with the dice; and her Majesty, the chief gueen, too, is to be conciliated to-night'-The king, having been in- formed respecting the fair ones of the harem, in the foregoing terms, by me, the chief ounuch, who had ascertained these matters, stood for two or three hours of twenty-four minutes each, with his mind perplexed by indecision." . See Wilson's "Theatre of the Hindus."

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TEXT. The hero who No. 72 Though culpable, yet undismayed; when is sancy in his loves. reproached, yet not ashamed ; lying bare-facedly even when his offence was seen ;- such is the one called-as regards his amatory conduct-see § 69. b .- the ' saucy' hero. COMMENTARY. a. Mine are the following verses illustrative of this character. " Perceiving her countenance crimson with passion, I went near intending to kiss her. Then she spurned me with her foot; but I having nimbly caught hold of it whilst I burst out laughing,-O my friend, the anger of the fair-browed one, shedding tears, from her then being unable to do anything, prolongs, whenever thought of, the amusement of my mind." The hero who is constant to one TEXT.

loved one. No. 73. The' faithful' is he who is devoted to one. COMMENTARY. . That is to say the ' faithful' hero is he who is attached to only . one heroine :- as is the case with the hero whose wife speaks of him in the following verses. . "My garments, O friend, are not beautiful, the ornaments of my neck are not resplendent, my gait is not coquettishly curvilinear, my laugh is not loud, nor have I any of the hoydenish blandishment called pride ;- yet other people say ' Her beloved, though beautiful, never throws a look on any else ;i-therefore do I hold that, by thus much, all others are ill-off, compared with me." TEXT. The hero who simnlates affoc- No. 74. The 'sly' is he who, being attached to tio only one, acts, covertly, with unkindness towards another, whilst showing affection outwardly. COMMENTARY, a. That is to say-he, again, who, being attached to only one heroine, whilst exhibiting ostensibly an affection for two heroines, acts, underhand, unkindly towards the other heroine, is the 'sly' hero ; as is the hero of the following verses. "O sly one! where then shall I tell this, that, even whilst embrac- ing, thou didst hastily relax the kof thy arms on hearing the tinkle of the zone-gems of this other wife of thine approaching? I need I 2

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not tell it to HER-for-my fair friend, giddy from the poison of thy many buttered and honeyed speeches, heeds me not at all." TEXT, Subdivision of heroes into ' best,' No. 75. And the aforesaid divisions of heroes, 'middling,' and through their being all threefold in respect of their 'Jowest.' being of the ' best,' the 'middling' or the 'lowest' description, are further subdivided into forty-eight. COMMENTARY. a. "All"-i. e. the aforesaid sixteen divisions-see § 70. The varions as- sistants of the b. Now he speaks of the assistants of these . hero. heroes, since this topic is connected with the fore- going, so that this is its proper place. TEXT.

The comrade of No. 76. But let that one be called his ' comrade' the hero. who, somewhat deficient in the qualifications of him -- i. e. of the hero,-is his assistant in some wide-extending collateral businęss. COMMENTARY. a. That is to say-he is called 'comrade' (pithamardda), who, . coming somewhat short of the just mentioned generic qualities of the hero-see § 64,-is the assistant of him-i. e. of the hero-through- out the extensive transactions collaterally connected with the main business that the latter is engaged in :- as were Sugriva, the monkey king of Kishkindhya, &c., comrades of Ramachandra, &c. b. Now the assistants of the hero-not in extensive and diversified transactions-see § 76. a .- but in affairs of love, are to be described. TEXT. The hero's as- No. 77. Let the assistants in affairs of love be sistants in matters of love. the ' humble friend' (vita), the ' dependant' (cheta), the 'buffoon' (vidushaka), &c.,-and let these be faithful, skilful in jests, removers of the pride of angry dames, pure. COMMENTARY. a. By the " &c." are meant makers of garlands, washermen, purvey- ors of the betel-nut, perfumers, &c. b. , Among these described ge ically in § 77-he proceede to de acribe specifically the ' humble friend.'

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TEXT.

The ' humble No. 78. But the 'humble friend' is one whose friend.' possessions fall short of what would furnish the means of enjoyment :- he is subtle, acquainted with some portion of the arts, ingenious in dress and address, eloquent, pleasing, much esteemed in company. COMMENTARY. a. What a 'dependant,' or servant-see § 77-is, is perfectly well known-and therefore any account of him need not be given. TEXT. The 'buffoon.' No. 79. Let the 'buffoon' be one with a whim- sical name such as " Flower-spring," a causer of laughter by his actions, his person, and his speeches, &c., delighting in squabbles,-acquainted with his own business. COMMENTARY. a. "His own business"-i. e. eating, &c. b. He next mentions the assistants of the hero in taking thought about affairs of state. TEXT. .

The assistants No. 80. Let the 'minister' be the assistant of in affairs of state. the hero in the taking thought about affairs of state.

COMMENTARY. a. "Affairs of state" -ì. e .- politics, diplomacy," &c.' b. But as for what is set down by some one, as a definition, when the topic is the describing of ' assistants'-viz., "The minister, or the king himself, or both of them, are the agents in taking thought about afftirs of state;"-this I say ought to have been reserved for a defini- tion in some work Politics where the topic was expressly the definition of a king's MEANS of taking thought about his state affairs, but not when the matter in question was the description of ' ASSISTANTS' -meaning thereby persons so named and considered only in so far as they do for the hero what he is thereby relcased from the necessity of doing for himself unless he chooses. And the definition censured is chargeable * See the commentary on verse 89 of the 2d Canto of Magha's poem the S'is'updla-vadha-[Roer erroneously incorporates this into the preceding toxt. P. M.]

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with the irrelevancy animadverted wpon-for if it were only said " The minister is the assistant of the hero in his-i. e. the hero's-taking thought about state affairs," it would be inferred from the sense of the sentence, that the hero is one of the agents in taking thought about state affairs .- And as for what is said by some one, in reference to the same topic of' assistants'-viz. "The thoughtless king-§ 68-has his kingly functions subordinated to his ministers; the others (§ 66, 67, and 69) have theirs in the charge of their ministers and themselves jointly ;"-this also is a point the mention of which is mistimed, because, by the mere mention of his characteristic thoughtlessness, it was settled that the " thoughtless hero" is one the taking thought about whose state affairs is entirely in the charge of his minister. And, in the taking thought about state affairs, his minister is not his ASSISTANT-and the present topic, be it remembered-§ 80-is that of "assistants"-but is himself the sole manager,-for he, the thoughtless hero, takes no thought about affairs of state and cannot therefore have an assistant in doing it. The assistants bolonging to the c. Now the assistants belonging to the inner apart- inner apartments. ments are described. TEXT. No. 81. In like manner, in the harem,* the following are assistants -viz .- dwarfs, eunuchs, mountaineers retained as guards, barbarians, cow-herds, left-hand brothers-in-law, hump-backs, &c. Possessed of pride, folly, and vanity, one of low family, raised, by the connection, to power, the brother of an unmarried concubine and, in so far, brother-in- law of a king, is called a left-hand brother-in-Jaw. COMMENTARY. a. By the " &c." are meant mutes and others. b. Among these enumerated in § 81, the e nuchs, dwarfs, moun- taineers, hump-backs, &c. are to be found spoken of in such passages as the following one which occurs in the play called Ratnavali.t "The eunuchs-alarmed at the approach of the monkey of the stable which had broken its chain fled, having abandoned shame because of their not being reckoned among men; the dwarf, in terror,

• Röer wrongly reads this clanse in the preceding commentary. P. M.

Hindus. t Translatod by Professor Wilson in his Specimens of tho Theatre of tho

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ensconces himself within the loose and wide trowsers of the chamber- lain; the mountaineers, the guardians of the bounds, acted in a style accordant with their name derived from kri ' to do'-i. e. they did valiantly, not running away from the monkey *-; while the hump- backs fearing that they may be seen by the monkey, cowering down, slink quietly off." c. The " left-hand brother-in-law" such as the cruel coxcomb Sam- sthanaka in such plays as the Mrichchhakati,t or the " Toycart" is well known. The others too of the assistants not here exemplified in quotations may be recognised as they present themselves. d. Now the assistants in punishing, or in the administration of criminal justice-are to be described. TEXT. The assistants in matters of po- No. 82. In regard to punishments, the assistants lice. of the king are his friends, the princes his son8, foresters employed as police, lords lieutenant, soldiers, &c. COMMENTARY. a. "Punishment" means the chastisement of evil-doers ;- all this is plain .- Now of the assistants in religious duties. TEXT.

The assistants No. 83. In his religious duties let these i. e. his in things sacred. assistante be chaplains and domestic priests, and so too ascetics, knowers of Brahma. COMMENTARY. a. " Knowers of Brahma"-i. e. knowers of the Veda, or knowers of the divine soul. b. Amongst these various classes of assistants there is not an equality in point of rank-for- TEXT. Respective rank of the classes of No. 84. The highest in rank, among the various assistants. classes of assistants, are ' comrades' (§ 76,) &c. *. Such is one explanation of the pun. Professor Wilson suggests another- " Kirata, a mountaineer, being derived from the roots kri to scatter and ata to go, that is, they scattered or ran away." This is more in keeping with the conduct of the others-but the humour would perhaps be hoightened by its lying on the ironical tribute to the valour of the guards who alone were not afraid-of a monkey. [But the etymology upon which this explanation is founded is not admitted by the Grammarians. P. M.] + Specimens of the Theatre of the Hindus.

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COMMENTARY. a. By the " &c." are meant ministers (§ 80), priests (§ 83), &c. TEXT. No. 85. In the middle rank among assistants are the humble friend (§ 78) and the buffoon (§ 79) :- in like manner the left-hand brother- in-law (§ 81 b.) domestics, &c., are called the lowest in rank. COMMENTARY. a. By the " &c." are meant purveyors of betel-nut, perfumers, &c., (§ 77. a.) b. Now, since this is the appropriate place for it, he gives, in re- spect of MESSENGERS, a definition which includes their division. TEXT.

Messengers de- No. 86. A messenger-some one sent on some fined and divided. affair-is of three kinds-(1) the discreet, (2) the cautious, and (3) the mere conveyer of a message; and female mes- sengers also are of the like descriptions. COMMENTARY. a. In this passage-§ 86-the definition-apart from the division which it involves-see § 85. b .- is, or consists of the words " A mes- senger-some one sent on some affair." TEXT. No. 87. But the one called the 'discreet' messenger-§ 86-is he who, having formed his judgment as to the mind of both, speaks according to his own discretion, and executes his commission well and neatly. COMMENTARY. a. "Of both"-i. e. the one by whom he was sent, and the one to whom he was sent. TEXT. No. 88. The 'cautious' messenger-§ 86-is one of measured speech, who executes his commission and no more. The mere ' con- veyer of a message' (§ 86) is he who conveys, without perhape under- standing, the message as it was spoken to him. COMMENTARY. a. Now the amiable qualities of a hero are to be described.

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TEXT. The eight ami- able qualities of a No. 89. Brilliancy, vivacity, sweetness of tem- hero. per, depth of character, steadfastness, keen sense of honour, gallantry, and magnanimity,-such are the eight manly qualities that originate in the element* of goodness. COMMENTARY. . Among these eight amiable qualities, the first is defined as follows. TEXT. Brilliancy in the character of No. 90. They call that quality-§ 89-'bril- a hero-what. liancy' (s'obha), from which-as being the constitu- ents of it-there come herosim, dexterity, veracity, great perseverance, compiaisance, tenderness towards inferiors, and the holding one's own with the great. COMMENTARY. Complaisance, a. Among these-there is ' complaisance,' as ex- emplified in the following passage. "Every one of his subjects thought to himself ' I myself am es- teemed by this lord of the earth.' Disrespect was shown by him in no quarter, as none is shown by the ocean to a hundred streams-every one of which alike it receives into its bosom." b. And so examples might be given, were it necessary, in regard to the others of the list in § 90. c. Now ' vivacity'-§ 89-is described.

TEXT. Vivacity. No. 91. In ' vivacity' there is a steady glance, & striking gait, and laughing voice.

COMMENTARY. a. Of this we may have an example such as the following. " His glance values at a straw the strength of the creatures of the three worlds ;- his firm and haughty tread appears to bend the earth. What! Is this the spirit of Heroism incarnate even in a mere youth, yet having such weight as a mountain might have,-or is it Pride per- sonified ?" * See Lecture on the Sankhya-§ 50. K

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TEXT. Placidity. No. 92. The not being discomposed even amid agitations, is what is called ' sweetness' of temper-§ 89. COMMENTARY. a. An example may be inferred by the reader for himself. TEXT.

Equanimity. No. 93. The not being altered by fear, grief, anger, joy, &c., is what we mean by 'depth' of character-§ 89. COMMENTARY. a. Of this we may have such an example as the following testimony to the equanimity of the hero Rama. " Not the slightest discomposure in his aspect was observed by me- either when he was summoned to his inauguration or when he was banished to the forest."

TEXT. Steadfastness. No. 94. The not departing from one's intent, even where the obstructions are great, is what is meant-see § 89-by 'steadfastness.' COMMENTARY. a. As - "Even at the moment when he heard the song of the Sirens, S'iva continued intent upon his meditations ;- for, of those who are masters of their own souls, no obstructions whatever have force enough to divert the attention." TEXT. Sensitiveness, Gallantry, and No. 95. The not enduring, even at the expense of Magnanimity. life, in the recalcitration against it,-of any imputa- tion or disrespect, &c., cast upon one by another, is what is called a 'keen sense of honour'-§ 89 .- ' Gallantry' (§ 89) implies elegance in language and dress, and likewise in amatory demeanour. 'Magnanimity' (§ 89) implies liberality, affability of address, and equality of behaviour towards friend and foe. COMMENTARY. a. Of these also, examples may be inferred by the reador for him- self.

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TEXT.

The Heroine do- No. 96. But now, the Heroine is of three kinds fined, and divided into ' one's own,' -(1) one's own, (2) another's wife or daughter, or 'another's,' and (3) a common woman. She is a woman possessed 'anybody's.' of the generic qualities of the hero so far as this is possible. COMMENTARY. a. The heroine again is possessed of the generic qualities of the hero, liberality and the like-§ 64-, so far as these are compatible- ' " mutatis mutandis"-considering the difference of sex. And she is of three sorts -- inasmuch as she may be one's own wife, or a female be- longing to another, or a common woman, i. e. a courtesan. b. Among these three kinds of heroines-§ 96-, 'one's own' wife 'is the one defined as follows.

TEXT. No. 97. 'One's own'-§ 96-is she who is possessed of modesty, sincerity, &e., who is intent on the affairs of the house, and faithful to her husband.

COMMENTARY. a. As- " In the house of the fortunate are wives whose best ornament is modesty, who never long for those who are husbands of other women, who know not to behave improperly.

TEXT. The Heroino -- No. 98. She too-i. e. 'one's own' (see § 97) is 'one's own'-sub- divided. named of three sorts, (1) the youthful, (2) the ado- lescent, and (3) the mature.

COMMENTARY. a. Among these-

TEXT.

. The Youthful No. 99. She is called the ' youthful'-or ' artless' heroine. (§ 98)-who, on the arrival of the period of youth,- being altered by love then first felt, shrinks from caresses, is gentle amid her indignation, and extremely bashful. K 2

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COMMENTARY. Youthfulness a. Among these various characteristics we may exemplified. exemplify each severally-and first then of the' youth ful' aamsel in respect of her being ' at the first arrival of the period of youth'-as in the following verses of my father. " The loins now take to themselves the bulkiness which previously was the characteristic of the waist; the belly takes possession of the depression which previously was the characteristic of the breasts ; the line of hair on the body, characteristic of the period, runs after the straightness of the glances which then fall into a sidelong habit. See- ing Cupid newly inaugurated in the empire of her mind, the members of the fair-browed one, for the moment, as it were, mutually plunder one another, as people are wont to do at the commencement of a new reign before the king can ascertain what properly belongs to each." The first sen- b. Now of the ' youthful' damsel in respect of sations of love. her being ' altered by love then first taking posses- sion of her mind'-as in the following verses which occur in my Pra- bhavati-parinaya or " Marriage of Prabhávati." " Lazily and languidly she sets her footsteps on the ground ; she never goes out of the inner apartments; she no longer laughs uncon- strainedly, but practises every moment some bashful restraint or other. Little she speaks, and that little always somewhat touched, or tinged, by a certain sort of deep covert significance; and she looks up with a frown at her female friend who entertains her with a discourse about her sweetheart."

Maiden Coyness c. Now of the ' youthful' damsel in respect of exemplified. her being one ' who shrinks from caresses'-as -- " When looked at, she casts down her eyes; she speaks not when spoken to; she stands turning away from the couch; when clasped perforce, she trembles; when her female friends who have conducted her to the bridegroom's house are about to retire, she too wishes to depart from the dwelling. By this very coyness my beloved bride has become now more than ever dear to me." Gentleness. d. Now of the ' youthful' damsel in respect of her being ' gentle amid her indignation'-as- "On the occasion of her husband's first offence, she does not know- in the absence of a female friend's advioe-though every limb is trem-

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bling with agitation-how to convey a sarcasm. With her rolling lotus eyes the girl just merely weeps-with the pure tears dropping from the lower part of her pure cheek, while her ringlets dangle shaking among them." Bashfulness. e. Then the ' youthful' damsel, in respect of her being 'extremely bashful'-may be exemplified-as in the verses already given under § 99. b. viz., "Lazily and languidly she sets," &c. f. Here-i. e. in the enumeration of the characteristics of the 'youthful' heroine-§ 99,-the separate mention of the ' shrinking . from caresses,' which characteristic is included also under the head of 'extreme bashfulness'-so that the definition might seem chargeable with tautology,-is made because this is a remarkable species of the forms which bashfulness assumes. g. Now the 'adolescent' heroine-literally the one ' middlemost' between the ' artless' young wife or maiden and the dame mature and 'bold'-§ 98-is described.

TEXT.

The Adolescent No. 100. By the 'adolescent' is meant one won- heroine. derful in caressings; who has become more impas- sioned while waxing in youth ; somewhat bold in speech, and with a midding amount of modesty.

COMMENTARY.

a. Among these ' various characteristics we may exemplify each severally,-and first then of the 'adolescent' dame in respect of her being ' wonderful in caressings' -- as- "Towards her lover, by the fawn-eyed one, when her fondness was excited, there was somehow shown such ingenuity in caresses, that several times the hundreds of pigeons belonging to the house set them- selves as scholars to imitate her cooings." b. The 'adolescent' dame in respect of her being one 'become more impassioned,' is as exhibited in this same example just given -§ 100. a. c. Now the ' adolescent' dame 'that has waxed in youth'-is as described in these verses of mine .-

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"Her two eyes, in vivacity of movement, shame the wagtail ; her two hands rival the lake-born lotus; her breasts attain a height that causes a doubt whether they be not the gracefully swelling temples of the elephant; her brilliancy is like that of gold or of the Michelia Champaka ; her voice rivals nectar; the flash of her side glance is like a wreath of expanded nymphaeæ cæruleæ." d. And so in respect of the others also-of the characteristics enumerated in § 100-exemplifications might be given were it needful. e. Now the dame ' mature'-

TEXT.

The Mature No. 101. Infatuated with love ; of robust and no heroine. longer tender youth ; learned in all kinds of caresses ; lofty of demeanour ; with no great amount of modesty, and ruling her lover.

COMMENTARY. a. Now the ' mature' dame in respect of her being 'infatuated with love'-as- " Bravo !- or, literally, fortunate art thou, who, when meeting with thy beloved, utterest, in the midst of caresses, hundreds of confiding and endearing phrases :- but-as for me-my friend,-when my lover puts his hand to the knot that binds my robe,-I'll swear if I recollect anything whatever." b. Now the ' mature' dame, in respect of her being ' of robust and no longer of tenderly budding but of full-blown youth'-as- "Her bosom hath very lofty breasts; her eyes are very long ; curved are her eye-brows, and still more curved or indirect than these is her speech ; her waist is very slender; not a little massive are her hips ; and somewhat slow is the gait of this one whose youth is wondrous in its full-blown gorgeousness." c. Now the ' mature' dame, in respect of her being 'learned in all kinds of caresses'-as- "This sheet-in one place marked with the juice of the chewed betel, stained in another place with the marks of the unguent made of fragrant wood, in another place giving out the lime which is chewed along with the betel, and in another place trampled by a foot red- dened with lac-dye,-with its crumplings, its rents, and its disorder,

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together with the withered flowers fallen from her hair, tells of the woman's having been dallying in every fashion." d. Now the ' mature' dame, in respect of her being ' lofty of de- meanour'-as- " By sweet discourse-yet mingled with frowns ;- by admonitory shakings of the finger; and by languidly moving bodily gestures, whose kindred, as being closely related thercto-in the order of cause and effect-are great passions excited in the beholder of her blandish- ments, many a time and oft does she, with her great staring side- glances, assist the possessor of the five arrows-the god of love- 'in the subjugation of the three worlds." e. The ' mature' dame, in respect of her being one ' with very little modesty,' is as exemplified in the verses under § 101. a., " Bravo ! . thou that utterest," &c. f. Now the ' mature' dame, in respect of her being one ' ruling her lover'-as- "Lord of mine, curl my ringlets ;- my dear, give my forehcad its sectarial mark again ;- my soul's lord, do unite again my necklace which is broken on the border of my bosom:'-thus speaking, at the time of desisting from caresses, she, whose face is like the full moon, quivering when touched by him, sunk again in the ecstasy of love." g. He now mentions other divisions of the heroines ' adolescent' and ' mature.' TEXT.

Subdivision of No. 102. These two are (1) possessed of self- heroincs accord- ing as they can or command, or (2) not possessed of self-command, or cannot keep their (3) partly possessing and partly not possessing self- tomper. command ;- hence of six sorts. COMMENTARY. a. "These two"-i.c. the 'adolescent' (§ 100) and the 'mature'(101). b. Among these are those described as follows. TEXT. No. 103. When moved by anger, the ' adolescent' heroine, if posses- sed of self-command' (§ 102,) will burn her lover with derisive sarcasms ; if ' partly possessing and partly not possessing self-command,' she will burn him with her tears ; and if ' not possessed of self-command,' she will assail him with harsh speeches.

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COMMENTARY. a. Among these three varieties of angry dames-we may have the 'adolescent' who is ' possessed of self-command'-as- " In saying 'Thou art my beloved' thou sayest truly,-since thou hast come to my bower dressed in the gown belonging to thy sweet- heart ;- for, by being beheld by the loved one, the beauty of a lover's ornaments attains its end-and thou hast come dressed, forgetfully, in the garments of my rival." b. Now the ' adolescent' who partly ' possesses and partly does not possess self-command'-as- "'My girl!'-' My lord ?'-' Lay aside thine anger, indignant one.' -'What has my anger done ?'-' It has vexed me.'-' Your honour never offends ME,-all the offences are on MY side.' 'Then why dost thou weep with sobbing voice ?'-' Before whom am I weeping ?' 'Why-is it not before ME?' .- 'What am I to thee ?' 'My cherished one.'-' I am NOT, and therefore do I weep.' c. Now this same one-the ' adolescent'-when ' not possessed of self-command'-as- " O wretch ! That loved one, with hundreds of desires, stands alone in thy mind-though attractive only through her artificial blandish- ments ;- and there is no room for me,-therefore enough of the farce of thy falling at my feet when thou lovest not me with thy heart."

TEXT. No. 104. The ' mature' dame, when indignant, if she be ' possessed of self-command,' then, concealing, the appearance of anger, takes no concern about fondnesses, whilst ostensibly showing all respect to- wards him. COMMENTARY. a. 'Towards him'-i. e. towards her lover :- for example- "She balked his sitting down beside her by advancing to meet him; and even a hasty embrace was prevented by the pretence of fetching the betel-nut to present to him, while he was yet at some distance; and no conversation with him was entered into by her, keeping her people employed near her :- thus, indirectly, did the sharp-witted dame cause her anger against her lover to attain its object."

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TEXT. No. 105. But she, 'the mature' dame, who ' partly possesses and partly does not possess self-command,' will, when indignunt, vex him with ironical speeches. COMMENTARY. a. "Him" -- i. e. the hero :- as in the following verses of mine -- "Since, even when unadorned, O beauteous youth, thou dost forcibly carry off my heart,-how much more now -- adorned as thou art with the scratches of the nails of her, my rival!" TEXT. No. 106. The other will seold and beat him.

COMMENTARY. a. "The other"-i. e. the 'mature' dame ' Nor possessed of self- command'-as the dame spoken of in the verses under § 72. a. viz., "Perceiving her countenance crimson with passion," &e. b. And in all these deseriptions of behaviour, (from § 103 to § 106 inclusive,) the expression ' when moved by anger' is supplied from § 103. TEXT. Snbdivision of No. 107. These, morcover, are severally two- heroines accord- ing to the rank fold, through their being in the shape of the lower they respectively hold in the affoc- or the higher in the atfections of the hero. tions of the Hero. COMMENTARY. a. "These"-i. e. the six kinds of heroines mentioned close by- see § 102 :- as- "Seeing his two dearest ones seated together on one seat, having approached behind, having politely closed the eyes of one, he made a pretence of engaging in play with her. At the same time gently turning his neek, quivering with pleasure, the wretch kisses the other one, the page of whose cheek shone with inward laughter, while her heart bounded with delight."

TEXT. The hcroino 'who is another's' No. 108. Hence-see § 107-twelve varieties divided. of the 'adolescent' and 'mature' heroines, together, are spoken of; but the ' youthful' heroine-§ 99-is of but one kind- 80 far as we have yet gone ; therefore let the divisions of ' one's own' -see § 97-be thirteen. The one ' belonging to another'-the second L

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in the list of heroines in § 96-is spoken of as of two kinds-(1) 'another's wife,' and (2) a 'maiden.'

COMMENTARY.

a. Among these -- TEXT.

No. 109. The heroine who is 'another's wife' is one addicted to wandering, &c., who brings dishonour on her family, and whose mo- desty is lost.

COMMENTARY.

a. As- "My husband, if I even breathe, calumniates me; my fellow-wives . are ever smelling my mind, or guessing at my thoughts ; my mother- in-law is the very goddess of gestures, and exercises her sagacity in misinterpreting every gesture of mine ; my sisters-in-law lick the pur- poses of my two eves, finding, no doubt, a flavour of mischief in every glance. Therefore, from a distance, do I, in entreaty, join my hands to thee -- forbear from casting love-glances upon me Now -- O thou sweet of wit and voluptuous in dalliance, this labour of thine is vain at such a place as THIS." b. For in this passage, that her affections find their object in a hero other than her husband, is understood through the force of the meaning SUGGESTED-see § 23-viz, " my husband, inasmuch as he gives me food and raiment, is mv lord but not my love; but thou, being ' sweet of wit and voluptuous in dalliance,' art my beloved," &c.

TEXT.

No. 110. But the 'maiden' (§ 109) is one whose marriage has not taken place,-bashful, newly arrived at the period of youth.

COMMENTARY.

Why the maid- a. And her being reckoned as 'belonging to en heroineis rang- ed with those that another,' is because of her being dependent on her are 'another's.' father or some one else-as, for example, Málati, in the play of Malati and Madhava *- and the like.

Translated in Wilson's " Specimens of the Theatre of the Hindus."

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TEXT. Definition of the No. 111. Let the ' common' heroine (§ 96,) be a heroine who is 'anybody's.' courtesan, possessed of self-command (see § 102)- skilled in arts (see § 68. a.)-She hates not the worthless, nor does she love the good. Only with an eye to gain will she exhibit fond- ness :- she will make her mother turn out of doors, even though he may be agreeably acceptable to her, the man whose money is expend- ed,-with the wish that they may meet again when he is better provided. In general, the paramours of these women are thieves, ' persons diseased through excess, fools, and those who have come by money lightly,-pretended devotees, secret libertines, and the like. In some cases, however, when love obtains the mastery, she becomes . honestly enamoured. Whether she be attached, or devoid of attach- ment, the possession of her is hard to obtain.

COMMENTARY. a. A " person discased through excess" is one with the gout or a discase from debauchery and the like. "Secret libertines" are those who pursue their pleasures clandestinely. b. Among these ' common' women, the one ' devoid of attachment' is such a one as Madanamanjari in the play called the Nataka-melaka. c. A 'common' woman-honestly 'enamoured' is one such as Vasantasena in the Mrichchhakatika* or the " Toy-cart." d. And again- TEXT.

Thesixteen kinds No. 112. These heroines that have been separa- of heroines now obtained, further ted into sixteen divisions-viz. the sets of thirteen subdivided accor- and two in § 108, and the one in § 111-become ding to an cight- fold diversity in severally eight, thus giving one hundred and twenty- thoir ' condition.' eight kinds, through their CONDITIONS-for each one may be (1) ' one who has an obsequious lover ;' and, in like manner, (2) who is ' ill-treated,' or (3) ' who goes after her lover,' or (4) ' who is separated by quarrel,' or (5) who is ' neglected,' or (6) ' whose hus- band is abroad,' or (7) who is ' prepared in her house,' or (8) who is 'longing in absence' of a lover not intentionally neglectful. * Translated in Wilson's " Specimens of the Theatre of the Hindus." L 2

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COMMENTARY. a. Among these- TEXT.

The heroino No. 113. Whose lover, attracted by her amiable sincerely lovod. qualities, leaves not her side; who has surprising charms, and is fondly attached,-let such a one be the one ' who has an obsequious lover.' COMMENTARY. a. As is exemplified in the verses under §'73. a .-- " My garments, O friend," &c. TEXT.

The heroine No. 114. Whose lover goes near her bearing the sinned against. marks of his having been toying with another,-this one, red with jealousy, is called, by the learned, the ' ill-treated' one. COMMENTARY. a. As is the lady in the verses under § 103. a .- " Thou hast said truly," &c. TEXT.

The heroine No. 115. She who, acknowledging the power of making advances. Love, sends to seek her lover, or goes herself to seek him,-this one is called, by the learned, the one ' who goes after her lover.' COMMENTARY. a. These two cases are here exemplified in their order-as- "Having understood his feelings thoroughly, speak to him in such a manner that he may not discern my levity in sending to lure him back after having capriciously repelled him, and that he may act tenderly towards me :'-thus did a certain one instruct her female messenger."* "'I have laid aside this my pair of bracelets; I have fastened my girdle tight; with much pains I have produced dumbness in my chattering anklets ;- and, O my dear friend, just when I had begun to be eagerly impatient to set out on Love's errand, this wretch of a Moon throws aside the protecting mantle of the dark !" TEXT. How heroines No. 116. If one of good family goes in search of different de- scriptions go out of her lover, she goes crouching-literally-melted on assignations. or absorbed into her own limbs-making herself as * Mágha-Canto, ix. v. 56.

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small as possible,-with all her tinkling ornaments silenced, and veiled in her wrappers. But a courtesan, if she goes in search of her lover, will have a dress of wondrous splendour, her anklets tinkling as they move, and a face all smiles of joy. A female servant, if she goes in search of her lover, while she gets along with great strides, will have her speech stammering through delight and her eyes staring wide open in her flurry. COMMENTARY. a. In the case of the first of these we have an example in such rerses as those under $ 115. a .- viz. " I have laid aside," &e. b. Among these the ' female servant that goes in search' of her lover, is one such as the damsel described in the verses following-viz. " Here the servant girl, repeatedly exhibiting her betel-stained teeth, laughing without a reason and with an affeeted tone of voice resembling the neigh of a mare, flauntingly setting her staggering footsteps here, there, and everywhere, with her hips dancing high, stays wriggling about in front of the young men."* e. Examples of the others are to be inferred by the reader for himself. d. As being connected with this topic, the PLACES of going on an assignation are next mentioned. TEXT. Localities adapt- No. 117. A field, a garden, a ruined temple, the ed for assigna- tions. house of a female messenger, a grove, a caravansera, and a cemetery,-so too the bank of a river, &c .- thus there are eight places for the satisfaction of those who, following after men, set out on an assignation ;- and moreover there is a resource anywhere in places screened by darkness. The heroine re- ponting her own But she who, in anger, having repulsed her

caprice. soul's lord even when wooing, afterwards experiences remorse, is the heroine called the one ' separated by quarrel.'

COMMENTARY. a. As in these verses of my father's, " I did not listen to his fond speeches, nor was the necklace which he presented near me regarded by my sight; the admonitions too of * The portion marked b is ovidently an interpolation, being incompatible with the dual number in yan: (others) in § c. My MS. has it not. P. M.

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my female friend, to the effeet that I should show kindness to my lover, were rejected. When he fell at my feet, alas, at that moment why was not he, when departing, retained by me-fool that I am-with my two arms, and clasped eagerly to my neek ?" TEXT. The heroine ontraged by neg- No. 118. But she-most disrespectfully treated- leet. to whom her lover does not come, after having made an assignation, is to be known as 'the neglected.'

COMMENTARY. a. As -- "Arise, my messenger-let us go. A watch of three hours has - gone, and he is not come. He has gone elsewhere; long life to him -may he be the life's lord of her to whom I resign him."* TEXT.

The heroine No. 119. Let her, whose lord, by constraint of pining in absence. various affairs, has gone to a far country, afllicted by the pains of affection, be the one ' whose husband is abroad.' COMMENTARY. a. As- " You may recognise her, of measured discourse, my second life, in the absence of me her companion, like a solitary duck.t I can fancy the girl, grievously pining whilst these heavy days go by, altered in appearance like a lotus pinched by the cold."$ TEXT.

The heroine No. 120. But løt her who is arranging herself- expectant. being all ready in her house, expecting the arrival of her lover-be the one ' prepared in her house.'

COMMENTARY. a. As in the following passage which occurs in a drama of Rághavánanda-

• The translation of this portion, thongh not altogether incompatible with tho reading of the text, is so with the writing adopted in Roer's edition as also in my own MS. According to this the following is the correct rendering: Let him be the life's lord of HER who should LIVE after this sad disappointment (- i. e. neither shall I survive nor will he be my lifo's lord.) P. M. t The chakraraka, or Brahmany duck, is supposed to lie under the necessity that the male and female shall pass the night on opposite banks of the river. $ See the " Cloud-messengor"-Stanza 82.

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" Remove my armlets ;- enough-nay too much-with these strings of jewels on my two wrists ;- what need of this necklace ?- it weighs on my neck like the heavy and clinging branches of a creeper !- ( do thou put upon me nothing besides one single new pearl-necklace. Unsuitable is a superfluity of bodily DECORATIONS when one is con- cerned with the festival of him-viz. the god of love-who has not even-a BODY-his body having been reduced to ashes by the fiery glance of S'iva when the god of love rashly shot him."* TEXT. The heroino dis- appointed through No. 121. But she whose lover, though he intend- misadventurc. ed to come, through accident did not come,-she, afflicted with the grief of his not coming, is the one 'longing in absence' of a lover not intentionally neglectful. COMMENTARY. a. As- "What-has he been stopped by some other mistress ?- or has he been vexed at my female friend-who carried my message and may not have delivered it properly -?- or has there been some matter of moment, that my lover has not come to-day ?' Thus reflecting, the fawn-eyed one, leaning her lotus-face upon her hand, sighed deeply -and long she wept, and the garlands of flowers she flung away from her." TEXT. The hundred and twenty.oight kinds No. 122. Let the one hundred and twenty-eight of heroines subdi- kinds of heroines-see § 112-inasmuch as they vided into three- hundred & cighty- may be of the first-rate, the medium, or the lowest, four. deseription, be eighty and four added to three hund- red. COMMENTARY. a. And on this point-viz. the subdivision of all heroines alike according to the cight ' conditions' specified under § 112, some one says-"Those two kinds of women who 'belong to another'-see § 108-, viz. the maiden and the married woman whose affections are set elsewhere than on her husband, are not subdivisible according to all those ' conditions'-but only according to some of them :- for example, before an assignation has been made with them by any lover, they may, no doubt, be 'longing in absence'-see § 121. Then again after an * Seo tho Kumara-samthara, 3d Canto, stanza 72.

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assignation has been fixed, setting forth, along with the buffoon (§ 79) or some one else, they may become ' goers after' see § 115 ;- and if, for some reason, the hero have not come to the appointed place, they may be ' neglected'-see § 118 ;- such alone out of the eight are the three ' conditions' applicable to these two, because the other conditions --- such, for instance, as the being separated by quarrel -- $ 117-are incompatible with these two whilst they have no lover devoted to them." TEXT. Heroines of composite charac- No. 123. In some examples a mutual commingling ter. of the various characters of these various kinds of heroines-see § 122-is seen. COMMENTARY. a. As- "Not WE, indeed, are worthy of the gift of this branch with its new shoots that you offer us, to be worn as an ornament behind in our ear. Go, give this branch-etymologically the cherisher of its ' shoots' -vița-to her who in secret drinks the lips of, and cherishes thee -- vita-or ' rogue'-as thou art. Let the two-alike entitled to the name of vitapa-be joined, since the junction of like things has been long the rule. Wretch ! what should wE do with thy needlessly deposited earfuls of the shoots aud flowers of plants? Have not BOTH my ears been long filled full with your honour's unkind words- well-known to everybody ?' ..- Thus speaking, the other dame struek her lover simultaneously with the dark lotus and with her eye-the lovely eyelashes of the one expanding wide like the filaments of the other- and vice versd,-and each being confined by her ear *- the ear being the boundary of her beautifully long eye -- and the lotus with which she strikes him naving been previously worn behind her car as an orna- ment." b. For this one-the heroine of the foregoing verses,- (1) by her sarcasms, (2) by her harsh language, and (3) by her striking him with the flower which had served as the ornament of her ear, is compounded of the character of (1) the ' adolescent heroine who possesses self-com- mand' (see § 103,) (2) of the ' adolescent heroine who does not possess self-command' (see § 103,) and (3) of the 'mature heroine who does * Mágh, Canto 7th, verses 53, 54, and 56.

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not possess self-command' (see § 106). In like manner in other cases the reader can judge for himself out of what elements the character of any given heroine is compounded. TEXT. The further No. 124. There are others also, besides the three subdivision of heroines given hundred and eighty-four mentioned in § 122, with the up as endless. varieties suggested in § 123, beyond number; but these are not specified for fear of prolixity. COMMENTARY. "These"-i. e. heroines. b. Now the GRACEs of these heroines are to be described. TEXT.

The twenty- eight graces of No. 125. In youth these heroines have-divided the heroine. amongst them-twenty-eight ornaments, or graces, arising from the quality of ' purity'-sattwa-the source-see Tattwa. samasa, p. 25-of all that is best and brightest in the phenomenal world. Among these twenty-eight, three, viz. (1) 'the slight personal indication of natural emotion' (bhava), (2) 'its stronger expression' (háva), and (3) 'the decided manifestation of feeling' (helá), are produced by bodily movement ;- (4) 'brilliancy' (s'obha), and (5) 'loveliness' (kanti), and (6) 'radiancy' (dipti), and (7) 'sweetness' (mádhurya), (8) 'boldness' (pragalbhatá), (9) 'meekness' (audárya), (10) 'constancy' (dhairya),-let these be the seven (from 3 to 10) that arise naturally without effort ;- eighteen in number are the following -viz. (11) 'fun' (lílá), (12) 'flutter of delight' (vilása), (13) 'simplicity in dress' (vichchhitti), (14) 'affectation of indifference' (vivvoka), (15) 'hysterical delight' (kilakinchita), (16) 'the mute involuntary expression of affection' (mottayita), (17) ' the affected repulse of a lover's endearments' (kuttamita), (18) ' fluster' (vibhrama), (19) 'voluptuous gracefulness' (lalita), (20) ' arrogance' (mada), (21) 'the suppression of the sentiments of the heart through bashfulness' (vikrita), (22) 'pining' (tapana), (23) 'simplicity verging on silliness' (maugdhya), and (24) ' distractedness' (vikshepa), (25) 'impetuous curiosity' (kutúhala), (26) 'giggling' (hasita), (27) 'trepidation' (chakita), and (28) 'sportiveness' (keli). M

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And the first ten natural graces, beginning with 'the slight per- sonal indication of natural emotion' (bhava), belong to those of the male sex also. COMMENTARY. Some of these graces may belong a. The first ten, beginning with 'the slight per. to the male sex, sonal indication of emotion' (bhava), and ending but have not the interest that they with'constancy' (dhairya), may belong also to heroes, have in the fe- but all these produce a special admiration only when male. lodged in heroines,-for-what reader cares about the hero's first tremours, &c., compared with those of the heroine? b. Of these twenty-eight, the ' slight personal indication of natural ' emotion' (bhava), is defined as follows. TEXT. No. 126. 'Bhava' is the first alteration in a mind previously un- altered. COMMENTARY.

The grace call- a. That is to say-' bháva' (§ 125) means a change, ed bhava-what. barely awaking, in a mind previously tranguil and unaltered from the time of birth forward,-as is noted in the heroine of the following lines. "' Again there is the same spring time, and the same aromatic breeze from Malaya, and this is the very same maiden,-yet her mind is, as it were, altered."' b. Now of 'hava,' (§ 125)- TEXT.

The grace call. No. 127. But Bhava (§ 126,) where the alteration ed hava-what. is slightly modified-so as to show, by alterations of the eyebrows or eyes, &c., the desire for mutual. enjoyment,-is called 'hava.' COMMENTARY. a. As is exemplified in the following description of Parvati, from the Kumára Sambhava, canto, III. v. 68. "With limbs like the young flowers of the Nauclea Kadamba in which each filament stands on end, the daughter of the mountain be- traying the 'change' in her heart now warmed with love for S'iva, stood, with her lovely face turned aside, while her eyes glanced hither and thither."

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b. Now of 'hela' (§ 125) :- TEXT. The grace called No. 128. And let 'hela' mean the same when hela-what. the change is perceived to bè very great. COMMENTARY. a. "The same"-i. e, 'bhava'-see § 126. For example :- " Such is the behaviour of the woman, agitated in every limb, that the mind of her female friends is in doubt whether she be any longer one of the ' artless' heroines mentioned in § 99, and not promoted into the next class mentioned under § 100." Brilliancy. b. Now of ' brilliancy' (s'obha-§ 125). TEXT. No. 129. What is called ' Brilliancy' is that grace of limb which is derived from beauty; youth, high spirits, and high feeding. COMMENTARY. a. Of these varieties we may have the brilliancy due to YOUTH- as in the following from the Kumara Sambhava, canto I. v. 31. " She now entered upon the age beyond that of childhood, that period of adolescence which is an ornament, of the straight person, not supplied ab extra, as dresses and jewels require to be, a cause of intoxi- cation yet not having the name of wine, a weapon of Cupid other than the flowers which serve as his arrows." b. And so too in the case of the others-derived from high spirits, &c. Now of ' Loveliness' (kanti-§ 125). TEXT. Loveliness. No. 130. This same ' Brilliancy,' when increased by love which adds greatty to the attractions of the woman loving, be- comes ' Loveliness.' COMMENTARY. . That is to say-' brilliancy' (§ 129) when much increased by the arising of love, takes the name of 'loveliness :'-as is exemplified in the verses under No. 100-beginning "Her two eyes shame the wagtail," &c. b. Now of ' Radiancy' (dipti-§ 125). TEXT. Radiancy. No. 131. Loveliness, when expanded exceedingly, is called ' Radiancy.' M 2

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COMMENTARY. a. As is exhibited in the description of Chandrakalé, in my play of the same name :- e. g. "She is the ecstasy of youthfulness-the laugh of the abundance of excessive beauty,-the ornament of the face of the earth,-the subju- gation of the minds of the young men."* b. Now of ' Sweetness' (madhurya-§ 125). TEXT. Sweetness. No. 132. 'Sweetness' is pleasingness in all kinds of states-whether sick, naked, in exile, &c. &c. COMMENTARY. a. For example-take the following passage from the drama of Sakuntalá :- "The lotus is beautiful even when clogged with confervæ,-even the dark spots of the gentle Moon enhance her beauty. This slender maid, though clad in bark, is most charming,-for of gentle forms pray, what is NOT the ornament?" b. Now of ' Boldness' (pragalbhata-§ 125). TEXT. Boldness, No. 133. 'Boldness' is the being devoid of fear. COMMENTARY. a. For example: - "These women make their lover their slave, by hugging when hug- ged, by kisses in return when kissed, and by bites when bitten." b. Now of ' Meekness' (audarya-§ 125). TEwr. Meekness. No. 134. 'Meekness' is mildness at all times.

COMMENTARY. a. "She utters no harsh word-though my offence is proved,- she makes no frown, she throws not on the ground, in testy rage, the ornament of her ear :- but towards the face of her female friend, con- templating her from without through the lattice, she only turns her two eyes suffused with tears." b. Now of ' Constancy' (dhairya-§ 125).

" The preference of abstract to concrete terms, in this as in other compar- atively recent specimens of compositión, is noticeable.

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TEXT.

Constancy. No. 135. By 'constancy' is here meant the state of mind called steadfastness, unattended with self-praise. a. For example take Malati, Act ii., preferring death to marriage with any other then her belored. "Let the full moon, agonizing to separated lorers, blaze in the sky ; let Love scorch me,-what can he do beyond death? My father is beloved and honoured, my mother of unblemished descent, and so too my family ;- But I am nothing,-I no longer exist,-nor will I consent to exist if, honourably descended as I am, I am forced to wed with other than the man I love. b. Now of ' Fun' (lila-§ 125). TEXT. Fun. No. 136. The mimicking of a lover in respect of the manners, dress, ornaments, and loving speeches, which his fondness had moved him to employ, they call 'Fun.' COMMENTARY. a. For example we find Parvati reminded of her making fun of Sira in the following invocation. "May Parvatí protect the world,-playfully mimicking S'iva,-hav- ing as a snake-bracelet the creeping root of a lotus instead of the cobra da capello, and having made the cluster of her locks into a wild top- knot such as is cultirated by S'iva and other ascetics." b. Next of the ' Flutter of delight' (vilása -- § 125). TEXT.

Flutter of de- No. 137. But let that peculiarity in movement, in light. the way of standing, or sitting, or in the action of the mouth or eyes, &c., which is caused by the sight, for instance, of the desired one, be called the ' Flutter of delight.' COMMENTARY. a. As an example take Madhava's account of Malati's manner on recognizing him,-Act I. sc. 2. " Meanwhile there was manifested a certain triumphant specimen of Love's teaching, the wondrousness of which transcends the power of speech, raising an agitation in the long-eyed maid, and scattering to

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the winds my self-command,-so richly was. this specimen of Love's teaching diversified with all that is exquisite." b. Next of 'Simplicity in dress' (vichchhitti-§ 125). TEXT.

Simplicity in No. 138. 'Simplicity, in dress,' which adds to dress. loveliness,* consists in the employment of little ornament. COMMENTARY. a. As an illustration see the instructions in the following lines of Magha, canto VIII. v. 70. "The body cleansed by ablution with pure water, the lip adorned. by the lustre of the chewed betel, a thin white robe,-let thus much constitute the decoration of fluttering dames,-provided he be not fancy-free,-in which case a more elaborate toilet may have to be put in requisition to produce an impression." b. Next of the ' Affectation of indifference' (vivvoka-§ 125). TEXT.

Affectation of No. 139. But ' Affectation of indifference' is the indifference. showing of disrespect even towards a desired object, through exceeding haughtiness. COMMENTARY. a. For example :- "Who, while they do find good qualities, make great allegations of fault,-who would rather yield their lives than look their lover full in the face,-whose very affirmation even in regard to what they exceed- ingly desire is negative,-may those women -- of a nature strangely different from the three worlds-be auspicious to thee!" b. Next of ' Hysterical delight' (kilakinchita-§ 125). TEXT.

Hysterical de- No. 140. The commingling of smiles, and of light. weeping with unwet eyes, laughter, alarm, anger, fatigue, &c., from the delight produced, for instance, by meeting with the best beloved, is what we call ' Hysterical delight.' COMMENTARY. a. As an example take the following from the poem of Mágha, cantt X. v. 69. . The ' simplex munditiis' of classical quoters.

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"Even in her joy, the taper-limbed girl repulsed her lover's hand- not wishing to repulse it,-chid him amid the sweetest smiles, and wept ravishingly without a tear." b. Next of the ' Mute involuntary expression of affection' (mottá- yita.) TEXT. Mute involun- No. 141. Her mind being taken up by the tary expression of affection. thought of him,-when her lover is, for instance, talked of,-her scratching her ear, or the like, they call a ' Mute in- voluntary expression of affection.' a. As an example take the gestures of the woman from which the speaker of the following lines infers her love for his friend. "O fortunate man ! when they begin to speak about thee, that woman has an inclination to scratch her ear, a yawn comes to her lotus mouth, and she stretches all her limbs." b. Next of the ' Affected repulse of a lover's endearments' (kutta- mita-§ 125). TEXT. Affocted repulse No. 142. When he takes her hair, her bosom, or of a lover's en- dearments. her lip, &c.,-the prohibition " Don't"-whether conveyed by the shaking of the head or the hand,-through agitation, even when she is delighted, is what they call the ' Affected repulse of a lover's endearments.' COMMENTARY. a. For example the prohibition may be expressed by the hand as in the following instance. . "When her lover bit her cherry-lip, friend to the hand, being both equally comparable to the tender leaf,-an expression of sympathetic . pain was as it were uttered by that limb of the girl as the bracelet rattled shrilly upon it." b. Next of ' Fluster' (vibhrama-§ 125). TEXT. Fluster. No. 143. The application of ornaments, &c. to the wrong places, through hurry arising from delight or eagerness, on such .

'Fluster.' occasions as the arrival of the beloved one, is what we mean by

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COMMENTARY. a." For example :-: " Having heard her beloved approaching outside, she-not having yet completed her toilet-applied to her forehead the black antimony intended for her eyes, to her eyes the lac-dye intended for her lips, and to her cheek the patch which should have decorated the centre of the forehead." b. Next of ' Voluptuous gracefulness,' (lalita-§ 125). TEXT. Voluptuous No. 144. Let the disposition of the limbs with gracefulness. elegant delicacy be called ' Voluptuous gracefulness." COMMENTARY. a. As is exemplified in the demeanour of the heroine of the following verses from the poem of Magha, canto VII. v. 18. "She walked with a step languid through love, with her anklets sounding with a graver music than when in brisker movement, with her lotus-like left foot gracefully dancing, while planting the other one not so coquettishly." b. Next of ' Arrogance' (mada-§ 125). TEXT.

Arrogance. No. 145. 'Arrogance' is a change produced by the pride of prosperity, youth, &c. COMMENTARY. a. For example we have Arrogance* rebuked in the following verses. "Exalt not thy conceit, though on thy cheek there shines, drawn by thy lover's hand, a flower-bud designed as an ornament. Is no one else, thinkest thou, the recipient of such decorations ?- were it not that the trembling of the lover's hand is an unfriendly obstacle,-while thy lover is so cool and collected that his hand never trembles even when sketching a flower-bud on thy cheek!" b. Next of ' Bashfulness' (vikrita-§ 125).

Arrogance may seem an odd ornament of the heroine, yet it is a topic which can supply the poet with the means of embellishing a picture. The same remark applies to some others of the so-called 'ornaments.' Besides, unreasoning hoy- dens are to be regarded with a degree of indulgence, and Bacon has remarked that Pride, which is laughable in a man, is graceful in a horse.

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TEXT. Bashfulness. No. 146. Through modesty, not to speak even when one ught to speak, is what we mean by ' Bashfulness.' . COMMENTARY. a. For example :- " Being asked after her health, by me who had come from afar, she answered nothing ; but her two eyes bathed in tears told all that she had suffered in my absence and now felt at my return." b. Next of ' Pining' (tapana-§ 125). TEXT.

Pining. No. 147. 'Pining' is the conduct arising from a possession with love in separation from the beloved one. COMMENTARY. a. For example take these verses of mine. " She pours forth sighs, and rolls upon the ground; she looks out upon your road, and long she weeps; she flings hither and thither her weak tendrils of arms ;- moreover, O dear to her as life !- longing to be re-united with you even in her dreams, she yearns for sleep, but her hapless fate bestows it not." b. Next of ' Silliness' (maugdhya-§ 125). TEXT.

Silliness. No. 148. The asking, as if from ignorance, even of what she perfectly well knows, in the presence of her lover,-this is called ' Silliness' by those who know things rightly. COMMENTARY. a. For example,-in the following verses, the heroine knowing very well that pearls are obtained from the sea, asks, with . touching simplicity- "My lord, what trees are they, and in what village, and by whom planted, of which the seed-pearls of my bracelet are the fruit ?" , b. Next of Distractedness' (vikshepa-§ 125). TEXT.

Distractedness. No. 149. The half arranging one's ornaments, the wildly gazing in every direction, and a partial blabbing of secrets, con- stitute ' Distractedness,' arising from some cause or other, when near a husband or a lover.

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COMMENTARY. a .. For example :- " He: hair is half loosened, and in like manner she Cut partly forms the ornamental mark on her forehead ;- something of a secret she gives utterance to, and startledly the slender dame gazes in every direction." b. Next of ' Impetuous curiosity' (kutuhala-§ 125). TEXT.

Impetnous cu- No. 150. Let the lively desire to behold a pleasant riosity. object be called ' Impetuous curiosity.' COMMENTARY. a. For example, impetuous curiosity appears in the lively desire of the ladies to get a sight of the king entering the city with his bride, -as described in canto VII. of the Raghuvans'a, the 7th verse of which here follows. "One lady, withdrawing the foremost foot, which was supported by the female decorator employed in tingeing it with lac-dye, dripping as it was with the pigment, neglecting all gracefulness of gait, traced a path stained by the lac-dye up to the window which she hurried to look out at." b. Next of 'Giggling' (hasita-§ 125). TEXT. Giggling. No. 151. But 'Giggling' is aimless laughter resulting from the outbursting of youth. COMMENTARY. a. For example :- "Since the slender-limbed one has again laughed without a reason, surely he of the flower-tipped arrows is establishing his rule within . her." b. Next of ' Trepidation' (chakita-§ 125). TEXT. Trepidation, No. 152. ' Trepidation,' is agitation from fear, be- fore a lover, from whatever cause. COMMENTARY. &. As an example take a vcrse, canto VIII. v. 24., from the passage in the poem of Magha descriptive of the sports of the bathers.

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"Trembling, when struck on the thigh by the passing fish, the fair- limbed one fell into excess of agitation. The ladies are nervous-O exceedingly-even without a cause, in sports ;- how much more, then, when there is a cause-such as this bumping of a fish against one!" b. Next of 'Sportiveness' (keli-§ 125). TEXT. Sportiveness. No. 153. Playing when walking about with one's lover is called ' Sportiveness.' COMMENTARY. a. For example :- " Her lover, unsuccessful in removing from her eyc, with his breath, the pollen of the flower which had got into it, the bold and high- plump-breasted damsel pushed away with a knock of her bosom upon his." b. Now, as regards the amatory demeanour of the artless and the unmarried of the fair sex, we have to remark as follows. TEXT. The demeanour of an enamoured No. 154. When looked at, she exhibits bashful-

artless girl. ness, and never returns the look to his face : she looks at her beloved either furtively or when he is walking about, or after he has passed. Even after having been many times asked, she usually answers her lover something in a stammering tone, slowly, and with face down-looking. She ever attentively hearkens to a conversation about him carried on by others,-turning her eyes elsewhere ;- thus acts a girl when enamoured of her lord. COMMENTARY. a, Now, as regards the amatory demeanour of all heroines we have to remark as follows. TEXT.

The demeanour No. 155. She wishes her beloved to remain long of enamoured he- ruines in general. near her; she goes not within the range of his vision. unadorned. On one occasion, under the pretence of covering or fastening her hair, she will display plainly her armpit, her breasts, or her lotus navel. She gratifies the attendants of her beloved by words and other things ;- she places confidence in his friends and treats them with great respect. In the midst of her female friends she recites his praises ; she bestows upon him all her wealth; she sleeps when he N 2

92 The Mirror of Composition. . sleeps, grieves in his grief and rejoices in his joy. Standing in the line of his sight, from a distance she ever gazes on her beloved. She speaks to his attendants in his presence. On beholding any symptom of fondness in him, she laughs with delight. In like manner, she scratches her ear, loosens and ties up her hair, yawns, and strotches her limbs, or catches up a child and kisses it. She begins making the ornamental mark on the forehead of her female friend ;- she writes on the ground with the point of her toe, and looks up with a sidelong glance. She bites her lip, and looks on the ground when she speaks to her beloved, and quits not the spot where her lover is to be seen. She goes to his house on any sort of pretence of business. Anything given to her by her lover, having placed on her person, she long gazes at. She ever rejoices in his society, and in his absence she is miserable, and thin. Greatly does she admire his disposition, and she loves whatever is dear to him. She asks from him, as keepsakes, things of little value; and when sleeping she turns not her back on him. In his presence, she gives way to the blameless moods of trembling, stammering, &c., mentioned under § 166. Kindly and blandly does the fond dame converse with him. Among these points of demean- our here enumerated, the more bashful gestares belong to the young wife, those of which the modesty is of a medium description to the middle class of heroines-see § 98,-and those where modesty has. waned to heroines who are the wives of others, and dames maturely bold, and courtesans.

COMMENTARY.

a. As a mere hint of what is meant, take my verses here following. "Even when I draw near her, this one seeing, yet pretending not to see me, displays her armpit adorned by fresh nail-scratches.". b. And so-

TEXT.

Meansavailable No. 156. By sending of letters, by soft looks and to a lady for re. vealing her affeo- gentle words, and by sending female messengers, it is tion. agreed by the learned that a woman may reveal her sentiments.

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COMMENTARY. a. Next, then, of female messengers.

What females No. 157. Female messengers may be a friend, an TEXT.

may serve as mes- sengers actress, a slave-girl, a foster-sister, a neighbour, a girl, a wandering ascetic, a workwoman, a female artist, &c .; and likewise one's self. COMMENTARY. a. By a ' workwoman' is meant a washer-woman, or the like. By a ' female artist' is meant a woman who makes pictures, or the like. By the ' &c.' are meant female purveyors of betel-nut, perfumers, and the like. Among these, the 'friend,' acting as a messenger, may be recognised in the narrator of the heroine's sad case in the verses, quot- ed under § 147, beginning as follows :- " She pours forth sighs," &e. b. One acting as messenger for one's self may be recognised in the following lines of mine. "O traveller,-thou seemest thirsty ;- why, then, goest thou else- where? There is none here to present the slightest obstacle-do drink water in this house, or, as I secretly mean, quaff the sweets of amorous enjoyment." c. And these (§ 157) serve the hero also as messengers to the heroine. . d. The author next mentions the qualifications, of a female mes- senger. TEXT. The qualifica- tions of a female No. 158. Her qualifications are skill in the lighter messenger. arts, perseverance, fidelity, penetration, a good me- mory, sweetness, readiness to understand a joke, and fluency of speech. These women too-as well as the heroines mentioned under § 75-are, in their own line, either of the first class, of the lowest, or of the intermediate order of merit. COMMENTARY. a. 'These,'-that is to say these female messengers. b. Now, as for the 'rival' mentioned under § 63 as one of the 'substantial ingredients' in poetry :- TEXT. No. 159. The 'rival,' or opponent of the hero, is a firm, haughty, dissipated, sinful person,

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COMMENTARY. As is Rávana in respect of Ráma. a. Now, having fully explained the ' substantial' division of the Excitants of poetic Flavour, we have to remark upon the second division of the two mentioned under § 62-viz. the Excitants which ENHANCE the Flavour which is more essentially dependent on the others.

TEXT. No. 160. The ' Enhancing Excitants' (uddipana-vibhava) are those which enhance the Flavour.

COMMENTARY. a. And these ' enhancing excitants' are as follows :- The Excitants No. 161. The gestures, &c. of any principal specified which enhance the Fla- character (§ 63,) and in like manner places and vour. times, &c.

COMMENTARY. a. By the ' &c.'after ' gestures,' are meant beauty, decorations, and the like. By the '&c.' after 'times,' are meant, the moon, sandal- wood ointment, the voice of the Cuculus Indicus, the hum of bees, and the like. Of these the moon as enhancing the sentiment of the scene, may be exemplified as in these lines of mine. " Resting his rays-as if they were a hand-which the word kara also means in Sanskrit-on the swelling bosom of the eastern hill from which the mantle of the co- vering of darkness had fallen off, the moon kisses the face of the eastern horizon which opened its eyes-viz. the lilies that expand when the moon rises. b. Of what Flavour each of these (§ 160) is the appropriately en- hancing excitant, will be mentioned when describing each Flavour :- see § 209, &c. c. Now, having given an account of the Excitants mentioned at § 32, we have next to speak of the 'Ensuants' which also give rise to Flavour. TEXT.

An Ensuant No. 162. That which, displaying an external con- defined. dition occasioned by its appropriate causes, in ordi- nary life ranks as an EFFECT, is reckoned, in Poetry and the Drama, an ENSUANT (anubhava).

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COMMENTARY. a. That gesture or the like which, manifesting externally the love, &c. excited in the mind of Rama, or the like, by the appropriate causes,-by Sítá, for example, as the principal cause, and the moon- light, for instance, as an enhancer of the sentiment,-is called, in or- dinary life, an EFFECT of love, or the like,-this, in poetry and the drama, is, on the other hand, called an ENSUANT-because here it is of no importance what things are causes and effects as regards each other objectively,-the only consideration of importance being-what things, whether causes or effects among themselves, serve as causes in respect of Flavour. See § #4. e. and 45. b. What, then, is this ' Ensuant'-which you thus define? To this he replies as follows: -

TEXT.

The Ensuants No. 163. In the shape thereof are those feminine enumerated. graces mentioned in the enumeration under § 125 which result from bodily movement, and those graces which result without bodily effort, and the involuntary indications of strong feeling -§ 32. b., as well as other gestures than the involuntary,-so far as these are effects which serve, in poetry as causes, and are therefore termed ensuants to distinguish them from effects simply. COMMENTARY. a. 'In the shape thereof,'-i. e. in the shape of Ensuants. And in regard to these,-what Ensuant is conducive to each sentiment shall be stated when describing these sentiments :- see § 209, &c. b. Among these Ensuants the involuntary (sattwika) indications of strong feeling are defined as follows.

TEXT.

Involuntary evi- No 164. Those changes in a human being are dences of feeling. called involuntary-or honest and spontaneous- which arise from sincerity (sattwa).

COMMENTARY. d. Sincerity-as we may here render the term which, in' Indian philosophy, stands for the cause of all that is best and brightest in the phenomenal world-is a certain inward disposition which spontane-

96 The Mirror of Comporition. owely reveals the repose of one's soul where it docs not intorfere to modify the indication. TEXT. No: 165. These involuntary evidences of feeling differ from the Ensuants in general (§ 163) onln in their taking their rise in honest sinoority. COMMENTARY. a. As a stout bull differs from an ordinary speoimen of the cow- kind,-such is the remainder which requires to be supplied in order to complete the sense of the text. b. Now, which are these? To this he replies. Text. * These specified. No. 166. Stupefaction (stambha), perspiration (sweda), and horripilation (romancha), disturbance of speeoh (swara- bhanga), trembling (vepathu), change of colour (vaivarnya), tears (as'ru), and fainting (pralaya),-these eight are what are called the involuntary evidences of strong emotion. COMMENTARY. a. Among these- TEXT. And explained. No. 167. By Stupefaction is meant a prevention of motion, by fear, or joy, or pain, &c. Perspiration is an exudation from the body, caused by love, or warmth, or toil, &c. Horripilation is a change in regard to the hair of the body, caused by joy, or surprise, or fear, &c. What they call disturbance of speech, is stammering, occasion- ed by intoxication, or joy, or pain &c. Trembling means a shaking of the body, arising from desire, aversion, fatigue, &c. Change of colour is an alteration in the colour caused by sorrow, or intoxication, or anger, &c. Tears are water flowing from the eye, originating in ' anger, or in grief, or in great joy. Fainting is the cessation, throngh joy or grief, of motion and also-which distinguishes it from more stupefaction-"of consciousness. COMMENTARY. a. These-or some of these-may be exemplified as in the following verses of mine. " At the touch of her person-Ah-my eyes half close ;- mi Whole body becomes petrified, while every hair stands on end, my cheeks

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are wet with perspiration; my mind, altogether withdrawn from all other objects, attains to great joy-even to absolute deity." b. So of the others-onumerated in (§ 166). c. Now of the ' Accessories' (§ 82). TEXT. The Accessories No. 168. The ' Accessories'-(vyabhichari) are in the production of Flavour. those. that more especially-which is the force of the vi-co-operatingly-which is here the force of the abhi-go along with,-whether immersed in or distinguishable from,-the permanent agency ; and thirty-three are kinds thereof. COMMENTARY. a. For, in regard to Love, or the like, while it remains the main sentiment, Self-disparagement (nirvveda), and other such things, are called ' Accessories,' inasmuch as they tend in the same direction, whe- ther obviously or covertly. ' b. Well-which are these? To this he replies. TEXT. The Accessories No. 169. Self-disparagement, Flurry, Depression, specified. Weariness, Intoxication, Stupefaction, Sternness, Distraction, Awaking, Dreaming, Dementedness, Arrogance, Death, Indolence, Impatience of opposition, Drowsiness, Dissembling, Longing, Derangement, Apprehension, Recollection, Resolve, Sickness, Alarm, Shame, Joy, Envy, Despondency, Equanimity, Unsteadiness, De- bility, Painful Reflection, and Debate. COMMENTARY. a. Among these, ' Self-disparagement' (nirvveda-§ 169). TEXT. No. 170. Self-disparagement consists in & dis-esteeming of oneself in consequence of arriving at the knowledge of the Truth-that the world is an illusion and God alone is the real existence, or in consequence of calamity, or of bitter jealousy,-this leading to depression (§ 172), painful reflection (§ 201), tears, sighs of expiration, changes of colour, and sighs of inspiration. COMMENTARY. a. Among these varicties of self-disparagement, the self-disparag ment resulting from a knowledge of the truth, or rather from that state preparatory thereto, called vairagya, which may be translated 'heavenlu,mindedness, may be illustrated as follows :- O

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" Alas ! I have pounded down a conch-shell with convolutions from left to right, wwishing to mend a chink left in an earthen jar by a grain of sand, for I have devoted and sacrificed my divine nature of Man to the illusive enjoyments of the world." TEXT. Flurry. No. 171. ' Flurry' (ávega-§ 169-) means dis- turbance. When it is occasioned by rain, it is shown in the shape of distress in the limbs; when occasioned by some portentous phenomenon, it shows itself as petrifaction of the limbs; when occasioned by fire, as perplexity about smoke, &c .; when occasioned by the invasion, &c. of . a hostile king, flurry is manifested in the getting ready one's' weapons and elephants, &c .; when occasioned by wild or excited elephants or the like, it is shown in paralysis, trembling, &c .; when occasioned by the wind, it appears as perplexity about dust, &c .; when occasioned by something desirable, it appears as rejoicings ; and when occasioned by something undesirable, as grievings ;- and so its other modifications are to be understood according to circumstances. COMMENTARY. a. Among these, there may be Flurry occasioned by an enemy ;- as for example in the Raghuvans'a, canto 11, v. 69. "He, not regarding the king, who was calling out ' Hail ! hail!' kept fixed in the direction of Bharata's elder brother his glance which flashed flames of wrath against the Kshattras, whilst the eye-balls fiercely projected." ' b. Examples of the others may be inferred according to this sam- ple of illustration, which may thorefore suffice. c. Next of ' Depression' (dainya-§ 169). TEXT. Depression. No. 172. Depression, arising from misfortune, &c., is a lacklustreness which shows itself in squalor, &c. COMMENTARY. a. For example :- "The husband, old and blind, reclines on the bedstead; of the house only the posts remain; the rainy season is at hand, and there is no good news of the son. The jar containing the carefully collected * Such a conch-shell is believed to ensure prosperity to the house in which it remains, .

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oil-drops is broken ;- so, looking sorrowfully at her daughter-in-law weak through pregnancy, the mother-in-law takes a good long cry." b. Next of ' weariness' (s'rama-§ 169).

TEXT. Weariness. No. 173. Weariness is fatigue, arising from indul- gence, travel, &e., and occasioning sighing, drowsiness, &c.

COMMENTARY. a. For example :- "Tender as the Acacia Sirísa, straightway, when yet close to the . city, having gone hastily but three or four steps, Sitá caused the first tears to fall from the eyes of Rama-unmoved by any thought of his own herd fate-by exclaiming many a time, "Oh-how far is it that we have to go?" b. Next of ' Intoxication'(mada-§ 169). TEXT.

Intoxication, No. 174. 'Intoxication' is a combination of and its effects on difforent charac- confusion and delight occasioned by the employment ters. of wine. By this, the best kind of man is put to sleep ; while your middling description of man laughs and sings, and he that is of the baser sort talks rudely and blubbers. COMMENTARY. a. For example-take a verse from Magha, canto 10, v. 12. "The joke was a-foot, entertaining through the invention of indirect . witty speeches, ludicrously revealing profound secrets, on the part of dames brilliantly elevated by triple draughts* of wine." b. Next of ' Stupefaction' (jadata-§ 169). TEXT.

Stupefaction, No. 175. Let 'Stupefaction' signify incapacity for action, occasioned, for example, by secing, or hearing, anything ex- tremely agreeable or disagreeable. In' this case there is a gazing with unwinking eyes, silence, &c. COMMENTARY. a. For example, in the following verses from my Prakrit poem the 'Adventures of Kuvalayás'wa.' "Then the youthful pair, separated, only stood for a moment with * Here, for मिसरयेष, Roer reads जिरसकेम P. M.

100 The Mirror of Composition. their eyes, dull with weeping, mutually fixed on one another, as if they were figures in a painting." b. Next of ' Sternness' (ugrata-§ 169). TEXT.

Sternness. No. 176. Let 'Sternness' be the harshness which arises from rude valour, or from another's offences, &c. In this case we have perspiration, shaking of the head, reviling, striking, &c. COMMENTARY. a. For example-see the sternness of Madhara,-Act V.,-ad- dressing Aghoraghanta who was going to immolate Málati. "On the head of thee who hast raised the sword, for destruction, against that body which shrinks even from the blows of a soft ' sirísha'-flower, where the sentiment associated with the blows is no other than the sportive humour of an affectionate female friend, may this my arm fall like the mace of Yama the god of death, untimely to take thee to the infernal regions. b. Next of ' Distraction' (moha-§ 169). TEXT.

Distraction. No. 177. By 'Distraction' is meant perplexity, arising from fear, or grief, or impetuosity, or painful recollection,- causing giddiness, falls, staggerings, failure of sight, &c. COMMENTARY. a. For example-see the Kumara-sambhava, canto 3, v. 73. "The goddess of love was for a moment as it were bencfited by the distraction arising from this sharp affliction, which paralysed the action of her faculties,-she being thus, for the moment, unconscious of her husband's fate." b. Next of ' Awaking' (vibodha-§ 169). TEXT.

Awaking. No. 178. '"Awaking' means the return of con- . sciousness, from causes that remove sleep, and occasioning yawns, stretching of limbs, twinkling of the eyes, and the reviewing of one's limbs-a process the more strictly consequential if the person awaking be a Vedunti who believes that his limbs cease to exiat when he ceases to think of them.

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COMMENTARY. a. For example :- "These women, keeping their bodies unmoved in order not to awake their husbands, having been, though the last to fall asleep, yet the first to awake, do not even unclasp the circling embrace of the listless arms of their lovers enjoying repose after the lassitude consequent on long indulgence." b. Next of 'Dreaming' (swapna-§ 169). TEXT. Dreaming. No. 179. But ' Dreaming' is a sleeping person's, . notion of objects, which is a cause of anger, or of agitation, or fear, or debility, or joy, or grief, &c. COMMENTARY. a. For example-Megha-dúta, v. 106. " Frequently indeed do the tear-drops of the deities of the spot fall, large as pearls, on the buds of the trees, as they behold me with arms outstretched in empty space for the sake of stringently embracing thee whom I fondly imagine myself to have obtained somehow or other in the visions of a dream!" b. Next of ' Dementedness' (apasmara-§ 169). TEXT. Dementedness. No. 180. But by ' Dementedness' is meant a dis- turbance of mind occasioned by such a thing as the influence of one of the planets ;- this leadmng to falls, tremblings, perspiration, foam- ings at the mouth, slavering, &c. COMMENTARY. a. For example: look at the ocean as described by Magha, canto 3, 0. 72. "He doubted whether the Lord of the Rivers i. e. the Ocean, clinging to the earth, foaming, and roaring, and tossing high his huge waves like wanton arms, were not one possessed." b. Next of ' Arrogance' (garvva-§ 169). TEXT. Arrogance. No. 181. ' Arrogance' is pride arising from valour, or beauty, or learning, or greatness of family, &c., and leading to acts of disrespect, coquettish displays of the person, immodesty, &c. COMMENTARY. a. For example-Mahabharata-

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"Whilst I bear arms, what need of other weapons ? What is not achieved by my weapon, by whom will it be achieved ?" b. Next of ' Death' (marana-§ 169). TEXT. Death. No. 182. 'Death' is the quitting of life, this being occasioned by weapons or otherwise, and leading to the falling down of the body, &c. COMMENTARY. a. For example, Raghuvans'a, canto 11. v. 20. "Wounded in the heart by the irresistible arrow of that Cupid Rama, the female fiend departed to the dwelling of Life's lord-viz. the god of death-being sprinkled with her ill smelling blood as a woman going to the dwelling of her life's lord or lover, is sprinkled with sweetly smelling sandalwood unguent." b. Next of' Indolence' (alasya-§ 169). TEXT. Indolence. No. 183. 'Indolence' is an aversion to movement, this being occasioned by fatigue, or pregnancy, &e., and being a cause of yawning, continuing seated, &c. COMMENTARY. a. For example :- "She no longer adorns her person, nor does she converse with her female friend, but, indolent, through the load of pregnancy, the girl, long seated, yawns." b. Next of ' Impatience of opposition' (amarsha-§ 169). TEXT.

Impatience of No. 184. 'Impatience of opposition' is a deter- opposition. mination of purpose occasioned by censure, abuse, disrespect, &c., and leading to redness of the eyes, shaking of the head, knitting of the.brows, violent abuse, &c. COMMENTARY. a. For example, (Vira Charita, Act III) :- " I will perform penance for having acted otherwise than I ought towards you-worthy of all honour as you are ;- but still I will not belie my great vow of taking arms in tamely suffering the insult offered to me by Rama, breaking, as he did, the bow of my divine preceptor. b. Next of 'Drowsiness' (nidra-§ 169).

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TEXT. Drowsiness. No. 185. 'Drowsiness' is a contraction of the mental faculties, occasioned by fatigue, exhaustion, intoxication, &c., and causing yawning, closing of the eyes, deep inspirations, relaxation, of the muscles, &c. COMMENTARY. a. For example :- "She is as it were pictured in my heart, with her eyes half closed through drowsiness, as she uttered words partly with sense and partly unmeaning, in which the syllables were languidly articulated." b. Next of ' Dissembling' (avahitthá-§ 169). TEXT. Dissembling. No. 186. 'Dissembling' is the hiding of appear- ances of joy, &c., this being caused by fear, or dignified importance, or modesty, &c., and leading to employment in some other matter, or to language or looks, &c., directed otherwise than to that in regard to uchich concealment of sentiment is aimed at. COMMENTARY. a. For example-Kumara-sambhava, canto 6, v. 84. "Whilst thus the divine sage spoke, Parvati, at her father's side, holding down her head, counted the leaves of the lotus with which she played." b. Next of ' Longing' (autsukya-§ 169). TEXT. Longing. No. 187. 'Longing' is impatience of the lapse of time, occasioned by.the non-attainment of a desired object, and causing mental fever, hastiness, perspiration, long sighs, &e: COMMENTARY. a. For example :- "There is that very husband who gained me as a girl, and those same April nights, and the bold breezes wafting perfume from the Naucleas, and fragrant with the odours of the full-blown jasmine-and I too am the same :- but still my heart longs for the sportive doings, in the shape of toyings, under the ratan-trees on the banks of the. Revá." b. What the author of the Kavya-prakas'a says in regard to this passage-already remarked upon under § 2. p. 7 that the main thing

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in it is the Flavour,-this is to be regarded as superfluous, because an ' Accessory,' such as is exemplified in the present instance, is entitled (see § 47) to be called a ' Flavour,' since it is associated with the property of flavouring,-and therefore there was no occasion, tautologically, to make the assertion-true though it be. c. Next ofDerangement' (unmada-§ 169).

TEXT. Derangement. No. 188. ' Derangement' is a confusion of thought, arising from love, or grief, or fear, &e., and giving rise to inappro- priate laughter, or weeping, or singing, or absurd talking, &c.

COMMENTARY. a. For example :- take these verses of mine :- " Brother bee! whilst wandering everywhere, hast thou seen her who is dearer to me than my life?" (Having attended to the humming of the bee, which sounds like the Sanskrit word om ' yes'-the speaker continues joyfully-) " What !- dost thou say 'yes'? Then quickly tell me, friend, what is she doing, and where is she, and how?" b. Next of ' Apprehension' (s'anka-§ 169).

TEXT. Apprehension. No. 189. 'Apprehension' is the anticipation of evil from the cruelty of another, or from one's own misconduct, &c., this leading to changes of colour, trembling, side-looks, and dryness of the mouth.

COMMENTARY. a. For example :- take these verses of mine :- " Apprehensive of discovery, at dawn, she long applies the sandalwood unguent to her limbs scratched by her lover; she applies again and again the red dye to her lip wounded by his teeth,-the tender-limbed one all the while startledly casting her eyes around." b. Next of ' Recollection' (smriti-§ 169).

TEXT. Recollection. No. 190. What is called ' Recollection' is know- ledge having as its object something previously cognized, this being ex- cited by such causes as our perceiving or thinking of something similar, and lending to a raising of the brows, &c.

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COMMENTARY. a For example :- take these verses of mine :- "O how well I recollect that ever-smiling face of the lotus- eyed one, bashfully held down on secing her femane friend smiling, when I, artfully directing my eyes somewhat in some direction, in some measure caught her eye, which would not consent to meet my direct glance,-that eye of hers the pupil of which was dilated in a sidelong fashion, as she stole what she fancied an unobserved look at me!" b. Next of ' Resolve' (mati-§ 169). TEXT. Resolvo. No. 191. 'Resolve' consists in making up one's mind upon a point by attention to the rules of morality, &c., whence there arise smiles, confidence and delight, and self-satisfiedness. COMMENTARY. a. For example-(S'akuntalá, Act I.) "Undoubtedly she is fit to be married by a Kshattriya, because my virtuous mind is enamoured of her. For in all doubtful points the dictates of the conscience are the guide of the virtuous." b. Next of ' Sickness' (vyúdhi-§ 169). TEXT.

Sickness. No. 192. 'Sickness' means a fever, for example, arising from humours, &c., and causing a wish to lie on the ground, or causing trembling, &c. COMMENTARY. a. When this consists of inflammation, as in fever, then there-is a wish to lie on the cold earth, &c. When it consists of cold, as in agues, then there are tremblings, &c. Examples of this are evident and need not be here cited. . b. Next of ' Alarm' (trasa-§ 169). TEXT.

Alarm, No. 193. 'Alarm,' occasioned by thunder, light- ning, meteors, &c., causes tremblings, &c. COMMENTARY. a. For example, Kirátárjuníya, canto 8. v. 45. "When touched gently on the thighs by the fishes that were gliding about, the nymphs, with their eyes rolling in alarm, and with their P

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hands like the tender leaf quivering, attracted the look even of their female companions. b. Next of 'Shame' ( vrida-§ 169). TEXT. Shame. No. 194. 'Shame' is the absence of boldness, causing the e to hang down, &c., in consequence of misconduet. . COMMENTARY. a. For example :- "O how well I recollect" &c. (see § 190. a.) b. Next of ' Joy' (harsha-§ 169). TEXT.

. Joy. No. 195. But 'Joy' is mental complacency, on the attainment of a desired object, which occasions tears and sobbings, &c. COMMENTARY. a. For example :- "Having long gazed on the countenance of his son, as a poor man gazes on that of a treasure-jar, the father, through the joy of his soul, could scarcely be contained in his body, like the ocean swelling up in full tide on the rise of the moon, which the ocean regards with a parental feeling,-the moon having, it is said, been produced by the churning of the ocean." b. Next of ' Envy' (asúyá-§ 169). TEXT.

Envy. No. 196. ' Davy' is impatience of another's merits and prosperity, arising from pride, and leading to the inveighing against faults, frowns, disrespect, signs of anger, &c. COMMENTARY. %. For example-Mágha, canto 15. 0. 1. . "Well, the lord of Chedi (S'is'upála) could not endure the honour shown in that assembly by the son of Pandu ( Yuddhishthira) to the enemy of Madhu, (Krishna,) for the mind of the arrogant is intolerant of another's advancement." b, Next of ' Despondency' (vishada-§ 169). TEXT. Despondency. No. 197. But ' Despondency' is a loss of vigour

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-arising from the absence of expedients to meet impending calamity, causing panting and sighing, and distress, and a sceking for aid, &c. COMMENTARY. a. For example-my verses :- "This thy top-knot, formed of a close twisted bunch f hair, while, like an iron rod, it breaks my heart, like a black snake too, bites it." b. Next of ' Equanimity' (dhriti-§ 169). TEXT. Equanimity. No 198. But ' Equanimity' is complete content- 'ment, arising from true knowledge, or from the arrival of a desired object, &c. ; conducing to the production of amiable discourse, to cheer- ful liveliness, &c. COMMENTARY. a. For example, my picture of a reformed reprobate :- "After having long oppressed the poor, and waged a war of alten- cation With my own people, and given no regard to the heavy punish- ments of another life-now, forsooth, this same body, for which I had collected stores of wealth, has its wants satisfied by a handful of wild rice." . Next of ' Unsteadiness' (chapalata-§ 169). TEXT. Unsteadinoss. No. 199. But ' Unsteadiness' is an instability arising from envy, aversion, desire, &c., and causing abuse, harsh lan- guage, and self-willedness, &c. . COMMENTARY. a. For example-a lady reproves, in the following address to a bee, the unsteadiness of her own fickle lover in going after a younger mistress. "O bee! amuse your wanton mind with other flower-stalks that can bear your handling. Why dost thou prematurely and unprofitably render useless the young juiceless bud of the unblown jasmine ?" b. Next of ' Debility' (glani-§ 169). TEXT. Debility. No. 200. 'Debility' is an unliveliness resulting from enjoyment, or fatigue, or sorrow, hunger, thirst, &c, and causing tremblings, emaciation, inactivity, &c. P 2

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COMMENTARY. a. For example-Uttara-rama-charita :- "Long and bitter sorrow, withering her heart's flower like a tender young shoot severed from the stem, debilitates her pale and delicate frame as the amtumnal heat the inner leaves of the 'ketakf.' b. Next oPainful reflection' (chinta-§ 169). TEXT.

Painful refleo- No. 201. 'Painful reflection' is meditation aris- tion. ing from the non-possession of a beloved object, pro- ducing desolateness, sighs, and feverishness. COMMENTARY. a. For example-my verses :- "Leaning thy cheek upon thy hand, and thus, in appearance, joining with the expanded lotus its enemy the moon, what dost thou mourn- fully revolve, fair one, in thine inmost heart ?" b. Next of ' Debate' (vitarka-§ 169). TEXT. Debato. No. 202. 'Debate' is discussion, originating in doubt, and causing one to shake the brows, the head, or the finger. COMMENTARY. a. For example :- "What,-has he been stopped by some lover?" &c. (see § 121. a.) Others than b. And as for the statement-see § 168-that these come under t definition of these thirty-three are kinds of ' Accessory,'-this was an Accessory. intended to include also things analogous ; the author therefore proceeds to remark as follows :- TEXT. No. 203. 'Love,' also (§ 206,) &c., in reference to several of the Flavours, may be 'Accessories' (§ 202. b). COMMENTARY. a. To explain :- when the flavour is, for example, the 'Erotic' (§ 210,) ' love' alone-of all the permanent conditions-§ 206-is denot- ed by the term 'permanent,' because this must remain-being indispen- sable; while ' mirth'-another of the permanent conditions-§ 206,- on the other hand, when it occurs in the course of am erotic composition, is merely an ' Accessory,' because the definition of an 'Accessory' (seo

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§ 202. b.)-applics to it,-the comic element, where not the principal one, serving, in ' Romeo and Juliet' for example, to enhance the effect of the erotic. b. This has been declared-by the Dhwanikara-(as already re- marked under § 32. c.) as follows :- " Only when inseparably per- manent in the Flavour of any given composition, do a ' condition' (bhava) take rank as the PERMANENT one" (-§ 205). c. Then in respect of what Flavour may what ' conditions' perma- nent, when principal, serve as ' Accessories ?' To this he replies :- TEXT. Which Flavours No. 201. In the 'Erotic' and the 'Heroic' may sorve as Ac- cessoriesto which. (§ 209.) ' Mirth' (§ 206)-is an appropriate Acces- sory, and so in the ' Heroic' is ' Resentment' held to be :- then, again, in the ' Quietistic'-§ 209, ' Disgust' (§ 206) is declared to be an Accessory. The rest, besides this, may be inferred, for themselves, by those who can weigh their thoughts. COMMENTARY. a. Now of the 'permanent conditions' (sthayi-bhava). TEXT. . A permanont No. 205. That condition which neither those condition definod. akin to it nor those opposed to it can overpower,-the rout of the sprout of Gustation (§ 44 b.), this is held to be the ' perma- nent condition,' or main sentiment of the composition. COMMENTARY. a. As is declared by the Dhwanikara-"This permanent condition, running through the other conditions like the thread of a garland, is not overpowered by them but only reinforced." b. He enumerates the divisions thereof.

TEXT. The permanent No. 206 'Love' or 'Desire' (rati), 'Mirth'* conditions enu- merated. (hasa), 'Sorrow' (s'oka), ' Resentment' (krodha), 'Magnanimity' (utsaha), 'Terror' (bhaya),' Disgust' (jugupsu), and 'Surprise' (vismaya), -thus there are eight permanent conditions and there is also ' Quietism' (s'ama). COMMENTARY. a. Among these-

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TEXT. No. 207. 'Love' is a tendency of the mind towards a thing that is conformable to the mind ; by 'Mirth' is intended an expansion of the mind excited by absurdity of expression, &c .; what is designated by the word ' Sorrow' is a commotion of the mind occasioned by the loss of a beloved ouect, &c. ; by ' Resentment' is meant a feeling of sharp- ness towards opponents; what is called ' Magnanimity' is a steady audacity where any action has been entered upon ; but ' Terror,' oc- casioning disturbance of mind, is what is produced by the power of what is terrific; 'Disgust' is aversion, arising in respect of any object, from seeing or otherwise perceiving in it what is offensive; but what is meant by 'Surprise' is an agitation of mind in regard to strange things that transcend the limits of the mundane; 'Quietism' is the happiness arising from the repose of the soul in a state of indifference to the transitory concerns of time." COMMENTARY. a. For example,-in the play of' Malati and Madhava,' the per- manent condition is 'Love;' in the ' Nataka-melaka,' ' Mirth ;' in the 'Ramáyana,' 'Sorrow;' in the ' Mahabharata,' Quietism.' And so of the others. Why these con- ditions are called b. And these conditions are called permanent, be- permanent. cause these are ascertained, by the direct cognizance of men of taste, to be not destroyed, but on the contrary just reinforced, by other conditions, among these above enumerated, occurring, whether these be akin to or opposed to that one which happens to be the main sentiment. c. Moreover-

TEXT. No. 208. These,-the 'permanent' (§ 206), the ' accessory' (§ 168), and the 'involuntary' (§ 166),-are therefore called ' bhava' (which we have rendered ' condition')-because they GIVE OCCASION FOR THE EX- ISTENCE OF (bhavayanti ) the ' Flavours' which depend upon the various gestures or other indications of passion on the part of the actors.

COMMENTARY. a. * As is declared as follows by the Dhwanikara-" A ' condition' (bhava) consists in, or takes the name it does, in virtue of the causing

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of this Flavour to take place, through joy or sorrow or other things." b. Now he states the divisions of ' Flavour.' . TEXT.

The Flavours No. 209. The ' Erotic' (s'ringara), the 'Comic' onumerated. (hasya), the ' Pathetic' (karuna), the 'Furious' (rau- dra), the ' Heroic' (vira), the 'Terrible' (bhayanaka), the ' Disgustful'. (bibhatsa), and the Marvellous (adbhuta) : these eight are ' Flavours'; and so is the ' Quietistic' (s'anta) held to be by some. COMMENTARY. a. Of these, the ' Erotic' is first to be discussed. TEXT.

Tho Erotic No. 210. By s'ringa-literally a ' horn'-which describod. sprouts from the head of a bull as a plant does from thc earth-is meant the budding of love ; and by the word s'ringara -from ' s'rinyam richchhati,' it has the horn for its cause-is meant that ' Flavour,' generally most manifest in the noblest natures, which has for its condition the coming on or existence thereof-for one devoid of that sentiment cannot enjoy it. In this case let the substantial in- gredients(§ 63) be the heroines,-excluding another's wife, and a cour- tezan if not honestly enamoured, (§ 111), and the heroes, the ' impartial' &c. (§ 70.) The moon, sandalwood ointment, the hum of bees, &c., are held to be 'enhancers' (§ 160.) Motions of the eyebrows, and side- glances, &c., are found as its symptoms ; and its 'accessories' may be any (§ 169) except ' Sternness,' 'Death,' ' Indolence,' and 'Disgust.' Here the ' permanent' condition (§ 206) is 'Love ;'-and-according to the fancy of the mythologists it is black-coloured, and its deity is Vishnu-who in his incarnation as the amorous Krishna was remarkable for the darkness of his colour. COMMENTARY. a. For an example-we have a case of the ' Erotic' in the verses quoted under § 3. b., beginning- " Perceiving that the house was empty," &c. b. Here a husband of the just-mentioned description, and a girl of the just-mentioned description, are the two 'substantial excitants' (§ 63;) the empty house is an enhancing ' excitant,' (§ 160) ; the kissing is an 'ensuant' (§ 32;) the bashfulness and the mirth are ' accessories' (§ 104 and 203 ;) - the condition of love, developed by all these in a

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man of taste, assumes the nature of what we call the ' Erotic' Flavour. c. He mentions the divisions of this ' Erotic' flavour. TEXT. The . Erotio No. 211. Now, it is held to be of two kinds, viz., subdivided. 'separation' and ' union.'.

COMMENTARY. a. Of these two-he describes the former. TEXT.

Love in separa- No. 212. But where excessive love does not tion. attain the beloved object, this is ' separation.' COMMENTARY. a. 'The beloved object'-i. e. the hero or the heroine. TEXT. This subdi- No. 213. And let this love in separation be of vided. four kinds,-consisting of (1)' affection arising before the.parties meet' (purva-raga), (2) 'indignation' (mana), (3) 'the being abroad' (pravása), and (4) the ' sorrow' (karuna) of one who has no hope of a re-union which yet is destined to take place. COMMENTARY. a. Among these four- TEXT. Love between No. 214. What is called 'affection arising before persons yet stran- gers toeach other. the parties meet'-i. e. while the parties are stran- gers to one another,-is the peculiar condition which belongs, belore they have attained their wishes, to two persons mutually enamoured through having heard of or seen one another. And here the hearing may be from the mouth of a messenger, or a bard, or a female friend ; and the seeing may be by magic-as when Cornelius Agrippa, with his mirror, showed to Surrey the lady Geraldine,-or in a picture, or face to face, or in a dream. In such a case the following ten are the conditions of love, viz. longing, thoughtfulness, remi- niscence, the mentioning the qualities of the loved one, anxiety, and discourse where the person addressed is not, confusion of mind, sickness, stupefaction, and death. By 'longing' we mean wishing; 'thoughtfulness' meaus the thinking about the means of attainment, &e .; and 'confusion of mind' means the not distinguishing even

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between intelligent beings and things unintelligent. Let ' discourse where the person addressed is not' mean ravings, resulting from ex- treme confusion of mind. But 'sickness' means long sighs, paleness, emaciation, &c. 'Stupefaction' means an incapability of action whe- ther bodily or mental. The cffects of COMMENTARY. love, nnder such cireumstanees, ex- a. The rest is plain. Now for examples in their emplified. order. ".May those naturally sweet, loving, and affectionate ways of the fair-eyed one be all mine own, from which, in our interviews, great love 'has arisen,-on the very imagining of which for a moment as possible, my heart dissolves in a flood of joy, so that the action of my external organs is stopped short." Here we see the ' longing' of Madhava-Act V .- who has become enamoured through seeing Malati face to face. b. "How shall I see the fawn-eved maid, the god of love's very treasure?' Thus disturbed by thoughtfulness, the lover all night long goes not to sleep." Here we have the ' thoughtfulness' of a lover who has become ena- moured through seeing a certain heroine by means of magic .- The distich is mine. c. In the verses, beginning, " O how well I recollect that ever- smiling face!" (§ 190 a.), we have a lover's ' reminiscence.' . d. In the example (§ 100. c.) beginning " Her two eyes shaming the wagtail,"-we have the ' mentioning of the qualities' of the loved one. e. In the passage (§ 147. a.) beginning " She utters sighs,"' anxiety' is exemplitied. f. "When a third part of the night remained, having for a mo- ment closed her eyes, she used suddenly to wake up. Exclaiming aimlessly ' Where art thou going, S'iva ?'-she clasped her arms around no real neck." Here-Kumára Sambhava, canto V. v. 57-we have 'discourse where the person addressed is not.' g. In the example (§ 188. a.) beginning " Brother bee !"-we have 'confusion of mind" such that the speaker addresses an unintelligent creature.

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h. "Thy face pale and thin, thy heart impassioned and thy body wenk,-all this, my friend, markedly indicates an incurable disorder in thy heart." Here we see the 'sickness' .of lovers. i. " Her every limb is motionless-stretched on the couch of lotus- leaves ; the number of her long deep sighs alone proves that she yet .. lives." Here we have 'stupefaction.' The example is my own. TEXT. Death-nnder what cireum- No. 215 .. 'Death' which, as mentioned at § 214. atances an im- -is a condition to which one may be brought by love, proper or a proper snbject of descrip- is not described in poetry and the drama, where the tion. other conditions, such as ' anxiety' &c., are constantly described, because it-instead of enhancing -- causes the destruction of 'Flavour.' But it may be spoken of (1) as having nearly taken place, or (2) as being mentally wished'for; and it is with propriety deseribed (3) if there is to be, at no distant date, a restoration to life. COMMENTARY. a. The first of these cases may be exemplified as follows :- "With difficulty was that slender sufferer able to retain the vital spirit when she beheld at midnight the expanded Nyctanthes, the harbinger of spring, but now when she hears the crowing of the cocks, . awaking her from the visions of the night to the consciousness of desolation,-I know not what will become of her." b. Then the second case, for example :- "The bees may fill every quarter with the sound of their hum- mings ; and the breeze rising whome there are the groves of sandalwood, may gently approach ; the playful tame euckoos on the mango-top may make their musical note-the fifth, or dominant, according to musi- cal authorities-but may my vital spirit, hard as adamant, quiekly go. from me,-let it begone.". These two examples are my own. c. There is an example of the third case, in the story of Mahás'wetá, and Pundaríka, in the 'Kadambari;' and this variety, as we shall mention under § 224. a. is a case of pathetic Reparation. ' d. But some, not accepting the list given under § 214, say that the ten conditions of love are in the following ascending series (1) in the first place fondness on exchanging glances, (2) union of minels,

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(3) then thoughtfulness, (4) sleeplessness, (5) growing thin, (6) neglect of all objects, (7) abandonment of shame, (8) distraction, (9) insensi- bility, and (10) death. . e. And here i. e. in the case of there being an affection arising between parties yet strangers to one another,-the following is to be attended to. TEXT. Theory that the No. 216. Let the passion of the lady be first advances come best on the part mentioned, and that of the gentleman as resulting of the lady. from her proceedings. COMMENTARY. a. The proceedings of women in love have been mentioned (§ 155). The rule laid doun in the text is to be followed, as in the Ratnavali the passion of Sagariki and the king of Vatsa is described ;- the lady being there the first smitten. Although the gentleman MAY be the first to fall in love, yet the delectability is greater, when the thing is arranged thus as directed in the text. TEXT: No. 217. And 'affeetion arising before the parties meet,' is of three kinds, named fancifully after, (1) the indigo, (2) the safflower, and (3) the madder. That fondness which makes no great show, and which yet, when it has come into the mind, does not depart, they call the INDIGO love-the indigo being a colour that will well stand wash- ing ;- such was the love of Rama and Si'ta. They call that the SAFFLOWER love which shines but departs-like the dye of safflower which fades in the washing. They call that the MADDER love which does not depart, and which does shine. COMMENTARY. a. Next of 'indignation' (mana,-the second of the conditions of the separation of lovers,-§ 218). TEXT. Lovers' quar- No. 218. 'Indignation' means anger. But this rels, is of two kinds, (1) arizing from fondness, or (2) from jealousy. Let that anger be 'indignation from fondness,' which, with- out auy cause, through the capricious waywardness of affection, takes place in the case of two, even when there is very great love between them. Q 2

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COMMENTARY.

Arising from a. 'Oftwo,'-i. e. of the hero and of the heroine. the mere wan- tonness of affec- Of each of these is the 'indignation arising from tion. fondness' to be described. There is, for example, that of the hero affecting to be asleep, and addressed upon the point as follous. "O my lord, that affectest to be asleep, with thine eyes firmly closed, yet with thy body quivering as I kiss thy cheek,-do give me room,-I wont delay again." b. On the part of the heroine-as, in the Kumara Sambhara,. canto VIII., on the occasion of the description of evening. c. And this affected indignation may be on BOTH sides, for ex- ample. "Of the two indignant ones, fondly angry, and pretending to be both asleep, kept apart by indignation, and listening with checked and sup- pressed breathing, which is the stronger and will hold out the longest ?" d. Or, for example. ' " Of the spouses, on one and the same couch, silently longing for each other, but with averted faces doggedly keeping up their dignity, though reconcilement was in the heart of each severally,-when gently .by the moving of the corners of the eyes their eyes had met,-the contest of indignation was broken up, and with laughter was there quickly a close embracing of necks."* An exceptional e. But when this distance of behaviour through case, where zeet is thus only added indignation cannot be kept up by the lady until to love in union. conciliation, then the case is one, not of a species of SEPARATION (§ 212 and 213,) but of a condition called jealousy which may be an accessory and enhancer of love in UNION. For example : "Even when I get up a frown, my eyes look at him the more long- ingly ; and: when I check my voice, this confounded face of mine gets a smile on it; when my mind is bent on severity, my body falls into a thrill of delight ;- how can I keep up my indignation, when I see this person whom it is in vain to be angry with, ill as he may behave himself ?"

• This example which is superfluons seems to be an interpolation ; it is not givon in my MS. of the text, nor referred to in the commentary. P. M.

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TEXT. Where there is. ground for jea- No. 219. When the husband's attachment to lousy. some other loved one is seen, or inferred, or heard of, let the lady's indignation be that of jealousy (§ 218). But, among *these three cases, inference-for the cases of ocular demonstration and testimony require no subdivision-is of three kinds, inasmuch as it may result from (J) behaviour on starting out of sleep, or (2) signs of dalliance, or (3) blurting out the name of the loved one in the hearing of the jealous one.

COMMENTARY. Indignation at shows to a rival. where it-the fondness shown a rival is SEEN ; for open favour a. Among these cases enumerated in § 219,

example take the following from Magha, canto VII. v. 57. "When the fond one, with the breath of his mouth, removed the pollen of the flower from the eye of the fair-eyed dame, both eyes of the young rival wife were exceedingly filled with the dust of indignation." b. Then again there is the case where it -- the fondness shown to a rival-§ 219-is inferred from signs of toying :- for example in the Amaru-s'ataka- "Thou hidest with thy garment thy limbs newly marked by her nails ; thou coverest also with thy hand the lip bitten by her tooth; but by what means can be concealed the odour of the fresh perfume that crceps out in every direction from thy perspiring person pro- claiming that thou hast been toying with another woman ?" c. So in regard to other cases referred to in § 219, which do not call for separate illustration.

TEXT. Means of re- indig- No. 220. Conciliation, division, presents, sub- moving nation. mission, disregard, change of humour,-such are the six expedients which the husband should employ in succession for the removal thereof-i. e. of the lady's indignation. Among these six expedients, what we mean by 'conciliation' is affectionate language; 'division' is the gaining over of her female friend to the offender's side; 'presents' should be of ornaments or the like, on some pretext; 'submission' means falling at her feet. But when 'coneiliation' and

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these others have failed, then let there be 'disregard'-i. e. neglect. By a 'change of humour' we mean the indignation's being put to flight by some sudden terror or joy, &c. COMMENTARY. a. For example -- " I did not hearken to his fond speeches," &c .- see § 117. a. In this example the five, beginning with ' conciliation,' are suggest- ed, the matter ending in the gentleman's walking off with an affec- tation of disregard. The 'change of humour' when sudden terror, for instance, causes the lady to forget her indignation, does not require illustration, and may be imagined by the intelligent reader. b. Now of ' being abroad' § 213. TEXT. The separation of lovers in dif- No. 221. 'Being abroad' means being in a dif- ferent countries. ferent country, in consequence of business, or a curse launched by some deity, or a confusion in the midst of which one of the lovers is separated from the other. "In this case what takes place is filthiness of person and clothing, a head with a single braid into which all the locks are gathered as a sign of mourning, sighs, sobs, weepings, fallings on the ground, &c. COMMENTARY. a. Moreover- TEXT. No. 222. There may be squalor of the person, fever, paleness, emaciation, distaste for everything, languor, desolateness, the being absorbed in the thought of her, frenzy, insensibility, and death ;- such, in their order, are to be understood to be the ten conditions of love in this case of separation-§ 221. 'Squalor' is the being beset with filth ; but 'Fever' is the sickness of separation; 'Distaste for every- thing' is indifference towards things ; ' Languor' is disinclination for everything; and what is 'called ' Desolateness' is the vacancy of the mind; 'The being absorbed in her'-i. e. she appears everywhere, both without and within,-in the heart of the lover, in the beauty of the flower, in the brightness of the moon, &c. COMMENTARY. a. The rest is plain. These conditions are partly exemplified in the jollowing verses, for example, of my father.

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"Her mind is paralysed by anxiety, her cheek rests on her hand, her face is pale. as the morning moon, her lip is wearied with mere sighing, her fever is not alleviated by the fresh leaves of the lotus or the spray of the water,-who is her beloved, hard to be come at, who suffers to continue such a wretched state ?" TEXT. Separation may be viewed as fu- No. 223. Among these three kinds of exile- ture, present, or (§ 221)-let that which is 'in consequence of busi- past. ness' be of three kinds, viz. future, present, and past. COMMENTARY. a. This threefold character belongs to that which is 'in consequence of business,' becanse this is preceded by an understanding that the exile is to take place,-whereas in the case of a curse or of one's being unexpectedly snatched away, there is no room for contemplating the separation as something future. Among these there is the 'future' or contemplated separation, as in my verses :- "Fair one, I depart.'- 'Depart, O traveller.'-' Dear one, sorrow . not in vain.'-' Why should I sorrow at thy departure ?'-' Nay why then dost thou weep ?'-' Because thou departest not quickly'-' Why this thy haste to have me gone ?'-' Because great is the cagerness of this my spirit along with thee to take its flight.'" b. 'Present' separation, at the moment of its taking place, may be exemplified as follows :- "My bracelets have departed-thrown off as my husband takes his departure ; my tears, which are friends of yours-O my vital spirit- as being destined to be near you, while you remain on carth,-depart from my eyes incessantly ; my composure rests not for a moment from taking its departure ;- my intellect has resolved to go off even before him ;- thus all have set out together, since it was the resolution of my best beloved to depart,-and as it is time to be gone, why, O my vital spirit, dost thou forsake the company of these thy dear friends and omit to depart at the same time? c. 'Past' separation-i. e. completed and continuing,-may be exemplified as follows :- "Her mind is paralysed by anxiety," &e. (§ 222. a.) d. Next. we may cxemplify separation resulting from a 'curse' (§ 221,) for example :-

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"Thou mayest recognise her," &c .- § 119. d .- Megha-duta, v. 82. e. 'A confusion' which, in § 221, is specified as one of the sources of the separation of lovers, may arise from divine or human agency, whirlwinds, earthquakes, or other portents. Take as an example the separation of Urvas'i and Pururavas, in the Vikramorvas'i, Act 4th. f. Though the 'longing,' &c., which are mentioned under § 214 as the conditions of 'affection arising before the parties meet,' and personal 'squalor,' &c , also, which are mentioned as belonging to these cases of separation just treated of-$ 221 and 222-might cach serve for either case with equal propricty, they have been distinctively set forth here in conformity with ancient usage. g. Next of the 'sorrow'-§ 213-of one who has no hope ofa reunion which yet is destined to take place.

TEXT.

Of lovers se- No. 221. Either of two young lovers being dead, . parated by death, and yet to meet and being yet to be regained through some supernu- again. tural interposition, when the one left behind is sor- rowful, then let it be called the ' separation of tender sadness.'

COMMENTARY.

a. As, for example, in the Kadambari, in the story of Pundarika and Mahas'weta. b. But if the lost one be not regainable, or regainable only after transmigration in another body, the flavour is called the 'Pathetic simply-there being, in this case, no room for any admixture of the 'Erotic' ;- but in the case just mantioned-bf Pundarika and Ma- has'weta, immediately on Saraswati's declaration from the sky that the lovers should be reunited, there is the ' Erotic' in its form of 'separation of tender sadness,'-for desire arises on the expectation of reunion, but PREVIOUSLY to Saraswati's promise there was the 'Pathetic' ;- such is the opinion of the competent authorities. . c. And as for what some say in regard to the case of Pundarika and Mahas'weta, that, "moreover AFTER the expectation of reunion -excited by Saraswati's promise to that effect,-there is merely your honour's variety of 'love in absence' (§ 222) the one which you call 'being abroad' (§ 221,)"-others hold it to be distinet, "because

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of the presence of that distinction, DEATH-which is something else than merely being abroad. d. Next of 'love in union' (§ 211). TEXT. Love in union. No. 225. There is said to be 'love in union' where two lovers, mutually enamoured, are engaged in looking on one ano- ther, touching one another, &c. COMMENTARY. a. By the ' &c.' is meant the mutual drinking. the nectar of each others lips, kissing, &c. For instance-"Perceiving that the house was empty," &c .- see § 3. b. TEXT. No. 226. This 'love in union' is, by the learned, asserted to be one only, because, in consequence of its many varieties of kissing, embracing, &e. it would be impossible that they should be separately reckoned. As accessories in regard to this, let there be the six seasons with their several persuasives to loring fondness, the moon and the sun, and so too their settings, gambols in the water, rambles in groves, the morning, draughts of nectar, the night, &c., anointments and adornments, &c., and whatever else is pure and fair. COMMENTARY. a. And to the same effect, Bharata declares-" whatever in the world is pure, and fair, and bright and sightly, all such suits with the Erotic," i. e. befits it. b. Moroever- TEXT. No. 227. But this love in union is said to be of four kinds from its coming after 'love antecedent' to personal acquaintance, &c. - (see § 213.) COMMENTARY. a. As has been declared-"Not without previous separation does the union of lovers prosper; for it is after clothes or the like have been soaped that their colour increases the more." b. Among these,-there is union after becoming previously ena- moured, in the case, for example, of Parvati and S'iva in the Kumara- Sambhava; and union after separation by being abroad, as in the following verses of my father's.

122 The Mirror of Composition.

" Is it well with thee,-thou with the deep-fringed eyes?"-"My welfare is slender, thongh my person be so plump."#-"Wherefore is there such slenderness in thy welfare ?"t-" Because thy person is so stout." -- "Why am I stout, darling ?" .- "From the embraces of thy beloved."-" I have none, save THEE my fair-browed one." -- " If this be so, why dost thou ask after my welfare ?- thy own wretched- ness in absence,-didst thou but love as I do,-would have told thee mine." And so examples of the other cases may be inferred from this illustra- tion. c. Next of the 'Comic' (hásya § 209). TEXT.

The ' Comic,' No 228. The ' Comic,' in which the 'permanent described. condition' (§ 206) is ' Mirth,'and which, according to the fancy of the mythologists, is white-coloured, and has the attendants of S'iva as its presiding deities,-may arise from the fun of distorted shapes, words, dresses, gestures, &c. Whatever a person laughs at, when he beholds it distorted in respect of form, speech, or gesture, this they call the ' substantial' element of the Comic,'-see § 63,-and the gestures thereunto pertaining are held to be the ' enhancers' (§ 62). Among its ' ensuants' are closings of the eyes, smilings of the counten- ance, &c., and the 'accessories' (§ 169) may be Drowsiness, Indolence,

How men of Dissembling, &c. When under the influence of the different cha- ' Comic,' the best kind of persons slightly smile or else racters show their sense of smile ; the middling sort laugh, or laugh aloud; the the ridiculous. baser sort roar with laughter, or are conynlsed with laughter ; such are the six kinds of mirthful expression. Let a ' slight smile' (smita) have the eyes a little opened and the lip quivering ;- by the learned, among these varieties of mirthful expression, that is called a 'smile' (hasita) where the teeth are somewhat shown; a 'laugh' (vihasita) is attended by a soft sound ; loud ' laughter' (avahasita) is that which is attended by shakings of the head and shoulders ; a 'roar of laughter' (apahasita) has the eyes filled with tears; a 'convulsion of laughter' (atihasita) is that where the limbs lose all controul.

• The scholiast explains this sentonce thus :- " That my body is so much ema- ciAted, this is my welfare." P. M. t "-Thinness in thy body," according to the commentator. P. M.

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COMMENTARY.' a. For an example of the ' Comic' -- take my verses- "Having for five days studied the words of the teacher Brihaspati or Prabhakara, and for three whole days the Vedanta system, and having sniffed a smell of the disquisitions of Logic, this Dr. Cock has. arrived in full feather." b. The full devolopment of this-i. e. of the ' Comic'-is to be seen in the Nataka-melaka, &e. c. And in regard to this, the following is to be remarked. TEXT. The representa- No. 229. And even if the person to whom, as its tion of tho snb- jeet of the 'Co- subject, belongs the sentiment of laughter is not mie' o" other sen- timent not indis- direetly exhibited anywhere, still he is discerned pensablo. through the force of the excitants, &c. which cannot indeed be realized in their completeness, unless we suppose a HERO, under the inftuence of the sentiment, cxhibiting his sense of the ludicrous by external marks, in Poctry called Ensuants. These Excitants, &c. are apprehended by reason of there being through Sympathy (§ 40), an identification of the spectator with the actor ; and thence is this flavour, the ' Comie,' experienced by the spectators. COMMENTARY. a. The same is to be understood in regard to the other flavours also. b. Next of the ' Pathetic' (karuna § 209). TEXT.

The ' Pothetic' No. 230. Let that flavour be called the ' Pathetie' described. which' arises from the advent of what is unplesant, or from the loss of what is loved. By the learned it is mythologically spoken of as dove-coloured, while its presiding deity is the god of death. Let sorrow be here the permanent mood (§ 206) ;- what is held to be the Essential Excitant (§ 63) is the object sorrowed for. Let the 'enhancers' (§ 62) be such things as when this-the dead body of the loved one-is being burnt. Its ' Ensuants' are the cursing one's destiny, falling on the ground, wailing &c., changes of colour, sighs, and sobs, stupefaction, and raving. Its 'accessaries' are in- difference to all worldly objects, fainting, epilepsy, sickness, debility remihiscences, weariness, distress, insensibility, madness, anxiety, &c. R 2

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COMMENTARY. a. The 'object sorrowed for' is a deceased relative, or the likc. For example-in my Raghava-vilása- "How unsuited are this thy lovely form and the cultivation of matted locks in the forest! Is not fate's coupling the two as inappro- priate as a cutting of the Acacia-flower with a sword ?" For here we have Das'aratha blaming destiny, he being pained with the sorrow produced by Rama's having to dwell in the woods-uhen he was so much better qualified to adorn a palace. b. In like manner examples might be adduced where there is se-, paration from relatives, loss of wealth, &c. But the full development of the ' Pathetic' is to be seen in the Mahabharata, in the section entitled the Stri-parvvan. c. He now states the difference of this-i. e. ofthe real ' Pathe- tic'-from ' separation of tender sadness' (§ 224).

TEXT. No. 231. This flavour, the ' Pathetic,' differs from the ' separation' of those who are destined to be reunited, through its having Sorrow as its 'permanent mood.' In the ' separation,' spoken of under § 224, 'the permanent mood,' or groundwork of the sentiment, is Desire,-this being occasioned by the hope of enjoying reunion. COMMENTARY. a. Next of the ' Furious' (raudra § 209). TEXT.

The 'Furious' No. 232. The 'Furious,' in which Anger is the described. ' permanent mood' (§ 206) is-according to the my- thologists, red-coloured, and has Rudra as its presiding deity. Its ' essen- tial excitant' (§ 63) is an enemy; and his behaviour is regarded as its 'enhancer' (§ 62). Its liveliness may be enhanced by strikings with the fist, fallings, rudeness, cuttings and tearings, fights and confusions. Its ' Ensuants' are knitting of the brows, biting of the lips, swelling of the arms, threatening gestures, telling of one's achievements, and brandishing of weapons; so also reviling, and angry looks, &c. Let sternness, Hlurry, horripilation, perspiration, trembling, intoxication, delirium, impatience, &c., be its 'accessory' moods.

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COMMENTARY. a. For example-hear As'watthaman in the Veni-sanhara. "By whichsoever unmannerly beasts of men among you, armed as you are, this heavy sin of Drona's murder was perpetrated or approv- ed or witnessed, I shall make a sacrifice to all the quarters of heaven with the blood, fat, and flesh of them, though they include Bhima and Arjuna with Krishna, the foe of Naraka." b. He states the difference of this from the martial ' Heroic.' TEXT. No. 233. And it is the redness of the face and eyes that differences this, the ' Furious,' from the martial ' Heroic'-which is to be next described. COMMENTARY. a. Next of the ' Heroic' (vira § 209). TEXT.

The 'Heroic' No. 234. The ' Heroic,' which belongs to the described. noblest men, has energy as its 'permanent mood' (§ 206). It is stated by the mythologists to be yellow-coloured, and to have the great Indra as its presiding deity. But its ' Essential Excitants' (§ 63) are held to be persons that are to be conquered, &c. Its 'enhancers' are the behaviour, &c., of the persons to be conquered, &c. But let its ' Ensuants' be the seeking for allies, &c. But its 'accessories' are firmness, resolution, pride, reminiscences, reasonings, and horripilation. And it may be of four kinds, as being conversant about liberality, or duty, or war, or benevolence.

roid' COMMENTARY. The ' Heroic' a. 'And it' -- i. e. the 'Heroic.' It is of four divided. kinds. (1) The ' Heroie of liberality,' (2) the ' He- roic of duty,' (3) the ' Heroic of war,' and (4) the ' Heroic of bene- volence.' b.' Among these the ' Heroic of liberality'-for example Paras'u- rama, whose liberality is spoken of as follows. The ' Heroio' of liberality. " His liberality extended to the giving away, with- out any affectation, of the earth girdled by the seven seas." Here the 'permanent mood,' Paras'urama's energy in dispensing, attains to being the ' Heroic of liberality,' it -the Flavour in question- being excited by the ' Essential Excitants' (§ 63) the brahmanical

126 The Mirror of Composition.

recipients, and by such ' enhancing excitants'.(§ 62) as the goodness and determination of the benefactor; and exhibiting as 'ensuant' on it the relinquishment of one's whole possessions, &c .; and being brought to its highest development by such ' aceessories' as cheerfulness in the parting with all one's possessions, firmness, &c. c. The ' Heroic of duty'-for example-Yudhishthira-who speaks as follows. The ' Heroic' of "My kingdom, and my wealth, and my body, and duty. those who are my wife, my brothers, and my child- ren, and whatever in this world I am possessed of, all this is ever ready to be sacrificed to my duty." d. The ' Heroic of war'-for example-the illustrious Ramchandra -whose ambassdor, Angada the son of Buli, thus speaks. The ' Heroic' of "O Ravana lord of Ceylon, let Sita the daughter war. of Janaka be restored. Rama himself begs this. What confusion of thy wits is this? Bethink thee of propriety. Even up to to-day nothing is lost* to thee in Ceylon,-but count not on further forbearance. If thou wilt not do thus, this arrow of mine,-already stained with the neck-blood of thy friends Khara, and Dushana, and Tris'iras,-once let it make friends with the bow-string that joins it, will forbear no further." e. The ' Heroie of benevolence'-for example-Jimútavahana-who -outshining Prometheus-thus addresses a hungry vulture which has stopped eating him. The ' Heroic' of "The blood is still cireulated by the valves of my bonevolence. veins, and there is still flesh on my body ;- I do not see that thou art yet satiated ;- why then, O bird, hast thou desisted from devouring ?". f. In the case of these also (§ 231. c. d. e.), the appropriate ' condi- tions,' &e. may be inferred by the reader for himself, as in the previous example -- (§ 231 b.)-where they are stated with sufficient fulness. g. Next of the 'Terrible' (bhayanaka § 209). TEXT.

The 'Terrible' No. 235. The ' Terrible' has fear for its 'perma- described. nent mood' (§ 2u6,) and Time for its presiding deity. It belongs to women and mean persons, and is regarded under « * Here the edition of 1828 reads wai and the translation is according to this reading iustead of ari, that in Roer's edition. P. M.

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mystical or mythological aspect by the learned as being black-coloured. In this case THAT is regarded as the ' Essential excitant' (§ 63) by which the fear is produced. Again; let the 'enhancers' be its fierce gestures. The 'ensuants,' in this case, are changes of colour and speaking with a stammering tone, faintings, perspiration, horripilation, trembling, looking in every direction, &c. Its 'accessories' are aversion, agita- tion, bewilderment, terror, debility, prostration, doubt, epilepsy, con- fusion, death, &c. COMMENTARY. a. For example- . "The eunuchs fled, having abandoned shame, because of their not being reckoned among men ; the dwarf, in terror, ensconces himself within the loose and wide trowsers of the chamberlain; the moun -. taineers, the guardians of the bounds, acted in a style accordant wlth their name-see § 81. b .; while the hump-backs, fearing that they may be seen by the monkey who has occasioned all this alarm, cower- ing down, slink quietly off." b. Next of the 'Disgustful' (bibhatsa § 209). TEXT. The ' Disgust- No. 236. But that Flavour is called the ' Dis- fnl' described. gustful' where the ' permanent mood' (§ 206) is Aver- sion. It is alleged by the mythologists to be blue-coloured and to havo Mahikala (an awful form of S'iva) as its presiding deity. Stinking flesh and fibre and fat, are regarded as its 'Substantial excitant' (§ 63). In the same, the presence of worms &e. are instanced as the ' enhancers.' Spitting, averting of the face, closing of the eyes, &c., are regarded as 'ensuants' in this case ; 'and, in like manner, let the 'accessories' be bewilderment, epilepsy, agitation, sickness, death, &c. . COMMENTARY. a. For example-Malati Madhava det V .- "Having first torn and stripped off the skin, then having devoured the swollen and violently stinking lumps of flesh that were readily to be got from such parts of the mass as the shoulders, buttocks, and back,-casting his eyes within the skeleton, and with his teeth displayed, the beggarly ghost is eating at his ease, from the skeleton placed in his lap, what flesh remains upon the bones or is to be found at the joints." b. Next of the ' Marvellous' (adbhuta § 209).

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TEXT.

The ' Marvel- No. 237. The 'Marvellous' has wonder or sur- lons' described. prise (§ 206)-as its ' permanent mood' (§ 63), and a Gandharva as its presiding deity. It is alleged by the mythologists to be gold-coloured. Its 'essential excitant' (§ 63) is held to be any supernatural thing. Then again let the greatness of the qualities of that supernatural thing be the 'enhancers' of the sentiment. Stupe- faction, perspiration, horripilation, stammering speech, agitation, and so too wide opening of the eyes, and the like, are said to be its ' ensuants.' Its ' accessories' are ' debate' (§ 202), flurry, confusion, joy, &c.

COMMENTARY. a. For example-listen to Lakshmana in the Viracharita of Bhavabhúti, Act I. "The sound of the clang raised by the breaking of the bow-staff of the Moon-crested S'iva, which (bow) had got into his (Rama's) arms -or literally arm-staffs,-as a drum for proclaiming the boy-play of my elder brother -- reverberating with its force condensed in the belly of the receptacle of Brabma's egg-OUR universe-the halves of which, violently shaken, have collapsed as a box so that the sound can't get out, -ha !- bow !- does it not even YET subside ?" b. Next of the 'Quietistic' (s'anta, § 219).

TEXT.

The ' Quietistic' No. 238. The ' Quietistic' has quietism (§ 207) as described. its 'permanent mood' (§ 206), and is esteemed the mood of the very best of men. Its beauty is fair as jessamine and as the moon, and the adorable Narayana is its presiding deity. Its ' essential excitant' (§ 63) is the emptiness or vanity of all things by reason of their not being lasting,-or else it is the form of the Supreme Spirit,-i. e. God -the only entity in the opinion of the quietist. Its 'enhancers' (§ 161) consist of holy hermitages, sacred places, places of pilgrimage, pleasant groves, and the like,-the society of great men, &c. And let its 'ensuants' be horripilation, &c. ; and in like manner let its ' accessories' be self-disparagement, joy, remembrance, resolve (§ 169), kindness towards all beings, &c.

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COMMENTARY. a. This is an example :-- When will the crow fearlessly carry away the food placed as alms in my joined hands, as I move along the high way, wearing rags of a worn-out patched garmeut, looked at by the citizens in the road with fear, with curiosity, and with pity, sleeping in the unfeigned bliss of relishing the nectar of spirituality ? b. The fulness of this flavour is to be seen in the Mahabharata, &c. TEXT.

The Quietistic not No. 239. The ' Heroic-in-mercy,' or the like,* 'identical with the is not the same with this flavour, as thelatter is of 'Heroic-in-mercy,'&e. a nature without egotism. COMMENTARY. a. In the Heroic-in-mercy and the like, such, for example, as Jimúta-váhana, we do not find an extinction of egotism, inasmuch as in the middle of the drama Nagananda, whereof he is the hero, his love for Malayavati and, in the end, his acquiring the sole monarchy of the Vidyadharas are observed. The Quietistic, however, consisting only in the extinction of egotism in every way, is not to be included therein (viz. in the Heroic-in-merey, &e.) Hence, in the Nagananda the Quietistie's being the principal sentiment is confuted. b. But, then, (some one may ask)- An objection stat- ed against the Quiot- ["That in which there is neither pain, nor istie's being a Fla- pleasure, nor thought, nor hatred, nor affection, vour. nor any desire-is called by the chief sages the Quietistic Flavour, which has, among all the sentimente, Quietism for its principal mood."] How can the Quietistic being of the nature described in the preceding couplet, arising only in the state of Eman- cipation (which is defined to be the attainment of the real nature of the Soul) and wherein there is an absence of the Accessories, &c. be a flavour? To this it is replied as follows :- TEXT. The Quietistio a Flavour, while tho No. 240. As that quiotism only, which exists Soul is only about to in the state wherein the mind is joined to and dis- be emancipated. joined from the Soul (or, in other words, when the human Soul is not completely absorbed in the Divine) attains to * The ' Heroic-in-religion,' devotionnl love, &c. (See § 233, a-e, whore the terms are somewhat differently rendered )

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the nature of flavour, the presence in it of Accessories also is not hindered. COMMENTARY. a. As for the declaration of the absence, therein, even of pleasure, it refers only to worldly pleasure, and consequently there is no con- tradiction. For it is asserted- The bliss of quiet- ism supreme over 'The carthly ploasures of sense and the great heavenly as well as. pleasure in hoaven: these are not worth the earthly pleasures. sixteenth part of the bliss springing from the quelling of all desires.' TEXT.

When the Heroic- *The ' Heroie-in-mercy,' &e. are entitled to be in-mercy becomes the ineluded herein (i. c. in the Quietistie Flavour) Quietistic. if they attain to a state devoid of egotism in every way. COMMENTARY. a. By the ' &c.' are meant the ' Heroic-in-religion,' the ' Heroie- in-generosity,' 'love having a deity for its objeet' and others. Amongst them, love having a deity for its object is exhibited, for example, in the following lines :-- Devotional love "When shall I pass my days as a moment, illustrated. dwelling in Varanasí here on the bank of the Divine River (Ganga), wearing a waist-cloth,t holding my hands joined on my head, and crying out-"O Lord of Gauri, Destroyer of Tripura, Three-eyed Sambhu,t be propitious !" b. Now the flavour of ' parental affection' acknowledged by the chief of the sages (Bharata) shatt be defined. TEXT.

The Flavour of No. 241. From its evident charmingness they ' Parental Affection' consider P'arental Affection also as a Flavour. described, Its Permanent Condition is parental affection, and a son, &c. are considered its Essential Excitants. The Enhancing

• The numbering of this Text has been omitted in conformity with the edition of the original by Dr. Roer, who erringly considers it as a portion of the preceding commentary. t In the original, 14t7 or a small bit of cloth worn over the privities. t One of the names of S'iva, as the Author of good, or the Deity in his Supreme blessedness when he has withdrawn His energy manifcst as the universe.

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Excitants are their actions, learning, heroism, benevolence, &c. Em- braces, touching their body, kissing their head, gazing at them, erection of the hair of the body, tears of joy and others, are declared to be the Ensuants. Apprehension of evil, delight, pride, &c. are considered the Accessories. Its (the Flavour's) colour is shining like the interior of a lotus and the Mothers of the World are its deity. a. The following is an example :-

and illustrated. " That child heightened the joy of the father as it uttered what its nurse first spoke, as it walked elinging to her finger, and as it stooped being taught to bow "down." b. Now, he states the incongruity among the Flavours : - TEXT.

Which Flavonrs No. 242. The First is opposed to the Pathetic, aro incongruous with the Disgustful, the Furious, the Heroic and the which. Fearful; the Comic, to the Fearful and the Pathetic. The Pathetic is inconsistent with the Comie and the Erotic; the Furious, with the Comic, the Erotic and the Fearful; the Heroie, with the Fearful and the Quietistic; the Fearful, 'with the Erotic, the Heroic, the Furious, the Comic and the Quietistic ; the Quietistic, with the Heroic, the Erotic, the Furious, the Comic and the Fearful ; and the Disgustful is incongruous with the Erotie. Thus has the inconsistency been stated.

COMMENTARY. a. By 'the First' is meant the Erotic. b. The ways of introducing these Flavours shall he mentioned afterwards (See Text 601 & Com.) TEXT.

Madness, &c. not No. 243. Madness and the like, though from 'permanent condi- tions' though some- some cause attaining to an apparent permanency timcs apparent as somewhere, are not ' Permanent Conditions,' as such. they do not become permanent in the Hero of a drama or a poem, (or, in other words, as the Hero dves not act princi- pally in those conditions).

• I. e. the other Accessories (sce Text No. 169) which are only concomitants of some one main sentiment, such as Love for instance, and this alone is conse- quently spoken of as a 'Permament condition.' s 2

132 The Mirror of Composition.

COMMENTARY. a. As, for example, the madness of Purúravas in the fourth Act of Vikramorvasí.

. TEXT.

All poetical senti- ments, being relisha- No. 244. Flavour and Incomplete Flavour, ble, are flavours tropi- their 'semblances,' the ' quelling' and the ' ex- cally. citement' of a sentiment* and the 'conjunction' and ' commixture' of sentiments-even all these may be considered as Flavours from their being tasted.

COMMENTARY.

a. From their possessing the quality of being tasted, even the Incomplete Flavour, &c. are Flavours, metaphorically. This is the purport. b. The Incomplete Flavour, &c. are defined as follows :

TEXT.

An Incomplete Fla- No. 245. The principal Accessories, Love a vour what. Deity, &c. being its object, and a ' Permanent condition' merely awakened (and immediately quelled) are denominated ' Incomplete Flavours' (or sentiments simply.)

COMMENTARY.

a. "There is no Flavour without a sentiment, nor a sentiment devoid of Flavour: a Flavour and a sentiment are completed by cach other." Now from a full consideration in the way suggested above, such Accessories as,-though they are always concomitants of Flavour in which they finally end-are, for the time, principally developed, like a servant followed by his king in his marriage procession ; Love having a deity, a sage, a spiritual guide, a king or the like for its object; and such 'permanent conditions' as are merely awakened, or, in other words have not attained the nature of a Flavour from their not being fully developed by the Excitants, &c .- are denoted by the word ' sentiment' or 'mood' (Bháva). * More properly, condition or state of being, for the original word bháva comprehends in its sense feelings and mental states, together with conditions of the body.

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An Accessory at- b. Among these an ' Accessory, prominently taining to the rank of an Incomplete Fla- developed' is exemplified in-"Whilst thus the vonr illnstrated. divine sage spoke, Párvati, at her father's side, holding down her head, counted the leaves of the lotus, with which she played."* Here, ' Dissembling' (Avahittha) is the Accessory. c. Love-a Deity being its object-as in this stanza of the Kunda Málá :--

Love for a Divinity, " I am willing to dwell in heaven, or on earth, an Incomplete Fla- or in hell, O, Destroyer of Naraka!t May I only vour, exemplified. meditate even in death on thy feet that scorn the red lotus of Autumn !" d. Love having a saint for its ohject, e. g .-

Love for a sage, Through the sin-destroying sight alone of thee the same, exemplified. I have obtained my end, still do I feel a wish to hear thy weighty words, for who is ever satiated with Supreme felicity ? e. Love having a king for its object as in the following : Love for a king, "S'iva, afraid of the immense weight, bears not the same, illustrated. the Ganges on his head, muddy as it is with the heaps of dust raised by the multitude of thy horses." f. So of others (i. e. love having other objects). g. A ' permanent condition,' merely, awakened-as- An undeveloped "But S'iva, like the ocean at the time when 'permanent condi- the moon is about to rise, with his tranquillity tion,' the same, exem- plified. slightly disturbed busied his three eyes on Uma's face with lips like the Vimbat fruit." Here is exhibited the love of the Holy One for Parvati-merely awakened. The possibility of h. But, (-as some one may object-) it has an Accessory's being principally devoloped been declared that ' the ONE or simple perception in a Flavour ques- of the excitants, &c. is Flavour,'§-how then can tioned. an accessory, which has no severalty therein, be principally developed? To this it is replied-

• Kumára Sambhava, C. 6, v. 86. + Vishnu who destroyed a Demon of this name. $ The gourd of the Momordica Monadelpba,-Wilson's Dic. § Soe § 60. c.

131 The Mirror ef Composition.

TEXT.

The singleness of No. 246. As in the sherbet which is a union flavour not militated against by an Acces- of pepper, &c. there is sometimes an excess of sory's being princi- pally developed in it. some one of the ingredients, so there is an excess of an Accessory in a Flavour.

COMMENTARY. a. Now on the 'semblanee of Flavour,' and the ' semblance of Incomplete Flavour.'

TEXT.

The ' semblance of No. 247. When a Flavour and an Incomplete flavour' and the 'sem- blance of Ineomplete Flavour are brought about with impropriety, they favour' gencrically are called the semblances thereof. defined.

COMMENTARY.

a. 'Here, the 'impropriety' is to be understood to mean the defectiveness of the Flavours as defined by Bharata, &c., when there is a lack of entireness in them as regards their ingredients. b. This impropriety, is partially elucidated, for the instruction of the unlearned, as follows:

TEXT.

How Flavours are No. 248. There is an impropriety in the Ero- reduced to mere sem- tic, when Love is resident in a Secondary hero blances. and when it is fixed on the wife of a sage or a spiritual guide, when it has many heroes for its objects and when it does not exist in both the parties, when it exists in a rival-hero, as also when it is in a low person, in the inferior animals, &c. There is an impropriety in the Furious, if a spiritual guide or the like be the object of Anger; in the Quietistic dwelling in a vile person; in the Comic having a spiritual guide, &c. for its objects; in the Heroic.when the bravery is shown in killing a Brahmana, &c. or when it abides in a low person; in the Fearful when the emotion of fear is excited in a noble personage, and similarly in the other Flavours.

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COMMENTARY. a. Among these ' the semblance of a Flavour' resulting from Love having a secondary hero for its object is displayed, for example, in these verses of mine :-

Love for a secon- "Simple enough is my husband, thick is this dary heroa semblance wood, and I am a solitary girl here, and the -illustrated. overspreading darkness, black like the Tamala tree, mantles over the earth,-make way for me, therefore, O lovely one, O Krishna, immediately'-may Hari preserve you, as he, hearing these words of the milk-maid embraces her and is engaged in the endear- " ments of love." b. Love having many heroes for its objects-as-

Love for a number "O thou of fair form, they only, I believe, are of heroes, the same, lovers in the three worlds, for whose sake this thy exemplified. cheek is pale." c. Love not existing in both the parties is, for instance, the love of Nandana for Malati in Bhavabhuti's drama the 'Malati and Mádhavá.'

Love, until it is d. " Love existing, first, in one is a ' semblance mutual, a semblance of Flavour' though it be mutual, afterwards." of Flavour. This is the dictum of the venerable author of the Lochana. There is an example of it in Ratnavali (a drama by king Harsha) wherein Sagarika loves Vatsa-raja, before they sce each other.

Love in a rival e. Love in a rival hero-as, for example, in hero, tho same. the description of Hayagriva's sports in the water, in the Hayagriva badha. f. Love in a low man-as in the following : Love in a low man, " A female Bheel with a string of leaves tied the samo,exemplified. round her waist, having picked some mountain Jasmine and sitting upon the hill before her husband, made him comb her hair." g. Love in an inferior animal-as -- Love in an inferior "The female bee, with notes melodiously animal, the same. fluctuating like those of the warbling* lyre, betook herself to singing, as she called her lover within a creeper,- roving in the midst of the woods delightful with Jasmine flowers." * Lit, Vibrating.

136 The Mirror of Composition.

h. By the ' &e.' after ' animals,' (see the. Text) are meant ascetics and others. i. The semblance of the Furious is exemplified in-

The semblance of " Yonder, enters Arjuna to slay Yudhishthira the Furious exempli- -leaving Karna (his enemy)-fiercely striking on fied. his shoulders, holding his bow and arrows, fearless (even while Krishna beholds him) burning at the harsh words of Fudhishthira and extolling the valour of his own arms, while his large rolling eyes sparkle red and his body trembles, through anger, again and again !" j. The semblance of the Fearful-as --

The semblance of Indra, unable, with his eyes perplexed, to bear the Fearful illustrat- the sight of him, as of the Thousand-rayed Sun, ed. -having entered into a cave-house of Himálaya, passed his days affrighted." Herein there is the semblance of the Fearful, for the real nature of the Flavour is Fear residing in a woman or a low man. k. Thus with the other Flavours.

TEXT.

The semblance of No. 248. The semblance of Incomplete Flavour Incomplete Flavour exists, for instance, in 'shame' residing in a defined. courtezan. COMMENTARY. a. The Text is clear. TEXT.

The 'quelling,' the No. 249. By the ' quelling,' the ' excitement,' ' excitement,' the the 'conjunction' and the ' commixture' of senti- 'conjunction' and the ' commixture' of sen- ments (see Text 244,) are meant, respectively the timents defined. cessation, the coming forth, the co-existence and the confusion of sentiments. COMMENTARY. * a. These are exemplified in the following four extracts, respec. tively :- The quelling of a "Fair-formed one! forego thy anger, see me seutiment. fallen at thy fect ; O! never was thy anger such before' -- as thus her lord spake she shed not a few tear drops but spoke not a word, as she partly opened her eyes to look down."

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b. Here is exhibited the quelling of the concomitant fecling named 'jealousy'* through the shedding of tears. The 'excitoment' "Heaving a deep sigh, she with her hand placed of a sentimont. upon her bosom fixed upon her female friends her sight obstrueted by tears in her eyes, as her lover was going away, desisting from propitiating her through her rejection of his falling at her fect, and ruffled with anger at being called by her a disguised cheat." c. Here is the excitement of ' Despondency.' The ' conjunction' " O! this form, ecstatic to my eyes but hard to of sontimonts. obtain even through imagination,-O! the one 'with drunken eyes gladdens my heart yet torments it." d. Ilere is the conjunction of 'Joy' and ' Despondency.' The 'commixture' "O, a bad action, and the offspring of the . of sentiments. moon !- how inconsistent !- May she be seen again !- I have my sacred knowledge for the removal of my faults; -oh ! how lovely her face even in anger !- What will wise men say -- they whose sins are purged off? O! she is hard to obtain even in a dream ;- my mind! be thou tranquil ;- O what fortunate youth will suck her underlip." e. Herein, is exhibited the commixture of Debate, Longing, Resolve, Recollection, Apprehension, Depression, Equanimity and Painful Reflection. f. So much for the " Declaration of Flavour, Incomplete Flavour, &e."-the third chapter of the " Mirror of Composition."

CHAPTER IV. Tke Declaration of the Divisions of Poetry. He now states the divisions of Poetry. TEXT. Division of Poetry into (1) ' Suggostive' No. 250. Poetry is held to be of two sorts,

and (2) ' That whore- viz. (1) 'Suggestive' and (2) 'That wherein the. in the suggested meaning is subordi- Suggested (§9) is subordinate to the Expressed nate tothe oxpressed.' meaning.' COMMENTARY. Of these- * Jealouay is ono of the accessories of the Erotic Flavour. T

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TEXT.

Suggestive Poetry, No. 251. 'Suggestive Poetry' is that in which the highest Poetry, the Suggested prevails over the Expressed, and this defined. is held to be the Highest Poetry. COMMENTARY. a. The Highest Poetry denominated ' Suggestive' is that wherein the suggested meaning is more striking or surprising than the expressed, the Sanskrit word for suggestive poetry, viz., ' Dhwani,'- derived from the root' dhwan' (to sound)-signifying that wherein some secret, distinct meaning sounds as it were. TEXT.

Two-fold sub-divi- No. 252. Of 'Suggestive Poetry' also are men- sion of Suggestive Poetry, as founded on tioned two distinctions-originating in ' Indica- Indication and De- tion' and 'Denotation, respectively-which are notation. (1) That whercin the expressed meaning is NOT desired to be conveyed and (2) That wherein the expressed meaning- implying, or tending to, another (i. e. a suggestion)-Is desired to be conveyed. COMMENTARY. a. Of these two distinctions, the ' Suggestive Poetry' named ' That wherein the expressed meaning is not desired to be conveyed' has for its source ' Indication.' And it is from its originating in Indication that in it the expressed meaning is not desired to be conveyed or is made nugatory. b. But, 'That wherein the expressed mearting-tending to another -Is desired to be conveyed' has for its source ' Denotation,' and hence it is that wherein the expressed meaning is desired to be conveyed. c. 'Tending to another' (see the Text) means ending in a suggest- ed sense. d. In this second distinction the expressed meaning manifesting indeed its own self is the manifester of the ' suggested,' just as a lamp is of a jar. e. The sort of Suggestive Poetry that originates in Denotation, requiring much detail, is mentioned after. f. He states the two divisions of 'That wherein the expressed meaning is not desired to be conveyed' as follows :-

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TEXT. Two-fold farther No. 253. The Suggestive Poetry wherein the sub-division of tho Suggestive Poetry expressed meaning is not desired to be conveyed, founded on Indication. also, becomes of two sorts, accordingly as the expressed meaning passes over into another sense, or as it is made to disappear absolutely. COMMENTARY. a. The Suggestive Poetry named ' That wherein the expressed meaning is not desired to be conveyed' is two-fold, viz. (1) 'That wherein the expressed meaning is made to pass over into another meaning' and (2) 'That wherein the expressed meaning is made to disappcar ab- solutely.' b. That (i. e. the first sort of Suggestive Poetry) in which tho principal sense, not being itself appropriate, is changed into another in the form of its own species-is called ' That wherein the expressed meaning passes over into another meaning,' from the passage of the principal sense into a specifie signification, or, in other words, froin the thing denoted by a word, for instance, being recognized in a particular manner. The following is an example :- "The plantain is but the plantain, the lower side of the hand is but the lower side of the hand, and the trunk of Airavata* is but the trunk of Airavata-these thighs of the deer-eyed one bear not a likeness to anything, even, in the three worlds." c. Here, (-to take, for example's sake, one of the three expressions repeated) the second 'plantain,' being hindered, through the fear of tautology, from conveying its principal meaning, viz. a plantain tree, simply recognized as such, conveys the sense of the tree, particularly considered as characterized by the qualities of frigidity, &c .; and the EXCESS of frigidity, &e. of the plantain and its consequent utter unfitness to be compared te the thighs of the lady are suggested. d. The Suggestive Poetry -- in which an expression, entirely giving up its own (i. e. literal) sense, is changed into a different signification, -is called ' That wherein the expressed meaning is made to disappear absolutely,'-from the principal sense being made to disappear in every way. The following is an example of this sort :- "The moon, like the mirror blind with the breath,t shines not." * Indra's Elephant, the chief of all the Elephants. t Or the vapour of tho mouth. T 2

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e. Here, the word ' blind,' having its primary meaning cancelled, conveys the sense of ' dim,' and the excess of dimness is suggested. f. This verse is not an instance of 'That in which the expressed meaning passes into another one,' blindness and dimness not being in the predicament of genus and species, or, in othor words, dimness not being a species of blindness. Whilst in the preceding couplet, the second ' plantain,' for instance, though really conveying the same sense as the first, is poetically strained to mean the tree, with particular reference to its qualitirs of frigidity, &c. and, hence, may be consi- dered to be used in a specific sense. g. He guards against a misconception that is likely to arise with regard to the distinction between the two first divisions of Suggestire Poetry founded, respectively, on Indication and Denotation. (See Text., 252). "Stroll, securely, O devotee! that dog was killed to-day by a fierce lion dwelling in the grove on the bank of the Godavari river." h. Because, from the 'stroll, O devotee !' the direction for strolling, not being suited to the circumstances of the case, ends in the prohibi- tion of walking-it is not to be supposed that there is in this couplet the 'Indication of the contrary,' for there only is an occasion of it where an 'injunction' and a ' prohibition' end in a 'prohibition' and an 'injunction' respectively, AS SOON AS they spring up as idcas in our mind. Whilst that is an instance of suggestion simply (as the abore couplet) in which a prohibition and an injunction are understood from an injunction and a prohibition, respecticely, ON THE CONSIDERATION OF TUE CIRCUMSTANCES OF THE CASE. To this effect has it been declared :- "Somewhere the very EXPRESSION is made nugatorily, as to its literal sense; somewhere the thing EXPRESSED is nullified: let there be Indication in the former, and Denotation in the latter instance." i. The first passage (commencing with ' The plantain is but the plantain') contains an instance of the passage or THE ENTRANCE OF THE PRIMARY MEANING INTO A DIFFERENT SENSE, not of its ABSOLUTE DISAPPEARANCE. Hence it is that here is the 'Indication WITHOUT abandonment of its sense.'* Whust in the second passage there is the ' Indication WITH abandonment of its sense,'t from the primary meaning of the word ' blind' being made to disappear entirely. * See Text 14 & Com. t See Text 15 with Com.

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TEXT.

Two-fold subdivi- No. 254. 'That,' also, 'where the expressed sion of the Suggestive Poctry foundod on meaning is desired to be conveyed' is considered Denotation. first as two-fold, accordingly as the Suggested sense therein (1) has its process NOT perceptible and (2) IIAS its process perceptible. COMMENTARY.

a. The Suggestive Poetry named 'That whercin the expressed mean- ing --- tending to another-Is desired to be conveyed' is also of two sorts being (1) 'That in which the Suggested is of imperceptible process and (2) 'That in which the Suggested is of perceptible process.' TEXT.

The Suggestivo No. 255. Of these the first (viz. the Suggested Poetry in which the of imperceptible process) consisting of Flavour, Suggested is of im- perceptible process -- Incomplete Flavour, &e. is generically reckoned reckoned as of one here as one only, since not even one division sort. thereef can be definitely described because of the infinity ef its varieties. COMMENTARY.

Flavour, &c. aro Flavour, Incomplete Flavour, &c., being of what are suggested, a.

as it were, imporcep- the nature already described, are the 'Suggested tibly. of imperceptible process.'* Now, the perception of the Suggested, ensed as it is by, and hence succeeding, the per- ception of the Accessories, &c., HIAS necessarily a process, but from its quickness it is not perceived, like the process of the apparently simultaneous piercing through of a hundred lotus leaves placed one upon another. b. Of these-Flavour, &c .- even one distinction does not admit of an enumeration of all its subdivisions from their infinity ; hence the Poetry named 'Suggestive Poetry whercin the Suggested is of imper- ceptible process,' is declared to be of one form only. For,-not to speak of all the Flavours-the varieties of even the single division of the Erotic Flavour, viz. ' Love in enjoyment' are not capable of being

• The reador must bear in mind, that Hindn writers on Tasto, curiously onough, spenk of Poetical Relish together with the sentiments excited by Poetry as being SUGGESTED by it.

142 The Mirror of Composition.

enumerated, inasmuch as they are endless in the shape of mutual embracing, sipping the lips and kissing, &c. in each of which, again, there are peculiarities of the Accessories, &c.

TEXT.

The Suggestivo No. 256. The 'Suggestive Poetry wherein the Poetry of perceptible proeess,' threc-fold, Suggested is of perceptible process' is deelared by the Suggested being the learned to be three-fold, for the Suggested founded on tho power of a word, of the sense-comparable to an ccho-may arise from sense, or of both. the power of a word, of a meaning, or of both.

COMMENTARY. a. That Suggested sense, which is like the resonance of the expressed from the pereeptibility of its succession to it, being three-fold, from its originating in the power of a word, from its originating in the power of a sense, and from its originating in the power of both a word and a sense together,-the Suggestive Poetry named 'That wherein the Suggested is of perceptible process' is also three-fold. b. Of these three divisions-

TEXT.

The Suggested No. 257. The Suggested sense arising from sense founded on the power of a word, two- the power of a word is two-fold, from its being fold, viz. either a simple matter or an ornament.

COMMENTARY. a. From the separate mention of ' ornanient' in the Text, a simple matter without an ornament is meant by the word 'matter' in the same. (1) a simple mattor, b. Of these two divisions the 'Suggested sense arising from the power of a word' being in the form of a simple matter, is exemplified in the following couplet :-- "O traveller, there is not even a little bedding in this village-a place of stones, but seeing the clouds* risen, if thou dwellest, do dwell." Here by the power of the words 'bedding,' &c. is suggested the matter, viz. ' If you are able to enjoy, then remain.' * In the original, ysIwT which signifies breast nlso.

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(2) an ornament. c. The Suggested sense arising from the power of a word, being in the form of an embellishment, is shown in these verses. " Who, by his fort, is insurmountable in battle, who dazzles Cupid himself by his radiance, attended upon by an assembly of mighty princes, venerable, surrounded on all sides by men of affluence, who out of contempt looks not at the Kshattriya chiefs, who has a deep devotion to S'iva-Lord of the mountain Kailasa, who holds the whole carth in possession, whose form is adorned with majesty-resplendent is this beloved of Umá."* .. Ilere Bhanudeva and the Lord (-S'iva-) are supposed to be with respect to each other in the predicament of the compared and what is compared to, lest the description of the husband of Parvati-who is not in question-hinted by the second sense of the verses, turn out unconnected with the description of king Bhanudeva the husband of the queen named Uma who is in question. Hence here is suggested the ornament of simile, viz. 'the husband of Uma, the queen, is like the husband of Uma the goddess." d. Or take another example- " O lord, thou art a souree of joy to us, immense as thou art with the glories acquired in war, and, associated with good fame, thou art an enemy of the wicked." Here from the absence of the particle fq ('though') after the words ufaa ('immense,') &c. the semblance of the ornament named 'contradiction't (विखेेष) is SUGdESTED.f

• The second sense of this stanza, as rendered by Dr. Ballantyne, (see § 25 c.) is with some little emendation, the following :-- "Whose body is never left by Durga, overwhelming by his radiance the god of love, on whom as a crest-ornament has rison a digit of the moon, venorable, surounded everywhere by his snakes, whoso left eye is made of tho lord of tho stars (the moon), who has a solid affection for the most majestic of mountains (-the Himalayu -- ), having mounted on a bull -- the emblem of justice-with his body adorned with ashes,-resplendent is this beloved of Umá." t Seo Chap. X. Text 718. To explain the passage :- ' Amitah' followed in the original by 'samitah' and 'ahitah' by ' sahitah'-which are opposito words in their 2nd meanings-SUGGEST the semblance of contradiction (i. c. a contradietion in words, not in senso) which they would have EXPRESSED, if the particle 'api' ('though' or 'yet') expressive of opposition, had been put between cach of tho above two pairs of contradictory words.

144 The Mirror of Composition.

e. The Suggested meaning, through strietly what is ornamented,* is tiguratively spoken of here as the ornament, with reference to its being an ornament in another conditicn,t just as we use the word 'Brahman-mendicant' (Hw) which, though it etymologically means an absurdity viz. a mendicant, or one not a Brahman, who is a Brahman, tropically signifies one who wAs a Brahman.

TEXT.

Tho Suggested No. 258. A sense is two-fold, being either a sense founded on the power of a sense, matter, or an ornament and each of these two twelve-fold. being either self-possible, established by the poet's bold assertion, or established by that of one figured by him-a sense is six-fold; hence the Suggested arising from the power of a sense becomes twelve-fold, each of its two forms, viz. a matter and an orna- ment being suggested by cach of the above six.

COMMENTARY. a. 'Self-possible' i. e. possible even in the external world, from its (i. e. the thing's) fitness. 6. Established by ' bold assertion,' i. e. not through fitness, or not according to the laws of nature. c. These twelve sorts are exemplified in order, as follows : (1) THE SELF-POSSIBLE SENSE. (a) Matter Suggested by malter. " O neighbour, will you cast your eyes for a moment on our house also ?- the father of this child will scarcely drink the tasteless water of a well : though alone, I am quickly going hence to the river with its bank covered with Tamala trecs,-let the densely swarming knots of the reeds with their hard projections seratch my body." By this self-possible simple matter, viz. the knots scratching the body, is suggested the simple matter, viz. the speaker's concealing the nail-scratches, &c. to be caused by her dallying with another man.

• For the Snggested sense, being the most striking in Poctry, is its body or principal part, and hence is that which is ornamented and not the extr extrancous or unessential thing-its ornament. t I. o. when it is expressly used, and not hinted through the suggestivo p.wer of words as in the foregoing two stanzas.

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(b) Ornament suggested by matter. "The splendour even of the sun decreases on the southern side, and on that very side the Pandyas could not endure the prowess of Raghu." By this self-possible matter is suggested the ornament of ' Contrast' (afata) or that the prowess of Raghu is superior to the splendour of the sun. (c) Matter suggested by Ornamenl. "Balarama, with his valour collected, marked him coming at a distance, as a lion beholds an elephant his prey." . Here by the self-possible suggestive sense in the form of the ornament of simile (eqW1) is suggested the ' matter,' that Baladeva will effect the destruction of the Demon Venudarin even in a moment. (d) Ornament suggested by Ornament. " Who, biting in battle his under-lip with rage, freed the coral lips of the wives of his enemies from the calamity of being pained by the deep wounds caused by the teeth of their lords." Here by the self-possible ornament of ' Contradiction'* (fatra) is suggested the ornament of ' Conjunetion't (samuchchaya) or that the under-lip was bitten and the enemies were killed. (2.) THE SENSE ESTABLSHED BY THE POET'S BOLD ASSERTION. (a) Matter suggested by Matter. "The season of sweet scents (Spring) prepares, but delivers not yet, the arrows of the Incorporeal one (Cupid,) well fitted for their marks-the young women-arrows such as the new-blown, fragrant, mango plants, feathered with the tender leaves." Here, Spring represented as the arrow-maker, Cupid, as the archer, the young women, as the marks, the flowers, as the arrows-all this colleetive matter, established by the bold assertion of the poet, dis- playing itselft suggests the matter, viz. the first excitement of Love. (b) Ornament suggested by Matter. "O hero, the expanse of thy fame whitens perpetually the whole round of the earth, lighted only by night by the beams of the pure- rayed moon." Here by the matter, established by the poet's bol assertion, (viz. the whitening of the world by the hero's fame), is suggested tho * Seo Chap. X. Text 718. t See Chap, X. Text 739. t I. e, being first understoud literally from the words or through their power of Denotation ($9.).

146 The Mirror of Composition.

ornament of ' Contrast'* (vyatireka) consisting in the wide-spread fame's being an illuminator through a greater duration than the moon- beams are. (c) Matter suggested by Ornament. "Tear-drops of the Fortune of the Demons fell to the earth, dis- guised as gems, from the crests of the Ten-headed Ravana." Here by the ornament of ' Concealment' (apahnuti),+ established by the poet's bold assertion, is suggested the matter of the future destruetion of the fortune of the Demons. (d) Ornament suggested by Ornament. "Ornamentt of the land of Trikalinga! thy heap of fame, though ore, has attained to being the various derorations on the bodies of the beautiful-browed ones of Indra's city-the bunch of new jasmine on their locks, the white lotus in their hands, the pearl necklace on their necks, and the thick Sandal unguent on their breasts." Here, by the ornament of Metaphor (rúpaka,§) established by the poet's bold assertion, is suggested the ornament of ' Peculiar Causation' (vibhavana||) that 'though on carth, thou doest good to those in heaven.' (3.) TITE SENSE ESTABLISHED BY THE BOLD ASSERTION OF ONE FIGURED BY THE POET. (a) Matter suggested by Matter. "On what mountain, how long and what kind of austerities did - that little parrot practise, by which, O fair-faced one! it bites the vimba fruit of thy under-lip's redness." Here by this matter, (viz. the parrot's bittng the vimba fruit through its previous auslerities,) established by the bold langnage of a lover figured by the poet, is suggested the matter that 'thy under lip is to be obtained by an excess of good deeds.' (b) Ornament suggested by Matter. " Fair one! in Spring the arrows of the maddening god having attained the number of ten millions left the state of quintuplicityT- quintuplicity (death) alas ! befell the separated lovers."

• Seo Chap. X. $700. t Chap. X. §683 & 684. t Literally the ornamenting mark on the forehead (tilaka).

Kama the Hindu Cupid is represented with a flowery bow and fice arrows $ $669. |l $716.

of the same material.

The Mirror of Composition. 147

Hlere, by the matter, established by the bold detlaration of a speaker figured by the poet, viz. the death of all the absent lovers from Cupid's arrows attaining to the number of ten millions-is suggested the ornament of ' Uncommon Supposition,' viz. the quintuplicity of the arrows having quitted them took possession of the separated lovers. (c) Matter suggested by Ornament. " Wrathful one, the humming bee on the jasmine bud beautifully looks as if blowing the conch in the victorious march of him with tho five arrows (Cupid)." Here, by the ornament of ' Uncommon Supposition,' (utpreksha-see § 686-692) established by the bold word of a speaker figured by the pet, is suggested the matter, viz. 'this, the maddening time of Cupid is arrived, why then dost thou not give up thy anger, indignant one!" (d) Ornament suggested by Ornament. "O fortunate youth, she, not obtaining a place in thy heart filled with a thousand fair women, emaciates her frame, slender as it is, making that her only business." Here, by the 'not obtaining a place'-the ornament of ' Poetical Reason' (kavya-linga*) established by the bold language of a speaker figured by the poet is suggested the ornament of ' Peculiar Allegation,' (vis'eshokti,t) viz. 'In spite of her emaciating her body she gets no room to dwell in thy heart.' d. The poet indeed is not possessed by passion, &e. like one figured by the poet, hence the bold assertion of the speaker figured by tho poet, being more striking to the man of sensibility, is separately deseribed. e. But, where the suggestion is as to an ornament, there it necessarily respects the matter ornamented -- ichy then recoguize orna- meat distinctively? Beeause, among these (i. e. the aboce eramples) in the instances of suggestion as to an ornament, it is the FIGURES of Metaphor, Uncommon Supposition, Contrast, e. that are perceived as striking by the man of taste, and not WHAT ARE FIGURED severally under these embellishments and hence the prominence belongs io the ornament or the figurative expression and not to the matter figured.

• $710. + $717.

t 2

118 The Mirror of Composition.

TEXT. Suggestion basod No. 259. When the suggestion arises froin on the power of a word aud of a sense, the power of a word and a meaning, Suggestive singlo. Poetry is ofe (§256). COMMENTARY: a. When the suggested sense is founded on the power of both together, there is only one sort of Suggestive Poetry, as- "Madhava (i. e. Krislina or Spring) ornamented with the lotus,* and beautiful like (or with) the moon free from mists, who gladdened the Twice-born (the Brahmans or the birds,) who generated Love (the deity or the passion), and who cheered the gods (or purified winet)-long was he the great delight of the beautiful women." Here we have the ornament of Simile, viz. 'Madhava or Krishna is like Madhava, the Spring,' suggested by the power of the mere words 'dwija' (a Brahman or a bird,) ' Madhara,'t fc. and of the senses of the words ' janita-minaketana' (who generated Lore,) &e. b. Thus, the divisions of Suggestive Poetry are founded on the divisions of the Suggested Sense. TEXT. No. 260. So Suggestive Poetry is eighteen-fold. COMMENTARY. The cighteen main a. 'That in which the expressed sense is not sub-divisions of Sug- gestive P'oetry, sum- desired to be conveyed' is two fold, viz. (1) 'That med up. in which the expressed sense passes over into another' and (2) 'That in which the expressed sense is made to dis- appear entirely.' 'That in which the espressed sense -- tending to another-is desired to be conveyed' is singte, when it is ' That in which the Suggested is of imperceptible process'-and is fifteen-fold, when it is 'That wherein the Suggested is of perceptible process' founded on the power of a word, a sense and of both. Thus there are eighteen varieties of Suggestive Poetry. b. And of these-

• Or as qnalifying ' Krishna,'-' associated with Lakshmi.' + Wine is buriod in Ashadha (June, July) and is dug out greatly improved in the Spring. t These cannot be exchanged for their synonyms, without an alteration in the sense of the passage, whilst 'janita-minaketana, &c. can : so the Double Entendre is founded partly on words and partly on sense.

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TEXT. No. 261. The Poetry of Suggestion founded on the power of word and of meaning dwells in a sentence only; the others reside in a word and a sentence. COMMENTARY. a. Among these latter, 'Suggestive Poetry wherein the expressed sense passes over into another' existing in a word-as- " Blessed is that youth alone and his eyes are eyes indeed, in whose presenee will be this fair-faced one -- this enchantment of young men." The second ' eye' here implies an eye characterized by the qualities of being fortunate, &e. b. The same residing in a sentence is exemplified in- " I tell you (twam asmi vachmi)-here stays an assembly of the learned, so make your stay here, having collected your wits." Here, from the very presence of the addressee before the addresser, the fact of his being the person addressed is understood, yet the word twam 'you' is used here to indicate the sense of ' you' qualified by the exclusion of others (or more briefty, to signify you exclusively.) Similarly, from the simple word ' vachmi' (dico) the agent is under- stood, yet the expression 'asmi' (I) indicates the sense of ' I' qualified by the exclusion of others. Likewise, as by simnply saying ' An assembly of the learned, &e.' the speech of the addresser might ba fulfilled, the expression ' vachmi' ( I tell,' which taken in its literal or Erpressed sense is superfluous) conveys by its power of Indication the sense of 'I advise' implying a particular form of telling. These things being indicated, suggest their ' exceedingness' or are forcibly understood : so the purport of the whole sentence is this- my word is extremely friendly to you, you must therefore do it.' Thus it is an instance of ' Suggestive Poetry in which the Expressed passes over into another meaning'-residing in a sentence. c. 'That wherein the Expressed sense disappears entirely'-dwelling in a word-, as- " Like a mirror, blind with the breath, the moon shines not" (253, c). d. The same, in a sentence-for example-" Much benefit have you done &c." (§15. a.) e. The others (viz. the varieties of the Poetry of Suggestion in which the Expressed-tending to another-is desired to be conveyed)

150 The Mirror of Composition.

as residing in a sentence, have already been exemplified, (§257, 258 and 259). f. As residing in a word, they are exemplified as follows :- THE SUGGESTION OF IMPERCEPTIBLE PROCESS. A Flavour suggested. "That beauty, that loveliness, that form, that address were then full of neetar, but alas ! now (in absence) they are a fierce fever to me .* Here, the prominenee belongs to the pronominal words ' tat' &c. only (-which all correspond to 'that'-) being suggestive of the beauty &e. as they were then perceived and as passing description. The other words being only subsidiary to them, the elaim of the above stanza to the title of Suggestive Poetry is founded on them only. To this effeet, has it been declared by the anthor of the ' Dhwani': " Like a beautiful woman with a single member ornamented, a sentence of a good poet shines with Suggestion displayed by a single word." Similarly is it to be understood with respect to Incomplete Flavour &e. how they are principally suygested by a word. SUGGESTION OF PERCEPTIBLE PROCESS-FOUNDED ON THE POWER OF A WORD. A matter suggested. " In whom does not the good seripture (or the arrival of a good man) produce a flow of joy-causing, as it does, temporal as well as spiritual happiness,t and leading to retirement." Here the word ' Sadagama' [sat,-good + agama, seripture or arrival] expressing to the secondary hero (i. e. her lover) staying near the female speaker the sense of ' good seripture', suggests the matter viz. the arrival of a good man. But-as some one might object-why should it not be held as an instance of the suggestion of a Simile, viz. 'good scripture is like the arrival of a good man ?' To this we reply : Not so, because the two significations of the word ' Sadagama' are not desired to be spoken of as being in the predicament of the compared and what is compared to, for the employment of the equivocal word is only for the conceal- * Thesub-division of the Erotic Flavour, technically called 'Love in separation' (s212,) is what is suggested in this stanza. t In respect of the arrival of the ' good man,' the word in the original for temporal and spiritual happiness viz. 'bhukti and 'mukti' mean respectively enjoyment and freedom from domestie business.

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ment of the secret of her love for the so called good man, and because the incongruity here of speaking of the good seripture is evident from the consideration of the cireumstances of the case, &c. An ornament suggested. . " With wisdom unrivalled, and protecting the whole earth, indescrib- ably shines in the world that monarch-that best of persons." Here is the suggestion of a Simile viz. the best of personages (purushottama) is like the Supreme of persons or Vishņu. In these two examples are exhibited the two distinctions of the Suggestion of pereeptible process arising from the power of a word. SEGGESTION OF PERCEPTIBLE PROCESS, ARISING FROM THE POWER OF A SENSE. THE SELF-POSSIBLE SENSE. Matter suggested by Matter. " In the evening thou hast had recourse to bathing and anointed thy body with sandal; the Ethereal Gem (the Sun) has reached the crest of the Western Mountain (the mountain of setting .-- Astachala), and thou hast securely come here. O! wonderful is the delicacy about thee, through which thou art exhausted Now! and thy eyes cannot remain, without being constantly elosed." Here by a self-possible matter is suggested the matter, viz. 'Thou hast bathed having had intercourse with a lover.' The word ' now' intimating, as it does, that ' thou art now exhausted, but never before was such an exhaustion of thine seen' is more prominent than the other words, inasmuch as this intimation sets off the significancy of the other words. Ornament suggested by matter. " Another milk-maid, confined, obtained Emancipation (or final salvation), meditating upon the Origin of the Universe (Krishna) whose true form is the Supreme Spirit-her endless sins having been dissolved by her mighty pang in not obtaining him, and the store of her good deeds having been wasted away by her exuberant joy in reflecting on him." Here, by the force of the words ' endless' and ' store' the pang of separation from the Holy One and the joy of meditating on him are recognized as identical with the immensity of the fruits of merit and demerit to be experienced for many thousands of years : so our recog- nition of the two Hyperboles (atis'ayokti) is occasioned by the words 'endless' and 'store'. The Suggestive matter here (viz. the Emanci-

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pation of the milk-maid in the manner described), being possible independently of a ' bold assertion' or not merely in the Poet's imagin- ation*), is self-possible.' THE SENSE ESTABLISHED BY THE POET'S BOLD ASSERTION. Ornament suggested by Ornament. "O Sire, Ganga who flows through three ways only (or Heaven, Earth and Patala), conceals herself, through shame, on Mahadeva's head, as she beholds the river, formed of the waters poured in thy donations, streaming through innumerable passages." The couplet is mine. Here, the expression ' as she beholds &e.' which is an instance of the figure of Poetical Reason (Kavya-linga, §710) established by the poet's bold language, and particularly the word 'innumerable' suggests the ornament of Contrast (vyatireka), viz. 'there are no other donors equal to thee,' or 'thy liberality is mighty-that of others, insignificant.' Thus may it be exemplified with respeet to the other divisions also of the Suggestion of pereeptible proeess arising from the power of a sense. The said eighteen kinds of Snggestive g. So, among the said cighteen descriptions of Poetry, with one ex- Suggestive Poetry, that founded on the power of ception, being further sub-divided accord- a word and a meaning is one, being possible only ing as they abide in in a sentence, whilst the other seventeen being a sentence or a word, there resnlt thirty- possible both in a sentence and a word become five varicties. thirty-four: thus we have thirty-five divisions of the Poetry of Suggestion. TEXT.

Suggestive Poctry No. 262. The Suggestive Poctry founded on founded on the power the power of a sense is eonsidered by the learned of a sense, possiblo also iu a Great Sen- to be possible, also in an entire composition. tenco. COMMENTARY. a. 'Entire composition'-in a Great Sentence. b. ' Suggestive Poetry founded on the power of a sense' i. e. the kind whereof the twelve divisions have been mentioned. c. The following dialogue between a vulture and a jackal in the Mahabharata (S'anti parvan, sl. 5675-5800) is an example :- Vulture-" You need not stay longer in this horrible cemetery crowded with vultures and jackals, abounding with skeletons, anl * Seeing that the All-merciful God could give them salvation so casily.

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fearful to all that breathe: nor has any one subjugated by Death, revived here, whether beloved or hated: such is the condition of animals." It was the wish of the vulture that the men staying with the dead child might leave it there in the day-time, and depart. Jackal-" Fools ! the sun is yet up, be tender for the present mo- ment : this time of evening has many obstacles, and the poor boy may revive when it is over. How should you, O ignorant men, from the vulture's word, leave unsuspectingly that boy shining like gold, who has not yet attained to youth. * To the jackal who was active at night, the quitting of the boy during the day was not desirable. These two facts are suggested by the collective sentence formed of a number of such alternate discourses of the two carnivorous philosophers. The suggestive matter here is self-possible. d. Similarly might the other eleven distinctions be exemplified. e. Thus has the Suggestive Poetry founded on the power of a sense heen exemplified in all its twelve main distinctions (§258), and some of its sub-divisions, when the expressed meaning is the suggester. f. When the Indicated meaning is the Suggester we may take for Snggestion from an example-"The border of thy breasts has lost an Indicated sense. the whole of the sandal wood &c." (§27. c). Snggestion from a g. When the Suggested meaning is the Sug- Suggested sense. gester-for example-"The crane stands unmoved &c." (§27. d). In these two examples the respective indicated and suggested meanings are ' self-possible' suggesters. h. Similarly, might the other eleven divisions (§258) be exempli- fied in the case of an indicated or a suggested sense being the suggester.

TEXT.

Suggestion of Im- No. 263. Suggestion whereof the process is not percoptible process may como from parts clear or 'Suggestive Poetry wherein the Suggested of a word, letters, style, and an entire is of imperceptible process' is possible in the composition. several parts of an inflected word (pada), in the letters, in style, and in an entire composition. X

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COMMENTARY .. Of these, that residing in the parts of a word- a .- is manifold, from the distinctions of the radical part, the affix, the prefix, a particle, &c. ; as may be exemplified in the following stanzas :- "Thou touchest frequently those trembling eyes with quivering corners; hovering near her ear thou hummest softly as if to speak some secret; thou sippest that under lip-Love's whole property, as she waves her hand in confusion-blessed art thou indeed, O honey- maker ! whilst we are killed by our scrupulous search after the truth as to whether she is really fit to be married by a Kshattriya." . Here (in this speech of Dushyanta in respect of Sakuntalú, in Kálidasa's drama) since the expression VHT: (we are killed) is used rather than 3 WIHa: (we are distressed), the suggestion of the king's ' love in separation' particularly comes from the radical part Ta of the word Vat: "The face of her with long-lashed eyes, turned to the shoulder, with lips repeatedly covered by her fingers, doubly charming, as she in the confusion of coyness uttered the syllables of forbidding-was with difficulty raised by me, but oh ! not kissed." Here, the suggestion of the king's regret at not having kissed his love Sakuntala originates (chiefly) in the particle § (but). " For this indeed is an utter contempt of me that there are foes &c." (§2. f). In this stanza the following are suggestive :- the plural number in t: (foes); the singular number in aTq#: (anchoret); the pronoun (here-in this place) ; the verbal inflection fav (present, 3rd sing.) in निहन्ति (slaughters) and जोबति (does live); the indeclinable VT (O wonder !) ; the diminutive nominal affix (taddhita) used in contempt in the word urafearr (poor villages) ; the prefix fa (implying particularity) of the word facra (plundering, ' carrying off the spoils'), and the plural number in wa: (from these arms). " Thou hast a distaste for food (wwrt farfa:), and an utter indif- ference to the whole set of objects, thy sight is fixed at the end of thy nose, and there is this further that thy mind is abstracted in medita- tion, and there is this silence with thee, and this world now absolutely appears empty to thee; so say, friend-ho ! art thou indeed an ascetic? -or rather a separated lover art thou ?"

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Here the locative case, in the sense of 'object,' of the word 1r ?* (in food) ;- the two epithets #H (whole) and VTT (utter) ;- the pronoun a4 in ara (and this silence) that refers to a thing under actual perception and consequently marks a peculiarity in the lady's silence ;- the prefix T in ranfar (absolutely appears) ;- the word afa (friend) that reminds her of worldly love which is foreign to the character of an ascetic ;- the jocular expression fe ar: (art thou, ho !) ; the particle aT (or rather) in faar that hints the strength or probability of the latter supposition viz. Thou art a separated lover ;- the present tense inflection of ufe (thou art)-to each of these belongs a suggestion peculiar to it and to be perceived only by the man of poetical sensibility. b. Suggestive Poetry in Letters and that in Style (§263) shall be exemplified in chap. 8th and Oth respectively. c. Suggestion in an entire composition is such, for example, as the Quictistic in the Mahábhárata, the Pathetic in the Rámávana, the Erotic in the Malati Madhava of Bhavabhuti, the Ratnaval of S'ri Harsha &c. :t so in the others.

TEXT.

5355 subdivisions No. 264. Thus then of Suggestion we have

finally obtained. of Suggestive Poetry, fifty-one divisions : these from the threefold Com- mixture (see §757) and the uniform Coujunetion (see §756) make up the number marked inversely by the quadruple Veda, the empty Ether, the triple Fire as kept by the Brahmans, and the five Arrows of Oupid, i. e. 5301,t which together with the pure

• The expression IWTT farfa: (distaste for food) is used here rather than WIVITIE facfa: (cossation from taking food). It therefore suggests ' Thou hust given up eating, simply from mental distress, unlike a hermitess (arfrat) who purposely desists, but not altogether, from taking food, simply because too mortal coil.' much cating is an obstruction to her wished-for emancipation from ' this t These being the main sentiments of the poems and dramas respectively are held to be what are suggested by them; the other passions or feelings acting as ancillary to these principal ones. t As each of the fifty-one sorts admits of being combined, in four different ways, with a similar kind as well as with the fifty other sorts,-the sum, which in Algebra is one of Combination when two and two are taken together, may thus be explained :- (61 x 4) + (56) 4= 5304. 51.50

x 2

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ones attain to the number signified inversely by Arrow, Arrow, Fire and Arrow, or 5355.

COMMENTARY. a. 'Together with the pure ones'-i. e. with the addition of the fifty.one pure divisions. b. A part of the compound sorts (see the Text) is exemplified in the following stanzas :- The Commixture " With breasts extremely raised and with eyes of Suggestions, as 'abiding intimately large and tremulous, she, standing at the door to together.' hail his (her husband's) arrival, holds the auspicious omens of the full jar and the collection of garlands on the gate arch, brought about without effort." Here the breasts of the lady being hinted at as being the full jars and her looks as the garlands of fresh lotuses-which are auspicious omens displayed at the gate to one returning home from a distance, we have a Commixture of the Suggestion of Metaphor and that of Flavour (viz. Love in enjoyment) as 'abiding intimately together' (see §757. c.) or as implied in the same expressions. The Conjunction of "These spring days cheer the heart-when Suggestions. bees increase their hums for joy-but alas ! when the heart of the distant lover* shudders-when the winds are proud of their intimacy with the fragrance of the lotus faces of those with countenances like the moon without drowsiness." Here we have the Conjunction (§ 264) of Suggestions founded on Indication (§26, 27. c) viz. those in the expressions ' without drowsi- ness,' 'intimacy,' &c. c. Now of the Poetry named 'That wherein the Suggested is subordinate't (see §250). TEXT.

The inferior sort of No. 265. Whilst the Poetry of Subordinate Poetry, that of Sub- Suggestion is the inferior sort, in which the Sug- ordinate Suggestion. gested is not more striking than the Expressed. COMMENTARY. a. 'The inferior sort'-i. e. the inferior sort of Poetry.

• Lit. Traveller. t 'Poetry of Subordinate Snggestion' would be a more manageable term, though less literal in rondering.

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b. The circumstance of the Suggested meaning's being not more striking is possible, both when it is inferior and equal to the Expressed. TEXT.

Eight-fold division No. 266. In this second rate Poetry, the Sug- of this, according to gested may be 'ancillary to another,' ' hinted by the ways in which tho Suggested is Sub- the tone,' 'subservient to the completion of the ordinate. Expressed,' 'o doubtful prominence,' 'of equal pro- minence,' 'obscure,' ' unconcealed,' or ' not beautiful:' thus there are reckoned eight divisions of it. COMMENTARY. a. 'Ancillary to another'-i. e. to another Flavour, or the like. b. When the Suggested in the shape of a Flavour or the like is Ancilfary to some other Flavour or the like, we have the following examples :-- The widow of Bhuris'ravah laments her husband killed in battle, thus :-

The Suggosted, "This is that hand which drew my girdle; 'ancillary to another,' which pressed my plump breasts; which touched exemplifiod. my navel, thigh and hip ; and which loosened the end of my waist-cloth." Here the Suggested Erotie is ' ancillary' to the Pathetic. Another example. " Alas ! how do the lovers fare in the series of the palaces of thy enemy's capital, when their ears are tormented with the sudden tumult of the ocean of thy army, as they are seeking to propitiate their beloved ones elevated with pride." Here, the Pathetic heightened with the Conjunction (see §249) of Longing and Alarm is 'ancillary' to 'Love having a king for its object' (§245). "I have wandered in the abodes of men (onrena,-or in the part called wiTH of the Dandaka forest), with my mind filled with the mirage of gold (or with the desire of the golden deer) ; at every step have I, with tears, cried ' O give!' (or O Sita!) I have fawningly interwoven my words with the texture of those of bad masters (or have fastened arrows to the series of the heads of Lanká's lord); oh I have become Ráma, but not obtained an affluent fortune (or have not obtained her-Sita-whose sons were Kusa and Lava)." Here even without the expression 'I have become Ráma,' the speaker's verbal identity with him might be understood by the power

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merely of the other words as arranged in the stanza. But the express declaration, manifesting, as it does, the speaker's identification of him- self with Rama founded on his verbal resemblance to him, removes the concealment of the resemblance; hence the almost EXPRESSED resem- blance (-though meant to be SUGGESTED-) being made to show the logical connection in the sense of the sentence* is reduced to being subservient to the Expressed sense c. The Suggested sense, ' hinted by the tone'-as- The Snggested, " I am not destroying, with wrath, the hundred 'hinted by the tone.' Kauravas in war, I am not sucking the blood of Dus's'asana from his breast, I am not pounding with my club the thighs of Duryodhana-let your king make peace with them on the condition of receiving the five poor villages." Here the Suggested viz. ' I AM to destroy' remains in intimate con- nection with the Expressed denial, or in other words, is conveyed simultaneously with it. The Suggested, d. " O king of kings, this thy power, the forest ' ancillary to the com- pletion of the Ex- flame of the enemy's family (ax), burns in every pressed.' direction, illuminating the space between heaven and earth." Here the Suggested, viz. the ascribing the nature of a bamboo to the family of the enemy (through the equivocal aw which means a bamboo also) is 'ancillary' or subservient to the ascribing of the character of the forest flame to the power of the king. The Suggested ' of e. The Suggested ' of doubtful prominence'- doubtful prominence.' as for example in the verses beginning ' But Siva, like the ocean' (§245. g), where we have a doubt as to which of the two notions, whether the Expressed busying of the eyes, or the Sugges- ted desire of kissing is prominent. The Suggested ' of f. " It will be to your own prosperity, if you equal prominence.' avoid insulting a Brahman-else Paras'u Ráma your friend becomes displeased." * For the connection between the sense of the clause ' I have become Rama' and the first sense of the main stanza is only seen when we observe that a resem- blance is suggested by a play upon the words: thus the Suggested sense is ancillary to the Expressed. + The stanza is ovidently an example of tho third sort (soe the Toxt) strangely introduced here, though another instance of the same occurs at the proper place. The Commentator does not even notice the incongruity. Is it meroly from the author's oversight ? $ This is a minister's advice to Ravana, dissuading him from his dangerous

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Here the Suggested, viz. Paras'u Rama will destroy the Giant race, and the expressed signification of the sentence are of equal prominence, inasmuch as they both EQUALLY tend to the advice-' You ought not to be hostile to Paras'u Rama.' The " obscuro.' Suggosted, g. "In peace there is the seizure of my whole property ; in war, the destruction of my life- there can be neither peace nor war (with king Anwapadina."* Here the Suggested sense viz. 'There is no means of pacifying the king named Anwápadína, except conciliation, presents, or the like, is not quickly perceived even by the erudite. . The Suggested, h. " By this Instructor of mankind, the Ex- ' unconcealed.' pounder of the duties of the good, I a virtuous female have freely been-what need is there of saying more." Here S'akya Muni's ravishing the female of an inferior animal, though suggested, fares from its extreme clearness like an expressed idea. Hence it is an instance of the ' unconcealed' Suggestion. Tho Suggested, i. "The members of the young woman, en- 'not beautiful.' gaged in domestic business, languish as she hears the noise of the birds that had flown up from the bower near her house." Here, the Expressed sense in ' the members languish, (i. e. through the eagerness of love)' is perceived by the man of taste to be more striking than the Suggested one, vic. ' some one previously appointed entered the bower :' so it is an example of the Suggestion designated 'not beautiful.'t

A circumstantial j. Now, an ornament such as the simile, sug- Snggestion, butasub- ordinate Suggostion. gested, for instance, in the Figure Dipaka or the Tulyayogitá (see Chap. X. Texts 695 and 696)

attempt to overcome the terrible destroyer of Kshattriyas, who was yot a friend to him.

king. * According to some, the name is Allapadína, being that of a Muhammadan t Let the roader be here cautionod against supposing, as he naturally would do, that all these examples are intended to bo distinctive instances of what they are cited to illustrate. The present distich, for example, might, undor one view, be considered as an instance of the first rate or Suggestive Poetry, inas- much as the strikingness of the expression ' the members languish' rests on the 'Lovo in separation,' a division of the Erotic Flavour (§212), that it suggests. Moreover, it is impossible to believe that the more than 5000 divisions of Sugges- tive Poetry can all, or any considerable portion of them, be distinctively illus- trated. The object in making the divisions seems therefore, to mark, not distinct classes, but distinct properties or circumstances.

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is no other than a subordinate suggestion, inasmuch as a piece of Poetry with one of such embellishments strikes us simply through that, and not as suggestive of the Simile or the like that is only inci- dentally implied. To this effect has it been said by the author of the ' Dhwani'- " A piece of poetry is not held to be suggestive, even if an ornament besides an expressed one is recognized therein-in case the piece does not expressly tend to it."

Suggestion, laid k. That also is an instance of a subordinate open, becomes subor- suggestion where the beauty of concealment, or dinato. covert, implicative speech, is destroyed by a word or the like. For example- "O Kesa'va! my sight stolen by the dust raised by the cows (or by my love for a cowherd-qtra-) I saw not aught, and thence, lord, I have fallen down : wherefore dost thou not hold me up-thou art the sole refuge of all the weak with minds troubled by hardships (or the fair ones troubled by him of the five arrows*)'-thus spoken to equivocally by the milk-maid, may Hari in the herd-station ever preserve you." Here, the suggested significations viz. 'love for a cowherd' &c. of the words UTIa &c. appear manifest (or with their poetical cover opened) by the word ' equivocally :' lcave out the word and it is Sug- gestive Poetry. Poetry of subordi- l. A passage, however, which has its suggested nate Suggestion be- comes Suggestive meaning in the shape of a matter, an ornament or Poetry, when with a Flavour or the like in a subordinate condition, a principal Flavour besides. but which has a principal Flavour besides, is con- sidered Poetry in respect of this latter Flavour. This has been declared by the same author that is quoted above, thus- " This description of Poetry, again, viz. that of a subordinate sugges- tion assumes the nature of Suggestive Poetry from the consideration of its tendency, (if any,) to develope a Flavour or the like." A circumstantial m. But as one might object-what is the snggestion of Flavonr, use of recognizing this second division of Poetry, the true constituent of the inferior Poetry. when it may finally rank as Suggestive Poetry on account of the Flavour principally Suggested ?- the author points out as its subject such pieces as have no flavour in them principally * Lit. He that bears an odd number of arrows, or Kamadeva.

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suggested, and are yet held as Poetry in respect of one subordinately or incidentally suggested. The following is an example- " Where the red gem (ruby), producing, with its heaven-licking* rays, the delusion of evening in the love-intoxicated fair ones, employs them even untimely in making the toilet of Cupid, (i. e. the dress most fitted to charm their lovers)." Such sentences as this, where a Flavour or the like is ancillary to a simple matter in the shape of cireumstances attending a city, or of the like, are reckoned Poetry on account only of that Flavour or the like, subordinate though it be, as being not the principal or direct object of deseription in such cases. To this effect has it been said by our blood- relation, the chief of poets and scholars, the venerable Chandidasa- Relish alono, tho ' At the moment of relishing a poetical senti- essence of Poetry. ment when we are absorbed in it, we cannot per- ceive of it-apprehensible as it is by an undivided imagination -- whether it is in a subordinate or a principal condition ; but afterwards (i. e. when we come to criticise the piece) on our reflecting on the cireumstances of the case, though it should be discovered that the sentiment is but collaterally suggested, this circumstance cannot destroy the claim of the sentiment to the title of Poetry, for that depends on relish alone.' A third kind of n. Some (Mammatacharya, the author of the Poctry, the Fanciful, recognized by somo Kávya-prakás a) would have a third species of -no Poetry. Poetry, viz. the Fanciful (chitra) ; hence he says -"That Poetry which is without Suggestion is reckoned as the lowest sort -- being either ' Fanciful in sound' (s'abdachittra) or ' Fanciful in sense' (vachyachittra)." But we say-it is not so, for if by the expression ' without Suggestion' is meant ' totally wanting suggestion,' then, as we have already declared, such a sentence is not Poetry at all ; if by the expression is meant ' a little, or slightly Suggestive,' I ask-what do you mean by poetry being a little suggestive ? Do you mean by it poetry that has a Suggested sense relishable, or poetry that has a suggested sense not relishable? If you mean the former, then it falls within the two divisions made before ; if, the latter, it is not Poetry. Besides, taking the former for your meaning, if the Suggestion is relishable, it cannot be little or slight, for if it is so, it cannot be relishable. This has been said by the author of the * Lit. Cloud-licking.

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, Dhwani :'-' Thus there are settled two species of Poetry, from the suggested either being in a principal or a subordinate condition : what is other than these, is styled the Fanciful.' o. So much for the Declaration of the divisions of Poetry, styled 'Suggestive' and ' That of a Subordinate Suggestion'-the fourth chapter of the Mirror of Composition.

CHAPTER V .*

The establishment of the function of Suggestion.

Now, what is this new power, named Suggestion, from which originates the essence of poetry-riz. what is Suggested ? To this question he proceeds to reply- TEXT.

What power con- No. 267. There must be acknowledged a veys Flavour. fourth function, exerted in causing the perception of Flavour and the like, after the cessation of the functions named Denotation, Purport, and Indication (§11, 13 and 31). COMMENTARY. Denotation, not it. a. Denotation has not the power to give us the perception of a matter, an ornament, or a Flavour or the like, suggested-ceasing, as it does, after conveying the conventional (i. e. the literal) meaning only ; for Flavour &c. are not matters of convention. Nor is the denoting or representation of the Excitants, &c. a denotation of Flavour, for we do not acknowledge its identity with them. Moreover, on the contrary, to signify it by its own name is a fault, as we shall see afterwards, (Chap. VII. §577).

Flavour, not per- Sometimes even when it Is signified by its own ceived by a mere name, we do not perceive it-for it is of the mention thereof. nature of self-manifest joy.

• The substance of a considerable part of this Chapter may be given thus :- Ideas or Notions are what are conveyed by words, severally, through their power of Denotation. These, put together into a sentence, convey a complete Thought, through the supposed power of the sentence, styled Purport. Now, cunsistently enough, another power in the words must be resorted to, to account for the pleasurable sentiments, collectively spoken of as Flavour, consequent upon, and therefore distinct from, the simple thought.

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Suggestion, not b. That Function entitled: Purport' (tatparya) conveyed by the 'Purport' of the Nai- which is acknowledged by those Naiyayikas* who yáyikas. hold that the logical connection among the notions belonging to the several words in a sentence is apprehended after they are severally conveyed-that Function even, being exhausted in simply making us apprehend the connection, does not convey the Suggested sense. c. As for the assertion of some-' Such is the more and more exten- sive function of Denotation, like that of an arrow first piercing the armour, then the body, and then perhaps a tree ;'-and also as for the declaration of Dhanika, viz., ' The Suggestive power of a word being no other than Purport, it is not to be distinctively called Suggestion, for Purport which extends to all the functions is not to be supposed to be measured by the balance (or confined to the single business of making us understand the connection in the meanings).' On these two objectors let those let fall the rod of refutation who hold that Word, Perception, and Action have an annihilation of their business or oper- ation, (as far as that individual case is concerned), when they have ceased after producing their respective single effects. Moreover, on the supposition of the former of these two writers, what need is there of having recourse even to Indication, since the sense, conveyed by that power, also might be understood through the more, and more extending function of Denotation ? Why do not you as well say that joy and sorrow, for instance, are conveyed through Denotation to the addressee by such a sentence as this-' A son is born to thee, O Bráh- man, and thy unmarried daughter is pregnant.'

• They aro called Abhihitanwaya-vadins in contradistinction to the Anwita- bhidhana-vadins, the followors of the Mimansa school of Philosophy who (the latter) held that no meaning in scveralty is conveyed by any word, or no notion exists but in connection with another ; so that then only do words really mean any- thing when they are joined into a sentence. The men of this school deny the necessity of supposing a Function, distinct from Denotation, viz, the Purport, as belonging to the whole sentence. For, in their opinion, all notions (or, mennings of separate words) being, of necessity, connected,-such a Nominative with such a verb only brings to our mind such a particular Thought. This opinion would, at first sight, appear absurd, but, in truth, it is founded on a strict analysis of the manner of our conceiving ideas. This will bo evident if we only try to form the notion of an action (the meaning of a verb) without connecting it, at the same time, with that of an agent, and vice versa. In fact, this theory looks somewhat simuilar to Berkeley's denial of abstract ideas. Y 2

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d. As for the assertion-' All sentences, whether human or divine,* tend to some purpose. Not tending to one, they are not acceptable or useless, and consequently are like those uttered by a mad man Hence, as there is no other motive to be found, than the relish of exquisite joy, actuating the hearer and the chanter of poetry towards their respective occupations, it is the relish of exquisite joy that is held to be the purpose of the sentences of poetry, according to the rule-what a word tends to is its purpose. Here it is to be asked- What do you mean by the expression-' A sentence tends to a pur- pose ?' Do you mean by it, (a) ' a sentence has a thing for its pur- pose,' or (b) ' a sentence causes the notion of the thing by the function called Purport ?'-If, the former (a), there is no dispute between us, for a thing, though suggested by, may vet be the purpose of, a sentence. If, the latter (b), I ask what is this function entitled Purport? Is it what is admitted by those (see §267. b. and note) who hold the ' connection of the expressed' (abhihitanwaya)-or any other power ? If it is the former, we have already replied; if, the latter, the dispute is simply upon a name, for according to this opinion also there is a fourth function established. e. But if you say-' well, let the perception of the connection among the Excitants, &c. and that of Flavour or the like be simultane- ously caused by the power of Purport'-that is not possible, for they are held to be in the predicament of cause and effect-as says the sage-'The production of Flavour takes place from the association of the Excitants, the Ensuants, and the Accessories.' And, how can they be related to each other as cause and effect, if the two perceptions should spring up together like the right and left horns of a beast, when there is an absence of priority and subsequence necessary to a cause and its effect respectively. Indication, no f. Nor can that power of words, styled Indi- source of Suggestion. cation, be supposed to convey the suggested sense ; for in such a sentence, for example, as 'The herd-station on the Ganges' how can Indication convey the suggestion of coolness and purifying power, whilst it ceases from any further operation, after conveying such a sense, merely, as the bank ?

. Human Sentences-works by man, such as the Laws of Manu. Divine. Sentences-the Word of God, i. e. the Vedas.

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g. Hence, it is not to be disputed that a fourth Function must be had recourse to. h. Moreover-

TEXT.

The Suggested, No. 268. The Suggested sense is distinct distinnt from the Ex- pressed in many from the Expressed, by reason of the difference, of ways. its perceiver, nature, number, occasion, effect, perception, time, location, addressce, &c. from those of the Expressed.

COMMENTARY. .

It is distinct as to a: There is a distinction between the perceiver the P'erceiver. of the Expressed sense and that of the Suggested, as the former is perccivable EVEN by Grammarians expert merely in the knowledge of words and their meanings, whilst the latter, ONLY by the man of sensibility. It is different as to b. The Suggested is sometimes in the form of its Form. a prohibition when the Expressed is in the shape of an injunction, as, for example, in-'Stroll securely, O devotee, &c.' (§253. g.) ; sometimes it is in the form of an affirmation whilst the latter is in that of a denial, as in-'The border of thy breasts has lost the whole sandal-wood &c.' (see §27. c.) : hence there is a distinction as to their natures.

It is distinct as to c. In such a sentence as-'The sun is set' -- tho Number. one only expressed sense is perceived, whilst the suggested sense is not one, being-according to the various descrip- tions of the perceiver (i. e. the addressee) thereof-sometimes thus- 'Resort to your lover,' or-' Let the cows be bound,' or-' This is the time of thy lover's arrival,' or thus-'There is no heat now:' hence there is a distinction as to the number. The Suggested, ap- d. The Expressed sense is to be understood prehonsible ouly by on the mere utterance of the words, whilst this- a refined intellect : not so the Expressed. Suggested sense is perceivable through that pecu- liar refinement of the intellect and the like: thus is there a difference as to the occasion or mcans of their apprehension. The Snggestod, dif- e. The Suggested sense brings surprise, whilst ferent as to its effect. the Expressed, a mere cognition : so they are distinct as to the effect.

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The perception of f. They are different as to the apprehension, the Suggested, min- gled with surprise. the Suggested being surprising in apprehension, and the other being of a simple nature.

The Suggested, ap- g. There is a distinction in respect of time, prehended after the Expressed. the Expressed being perceived first, and the Sug- gested, afterwards.

The Snggested, dis- h. There is a difference in location, the former tinct as to its Loca- lity. residing in a word only ; the latter, in a word, its parts, and its sense, in letters and in style.

The Suggested, i. " Who would not be angry, to see the lip different as to the Ad- dressee. of his beloved with a wound? Endure now fhe reproaches of thy lover, perverse as thou wert in smelling the lotus containing a bee-though prohibited by me." In this example (where a female friend speaks to a woman with her lip bitten by a secondary hero, when her jealous husband chides her for it)-the expressed sense is addressed to the friend, and the suggested to her husband: So there is a difference as to the addressee.

TEXT. No. 269. Indication and Denotation are not the causers of the perception of Flavour or the like; since it has no existence before being felt, or in other words, it is a subjective entity, and its existence consists in being felt (§51). Moreover, Indication (cannot produce the perception thereof) when there is no cancelling of the primary or the Expressed sense (sec §13).

COMMENTARY. a. 'Cannot produce the perception thereof"-supply this in the Text after ' Moreover, Indication,' to make the sense complete. Flavour, not to be b. There is certainly no object established by Indicatedor Denoted, being no objective proof, signifiable by the words Flavour &c., other entity. than the act of relishing-that should be conveyed by these powers of Indication and Denotation. Moreover, Indication comes in, or is brought into operation, there only where the connection among the meanings of the words employed, no sooner takes place than it is destroyed, from its unfitness or absurdity, as in the expression-'A herd-station on the Ganges' or the like: as is said by Udayanáchárya in his Kusumanjali, a work on the Nyáya-

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Indication, exertod " A sentence does not seek another sense than only where the literal the literal, when it is satisfactory (lit. without sense is incongruous, desire), by reason of the fitness of the connection among the literal meanings of its component words ; but the connec- tion among the significations of the words failing, it is made up by a meaning tropically hinted by any of the words." Now, there is no cancelling of the primary meaning, for instance, in the sentence commencing-"Perceiving that the house was empty" (see §3. b), and, therefore, Indication has no business herein, and yet the Erotic Flavour is developed by it.

How whatisspoken c. If, again, you say that in such a sentence of as Suggested can as ' A herd-station on the Ganges' the motive, viz. not bo Inidicated. the coolness, purifying power, &c. (see Chap. II. §13. b.) is not Suggested, but Indicated, then ' bank' would become the primary meaning* of Ganges and consequently be cancelled,t and there must be acknowledged another motive,t as indicated, for the indication of this first motice, and a third motive, again, to this second indication, and so on ad infinitum. Two notions, not to be simultaneously d. Nor is Indication exerted here towards conveyed or by the the conveyance of the sense of the 'bank' AS same funetion. QUALIFIED by coolness, &c. the motive; for a simultaneous understanding of the object and the motive is impossible. To take an analogous instance, it is after the perception of the blue that the property or speciulity of ' being known' (jnatata-according to the technicality of the Grammarians) can arise in the blue; or, (as the Naiyayikas say) the consciousness (anuvyavasaya) of it can take place in us.§ TEXT. No. 270. Nor is Inference able to cause the perception of Flavour, &c. suggested; the reasons assigned as the basis of the inference being fallacious : nor is the perception of Flavour, &c. a Recollection. * For the ' motive' and the sense of 'bank' cannot both be Indicated. + Since, there can be no Indication without the primary meaning's being cancelled. Indicated. For there can be no indication without a motive which you suppose to be § Our perception of the blue, occasioning, as it does, the consciousness thereof, must have preceded it. Similarly the understanding of the bank must be antecedent to that of its coolness, &c. for the knowledge of the coolness, &o. is occasioned by our knowledge that the place is contiguous to the sacred river.

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COMMENTARY. a. As for the declaration of the author of the Vyakti-viveka (Dis- cussior of Suggestion), viz. The notion of some "The perception of Flavour and the like which that the perception of Flavour is an In- arise from the Excitants, &c. is also to be referred ference. to the head of Inference. For, the cognition of the Excitants, &c. is held to be the instrument or the occasion of the perception of Flavour and the like, and they being respectively the causes, the effects, and the concomitants of the sentiments of Love, &c. (see Chap. III.) produce Flavour or the like by making us infer those sentiments, since it is these, apprehended by inference and having attained to the condition of being relishable, that are spoken of as Flavours. Hence there must necessarily be a process in the per- ception thereof, though it is not discerned through its quickness. And indeed such a process or succession is admitted even in the Suggestion of the Flavours by those who hold that distinct function." This refuted. I would ask-Do you consider as Flavour tho mere cognition of the affection, &c. residing in Rama, &c. inferred through the apprehension of the Excitants, &c. represented in words (i. e. a Poem), or in action (i. e. the Drama:)-or do you mean by Flarour the self-manifest joy felt, through the conception of the affection, &e., by men of poetical imagination? If you mean the former, there is no dispute, but the only difference is, that we do not use the term Flavour in the sense of the mere cognition of the affection, &c. residing in Rama, &c. But the latter, i. e. Flavour in the sense of joy, is not proved to be inferrible, as the reason, mentioned by you as warranting this inference, is fallacious, for it is not universal,. inasmuch as an old Mimansaka, though he also has the perception of the Excitants, &c., has not the fruition of the self-manifest joy. b. As for the assertion made by him again, viz :- Another argument "The ' universal attendance' and the ' existence of the opponent. in the subject,'* necessary to a logical conclusion, are evident with respect to the inference or logical conclusion of

• These two logical technicalities may be illustrated as follows. All men are mortal, Socrates is a man, .. Socrates is mortal. Now the Naiyayika would say-mortality pervades or univorsally attends humanity, and humanity exists in the ' subject' (viz. Socrates who is to bo proved to bo mortal); therefore we infer or conclude that mortality attends Socrates. For a full explanation soo Dr. B.'s ' Lectures on the Nyaya Philosophy embracing the Text of the Tarka Sangrana.'

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Flavour thus :- In whatsoever person the Excitants, the Ensuants, the Involuntary indications of strong feeling (see §164), and the Acces- sories-represented by words or action-come in contact with a culti- vated imagination giving scope to their operation-in that person the Erotic Flavour &c., are excited ;- I am one of these persons : there- fore I infer the Erotic Flavour &c. are excited in me." And- "The occasions, which you consider as essential in suggesting a different meaning, are held by us as reasons for the inference thereof- us who take the side of those who consider that a suggestion is no other than an inference." The ' logical infer- To these again we reply-this is not opposed enco of one's being an apprehendor of to our opinion, but such a notion is not consi- Flavour, not identical dered by us as relishable, but the fulness of joy with the actual relish thoreof. exquisite, felt only in its own manifestation, so that the reason in your supposed inference is a mero semblance leading, as it does, to the conelusion of a thing (viz. I have the fruition of Flavour), different from what you wished to conclude (viz. the fruition itself of Flavour). c. As for the further assertion of the same writer- Anothor objection. " The Suggested matter in such a sentence as 'Stroll securely, O devotee, &c.' (see §253. g.) ; as also the Ornament of Metaphor, for instance, in the following are simply inferred- "May Krishna preserve the world-curious to see the alternate separation and union of the youthful couple of Brahmany ducks (Chakraváka), as, in his sports in the water, he playfully removes his quick hands from Radha's face, and covers it again :' "To explain : Inference is the knowledge of the Signified, through the Sign qualified by its existence in the subject, its existence in similar instances, and its exclusion from opposite instances .* Now no unconnected sense in the shape of the Suggested can be understood from the Expressed, otherwise suggestion would be indefinite (or a sentence would suggest anything) ; so that there must be a connection

• As, (supposing a smoky hill to be the subject in which the existence of fire is to be inforred), we conclude in the subject the existenco of fire the Signifiod, by the Sign smoke which we see existing in it as well as in ' similar instances,' such as the culinary hearth, where there is no doubt as to the existence of fire, and which we see absent from the ' opposite instances,' i. e. such places in which the absence of fire is certain, See Dr. B.'s Tarka Sangraha, §54. Z

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between the sense (i. e. the Expressed), which causes the understand- ing of a different sense, and that (i. e. the Suggested), which is caused to be understood by it. Hence, the sense which causes, is the 'Sign,' and that which is caused to be understood, is the Signified. Now the former's 'existence in the subject' is expressed, and its 'existence in similar instances' and ' exclusion from opposite instances,' though not expressed, are to be made out through the peculiar tendency of the sentence, so that the Suggested sense as the Signified being understood from the Expressed sense as the Sign, the case ends simply in an inference." The Suggested To this we reply-It is not so. Let us see. sense not inferablo, the reason alleged In such a sentence as-' Stroll securely, O devotee bcing fallacious. &c.' you would say that the apparent direction for strolling, resting on the circumstance of the dog being killed, leads us finally to infer the prohibition of strolling, by reason of the discovery of a lion on the bank of the Godavari. Now, here the alleged reason in the inference, (or the major Premise of your Syllogism) is not universal, for it is possible that even a coward might resort to the lion-infested place at the command of a spiritual guide, or a master, or from affection for a beloved woman. The reason is also inconclu- sive on the score of its being doubtful as to whether the words of an amorous woman (with respect to a lion's being found on the Godavari) are to be believed or not. d. As to the stanza-" May Krishna &c." it is not to be asserted that it is by inference that we understand here the Suggested sense in such a manner as the following-' What by its appearance and disappearance causes the separation and union of the Bráhmany ducks must be the moon.'* For your argument fails in the case of a fright- ening thing, which might as well by its appearance and disappearance cause the separation and union of the ducks. Another false rea- e. ' Such a sense intimates such another sense, soning, repelled. because of its (the former's) being of the nature of such a sense, since whatever is not the intimater of such another sense is not such a sense.'t In such an inference, also, as the above, the reason is, to all intents and purposes, a mere semblance, for from

• See note, p. 78. + This is but an apparent instance of Infcronce founded on the Kevala Vyatireki Linga (Sign that is only absent). See Dr. B.'s Tarka Sangraha, §53.

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the reason assigned by you, viz. ' the sense being as it is,' there might as well be inferred such another sense-be it what it may-as was never wished to be intimated by the sense. f. As to the stanza commencing, ' O neighbour, will you cast your cyes' (see §258. c), you would say-here the reed-knot's scratching the woman's body, and her going alone to the river are the Sign of her enjoying another lover, which is the Signified. But those (viz. her going alone to the river &c. alleged by you as the Sign or Reason in your inference) might, as well, be from her love for her husband as is declared in the very stanza ; so that, your reason is not invariable or, in other words, dallying with a gallant is not universally predicable of a woman going alone to a river, or the like. g. As to the stanza commencing-'The border of thy breasts has lost the whole sandal wood' (§27. c)-I ask-Is the dalliance of the female messenger with her (the speaker's) lover, as hinted here, iuferred by the addressed viz. the female messenger, or by those others present there at the time, or by men of taste considering the sense of this piece of poetry ? In the case of the two former inferring the hinted sense, there is no dispute, but in the case of the last (viz. the readers of poetry) there can be no inference, as the reason assigned in the inference, fails where such a sense is not intended to be hinted. It must not be alleged that the reason is qualified by being associated with the condition or circumstance of the speaker &c., since, not being mentioned, we cannot arrive at a knowledge of it, and so we want a general proposition to base our inference upon. Moreover, as it is not Logical inference necessary that such poems, originating merely in has nothing to do with works of ima- the imagination of the poets, should have any gination. authority at all, our reason (in the inference of any other meaning than the Expressed) must be imperfect (or incon- clusive) from its doubtfulness. It has been asserted by the author of 'Vyakti' that the meanings of the words, in the stanza above alluded to, suggest the other sense only through the aid of the word ' wretch' (www); but when there is reason for doubting whether the lover, referred to in the verses; was really a wretch or not, how can there be an inference ? The conclusion from the effect' also h. All that we have said before, also precludes being an Inference, the notion of the Suggested meaning's being rejected from pootry. perceivable by (what is called by the Mimansakas) 2 2

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the 'Conclusion from the effect,' for the ' conclusion from the effect' too must always depend upon an induction, or general proposition, previously established. As, when we conclude ' Chaittra resides some where else' from the ' effect' of the proposition-' Chaittra, who is not in this cow-herd-station, lives,' our inference depends on the previously established induction, viz. ' whoever lives must reside somewhere.'

Suggestion, not i. Nor is the Suggested sense apprehended founded on conven- through an understanding of signs, in some tion, such manner as the number 'ten' or the like is apprehended by us, for instance, at the time of buying cloth from the dealer's raising his forefinger in signification of the price-suppose 10 Rs., of a certain piece. Because, the understanding of a sign, being dependent on the common authority of convention &c., is also reckoned as a sort of inference. The perception of j. As to the assertion of some that the appre- Flavour, not a recol- hension of Flavour &c. being founded on, or derived lection. from previous impression is simply a Recollection -it is not right, for their reason is only a semblance, in as much as it fails in the case of a Recognition which is also derived from previous impression, and yet is not only a Recollection but a Perception also. k. Lastly, as to the allegation of Mahima Bhatta with respect to such a stanza as the one commencing ' Who, by his fort, is insurmount- able in battle' (see §257. c)-that there exists no second sense in it, it is verily an elephantine wink (or heedlessness of the palpable) on his part to deny what is establisbed by actual perception. A fourth function l. So-to recapitulate the reasons-it is settled. proved that a fourth function must be resorted to in a sentence, inasmuch as the sense in the shape of Flavour &c. established by the universal perception of men of taste, cannot be denied, as it appears and disappears with the particular words, sense &e .* by which it is conveyed, as it is not cognizable by such sources of knowledge as Inference &c., and as it is not to be conveyed by the three functions commencing with the Denotation. Further, this function comes into operation independently of any reference on our part to any previous induction or the like. All this is now clear.

• Scil. The words, the literal sense, the various parts of a word &o., which snggest another meaning or a particular sentiment. See Chap. IV.

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m. The question then arising-How is this function designated ? -it is replied- TEXT.

This, named Sug- No. 271. This function is, by the learned, gestion or Gustation. styled ' Suggestion' (vyanjana). Some again call it Rasana (Gustation) as suggestive of Flavour. COMMENTARY. a. This has been discriminately dwelt upon on the occasion of the decision of Flavour (see §33. g. and h.), and so it is all lucid. So much for the ' establishment of the function of Suggesting'-the fifth chapter of the Mirror of Composition.

CHAPTER VI. The Declaration of' a Poem to be seen and heard' and 'a Poem only to be heard.'

Division of Poetry Thus having stated the two divisions of Poetry into the ' Visible' and as (1) 'Suggestive' and (2) 'of a subordinate tho ' Audiblo.' Suggestion,' he declares its two divisions again into the ' Visible' and the ' Audible.' TEXT.

Visible Poetry de- No. 272. Poctry is considered again to be of fined. two sorts, from the distinctions of Poetry to be seen and heard, and Poetry only to be heard. Of these the ' visible Poetry' is that which can be represented, and this-(see the next Text)- COMMENTARY. a. He states the reason for its appellation of ' Rúpaka' (Poem of forms). TEXT.

Why called ' Ru- No. 273 .- is called Rúpaka from the artificial paka.' assumption of forms by the actors. COMMENTARY. a. 'This'-' visible Poetry'-is styled Rupaka by reason of the actors artificially assuming the forms of (i. e. personating) Rama &c. b. Now, what is this acting or representation (abhinaya) ?- he replies-

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TEXT.

Representation, No. 274. Acting is the imitation of condi- fourfold tions; it is of four kinds, viz. (1) Gestural (ángika), (2) Vocal (vachika), (3) Extraneous, or pertaining to dress, ornament, &c. (aharya), and (4) Internal or pertaining to the soul or internal feelings (sáttwika). COMMENTARY. a. Acting is the imitation or reprosentation of the conditions of Rama, Yudhishthira, &c. by means of gesture,* spcech, &c. b. He declares the divisions of the Rúpaka. TEXT. The ten Rúpakas. No. 275. The Nataka, the Prakarana, the Bhana, the Vyayoyga, the Samavakara, the Dima, the Thamriga, the Anka, the Vithi and the Prahasana: these are the ten Rúpakas. COMMENTARY. a. And- TEXT.

The eighteen minor No. 276. The Natika, the Trotaka, the Rúpakas. Goshthí, the Sattaka, the Nátyarásaka, the Pras- thana, the Ullapya, the Kavya, the Prenkhana, the Rasaka, the Sanlápaka, the S'rígadita, the S'ilpaka, the Vilásiká, the Durmalliká, the Prakaraní, the Hallis'a, the Bhanika ; these eighteen the learned call Uparupakas (minor Rupakas). All these in their general character are held to resemble the Nátaka. COMMENTARY. a. 'All'-i. e. the Rúpakas beginning with the Prakarana, and the Uparúpakas commencing with the Natika. b. Of these- TEXT. The Nataka de- No. 277. The Nataka should have a celebrated scribed. story for its plot; be possessed of the five Junctures (see §332) ; have the qualities of ' Vivacity' (see §91), pros- perity, &c. described; contain or represent personages (or characters) contributing to the various prosperities of the Hero; be abounding with the sentiments of pleasure and pain, as also with a variety of flavours. It is declared that the Nataka should consist of from five to ten Acts. The hero should be of the sort characterised ' high- * Lit. By the corporeal members.

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spirited, but temperate and firm' (§ 66), powerful and virtuous, being either a royal sage of renowned family, or a god, or a demigod; the principal Flavour must be one only, being either the Erotic or the Heroic, all other flavours should be subordinate, and the Marvellous exhibited in the fulfilment of the end, or in the last Juncture, viz. the 'Conclusion.' There must be four or five important personages en- gaged in the business of the hero, and the Nataka must be so composed as to end like a cow's tail. COMMENTARY. . a. 'Celebrated'-such as the famous story of the Rámáyana, for instance, that forms the plot of the drama Ramacharita, &c. b. The junctures shall be declared afterwards (see § 332). c. 'Contain personages contributing to the various prosperities of the hero'-i. e. the Nataka should have mighty Assistants for the hero. d. 'The sentiments of pleasure and pain'-as are clearly exhibited in the stories of Rama, Yudhishthira, &c. e. 'A royal sage'-such as Dushyanta and others. f. 'A god'-i. e. such as the holy Krishna or the like. g. 'A demigod'-i. e. one who, though a god, thinks himself a man, such as the divine Ramachandra. h. 'So composed as to end like a cow's tail'-Some explain it to mean that each of the acts is to be gradually made shorter than the one preceding; while others say that as in a cow's tail some hairs are short and some long, so in the Nataka some important incidents are to be completed in the first or opening Juncture (Mukhasandhi), some in the juncture Pratimukha, and similarly the other incidents are to be distributed among the other junctures, without trying to make them equal, in number, in every Juncture. TEXT.

The Act describod. No. 278. The Act is declared to be of the following description. It represents visibly the actions of the hero; it is to be brilliant with Flavour and Incomplete flavour; its style must be clear; it should contain short prose sentences (chúrnaka); it forms a division in the action of the drama; it may slightly touch the Vindu (see §319); it should not contain an abundance of incidents, nor should it represent the Vija (derm), or the Catastrophe (sanhriti) ;

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it should contain various appropriate actions ;* it should not have too many verses in it; it must not be composed so as to clash against the performance of the necessary duties, nor should it contain events of more than one day ;t it should always have the hero under immediate relation ; it should contain three or four personages; it should be devoid of the following actions-calling at a distance, killing, battle, national calamity, marriage, eating, cursing, excretion, death, amorous dalliance, scratching with the teeth or nails, and others that excite shame ; as also sleeping, sipping the lip, besieging a city or the like, bathing and anointing the body; it should not be too lengthy; it visibly represents interesting deeds, pertaining, for example, to a queen and her attendants, to a minister and merchants, such as excite feeling and flavour-the characters all making their exit at the end. COMMENTARY. a. The Vindu &c. shall be mentioned afterwards .- ' Necessary duties'-i. e. the morning and evening prayers, &c. b. He describes the Interlude (Garbhanka) being in place after the declaration of the principal Act :- TEXT.

The Interlude, des- No. 279. A secondary Act contained within cribed. a principal one, having a Rangadwára, an Amukha &c. of its own, and so also containing a Germ and an End, is styled Interlude.t COMMENTARY. a. As, for example, in the Bala Rámáyana- " Eunuch. (-addressing Ravana-) This festival of Síta's own choice (i. e. of a husband), fit as it is to be drunk in by many an ear, and viewed by many a large eye, is, as it were, a drama composed for your majesty."§ Thus commences the Interlude named ' Sita's own choice.'

• I. E. Tending to the main business of the drama. t It will be observed hore that Prof. Wilson was mistaken in saying-' The ahitya Darpana extends it (the duration of the Act) to a few days or even to "ne year.' Hindu Theatre, Vol. I. p. 9. t For convenience sake I have used this word, though generally employed in a somewhat different sense. § We have another example in the Uttara Rama Charita at the commence- ment ef the 7th Act. So is the well known ' mouse trap to catch the conscience of the king,' in Hamlet.

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TEXT.

formances of the the Purva Ranga, then Reverence to the assem- Preliminary No. 280. The first thing to be done in it is per-

Drama. bly, then the mention of the name of the poet &c. as also of the drama, and then the Induction (Amukha-see §283 and 287). COMMENTARY. a. 'In it'-i. e. in the Drama. TEXT. .The Púrva-ranga. No. 281. What the Actors perform before the commencement of the matter to be represented or the main drama, for the removal of the obstacles likely to happen to the stage in the course of it-is called Purva Ranga, (Preliminary Performance). It consists of a variety of elements, such as the Pratyahara &c., among which however the Benediction (Nandi) must be used as a special means of removing the obstacles. COMMENTARY. a. He states its (the Nandi's) nature :-

TEXT.

The Nandi or Bene- No. 282. What is recited in the praise of a diction. Deity, a Brahman, a king, or the like, combined with a benediction, is designated Nandi. It should suggest such auspicious things as the Vilwa (Zgle Marmelos), the Conch shell, the moon, the lotus, the Brahmany duck, the lily ; and consist cither of twelve inflected words or eight lines. COMMENTARY. a. The Nandí of eight lines is such, for example, as that in tho Anargha Raghava commencing fawuwvn* That of twelve words- as the following in the ' Pushpa-mala' (Flower-garland) of my venera- ble Father- "The daughter of the Royal Mountain (Parvats) with her moon face shining at first red with resentment towards Kama's enemy

• The first of the couple of stanzas here alluded to, is translated as follows : "I adore, for the removal of obstacles, the eyes of the Holy One, marked by the divino maco, (Vishnu)-glorious eyes, able one to gladden the Koka, the other to feast the Chakora; which have made the white lotus-bud in the Great God's navel-pond equal to the Ethereal Conch in His hand, as, struck by their respective solar and lunar rays, half it wakos, and half it sleeps, swcot in charm. ing beauty." 2 A

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(S'iva) holding, as he does, on his head the River-Goddess (Gangú)- then, as her lord falls down at her feet, charming with a smile-may she bestow on you prosperity !" b. Thus might the Bonediction be illustrated in other instances. The Nandi, proper- c. The performance, however, spoken of in ly, no part of the Purva Ranga, the Text 281, I have designated Nandi according to Rangadwara being the opinion of some, but others say-'it is in the commencement. reality the part of the Purva Ranga named Ran- gadwara (the Door or Opening of the Theatre), to which effeet it has been said- "Since acting is first of all introduced into this, it is known as the Rangadwara, consisting of vocal and gestural performance." Now the Benediction (or Nandi properly so called), such as is described in the present text, being performed BEFORE the Ranga- dwara by the mere actors, is not mentioned by the great sage (Bharata). Moreover, the above definition of Nándí does not hold good, for instance, with respect to the following stanza, prefacing the drama Vikramorvas'i of that great poet-Kalidasa :- " May* He who is declared in the Upanishads to be the solc Person, pervading the heaven and the earth, in whom exclusively does the word Lord (I's'wara) attain to its true signification, who is sought within by the desirers of salvation with breath and organs controlled -may that S'iva, easy to be obtained by steady faith and devotion, be for your felicity !" d. Further, it has been said- the poet should compose beginning with the Rangadwara:' hence it is that in the old manuscripts the stanza beginning 'May He who is declared' is found written after the words-' Enter Manager (Sutradhara) at the end of the Benediction.' Where, however, this expression occurs after the stanza, there it is intended to intimate the poet's meaning-'the Manager shall read this after the Benediction : here commence I the drama.' TEXT.

The drama, how to No. 283. The Manager, having just acted the bo introducod. Púrva Ranga, desists, and the Establisher (Sthá- paka), equal to him, then entering, establishes or introduces the * A commentator of the Sakuntala reconciles the similar stanza, therein, with the ubove definition of Nandi, on the authority of Abhinava gupta Acharya, the Expositor of the Bharata Sútras, who explains ' pada' to mean a clause as well as a line and an inflected word.

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drama; he must hint the matter or action, if divine, or human, in the corresponding form, and if mixed, in either of the two forms; or he may hint the Vija (Germ), the Mukha (Face, Opening), or the hero.

COMMENTARY. a. ' Establisher'-so called from his office of establishing or bring- ing in the action of the poem. b. 'Like him'-i. e. with qualities and appearance like those of the Manager. c. In these days from the absence of a complete performance of the Purva Ranga, the custom is that the Manager alone does all. d. The Sthapaka must hint a divine matter as a deity, a human matter as a human being, and a mixed matter in any of these charac- ters .- 'Matter' i. e. the Action or the plot : For example- Intimation of tho "Receiving the command of his Father as a plot. garland on his head, Rama resorts to the forest ; Bharata, in devotion to him, abandons his whole kingdom together with his mother ; those his faithful followers-Sugriva and Vibhishana -are raised to high prosperity ; and his pride-elevated enemies, the Ten-headed demon and others, are all annihilated." e. The Germ (vija) hinted-as in the Ratnávalí- Intimation of the "Favourable Fortune brings us speedily our Germ. wished-for object even from another continent, even from the bosom of the ocean, aye, even from the farthest quarter of the globe !" IIere, the admission of Ratnavali, favoured by kind Fortune, into the king of Vatsa's house is the germ or first means, beginning to operate with Yaugandharayana's exertions, of the king's obtaining the lady (Ratnavali) who had been plunged by shipwreck into the midst of the sea, but afterwards saved. Intimation of the f. The Mukha is a sort of speech indicating, opening action. by means of an equivoque or the like, the inci- dent to be presently represented; as the following- "Smiling with the clear, silvery moon, and lustrous with the stars, Autumn has arrived-like the fair Rama, radiant with his glittering sword unsheathed; like the hero he has destroyed the season of the rains, dark and dreadful like the ten-headed monster; and he has 2 A 2

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reloaded the Bandhujiva with flowers, still imitating that gracious prince who brought back life to his slaughtered friends."* g. The Hero hinted, as in the Sakuntalá- Introduction of the "Suddenly was I carried away by the ravish- Hero. ing strains of thy song as is this king Dushyanta by the flying deer." TEXT. No. 284. Having propitiated the theatric spectators with sweet verses hinting the purport of the drama, he mentions the names of the drama and the poet, as well as his lineage &c., and gencrally describes some season with the action called Bhárati. COMMENTARY. a. 'He' i. e. the Establisher .- 7. 'Generally'-because sometimes there is no description made of the season, as in the Ratnávalí. c. The action Bharati is now explained- TEXT.

The action Bhára- No. 285. The Bharati is a vocal action by an tí, defined. actor speaking mostly Sanskrit. COMMENTARY. a. The Bharati is a performance chielly consisting in a discourse being for the most part in Sanskrit. TEXT.

Its elements. No. 286. The Prarochana (Propitiation), the Vithí, as also the Prahasana, and the Amukha (Induction) are its component parts. Among these the Prarochana is the excitement of the attention by means of culogium. COMMENTARY.

The Prarochana, or . The Prarochana is the attraction of the Commendation. attention of the Audience, by a commendation of the drama &c. to the actions or representations about to be performed. For example, in the Ratnávalí- " The poet S'ríharsha is a perfect master of his art, and this assem- bly can well appreciate merit; the actions of Vatsa's king are charm- ing to the people, and we are skilled in acting -- each of these circum- * This comparison is not perhaps wholly intended in the original-the ac- tions of Rama being meant simply to be hinted along with the description of the season by means of an equivocal collocation of words.

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stances would singly lead to the attainment of the wished-for fruit : how much more then would all this assemblage of excellences, com- bined as they are from the excess of our good fortune ?" b. The Vithi and the Prahasana shall be hereafter described, (sce §520 and 533). c. He now states the A'mukha :

TEXT. No. 287. When the Actress, or the Vidushaka The A'mukha or Induction described. (the Jester or Buffoon), or the Paripars'wika (Associate), discourses with the Manager in inter- csting speeches issuing out of their own business* and hinting or bringing in the subject in hand (i. e. the matter to be represented)- it is designated Amukha (Prelude) or Prastávaná (Introduction). COMMENTARY. a. The Establisher (Sthapaka) also is called Manager being like him. The Paripars'wika is his (the Sthapaka's) attendant. An Actor is a little inferior to the latter.

TEXT. Its fivo varietics. No. 288. There are five varieties of the Pre- lude, viz. the Udghatyaka, the Kathodghata, the Prayogatis'aya, the Pravartaka, and the Avalagita. COMMENTARY. a. Among these- TEXT. The Udghátyaka. No. 289. When having heard some words, and not understood their sense, they add some others of their own to make a meaning out of them-it is called Udghatyaka (striking up). COMMENTARY. a. For example, in the Mudra Rakshasa (The Signet of the Minister) -- "Manager .- That malignant planet,t Ketu, wishes violently to overpower the Moon (Chandra) now in full circle"t-(Behind the scene, or lit. in the dressing-room-interrupting) " Chanakya .- Ah!

• In the original सवकाय्यात्थः, which the commentator explains-"suited to their purpose,-the entranco of one of the dramatis personm." t Krura-graha, which equivocally means also ' of evil intention.' t Sampurpamandala-'in a full circle of sovereignty.'

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who is this that, whilst I live, wishes violently to overpower Chan- dragupta ?" Here enters a personage (Chanakya) construing the words of the Manager into a different sense from what they import-owing to his having been engrossed by his own thoughts. TEXT. The Kathodgháta. No. 290. If a personage makes his entrance, catching up the words of the Manager, or their meaning-it is called Kathodghata (Striking up of an event). COMMENTARY. This based (1) on a. 'Catching up the words'-as in the Ratna- tho words. vali-' Favourable Fortune brings, &c.' (§ 283. e.) having been recited by the Manager, a personage repeats behind the scene, the couplet thus-'So it is, no doubt-Favourable Fortune, &c.'-and Yaugandharayana makes his entrance. And (2) on tho b. The entrance of a character catching up sense. the sense-as in the Veni-sanhara :- "Manager-May the sons of Pandu rejoice with Madhava, the fire of their antagonism extinguished from the enemies seeking peace; and may the sons of king Dhritarashtra with their protéges obtain tran- quillity, having desisted from all fighting, and subdued the people's heart by their protective affection."* Catching up the sense of the sentence spoken by the Manager, some one cries out behind the scene-"Ah wretch, thou vain chanter of peace to my enemies, how can the sons of Dhritarashtra obtain tran- quillity so long as I live?" The Manager then goes out, and Bhinra- sena enters. TEXT.

The Prayogátis'a- No. 291. If a part or performance is super- ya, or Supersession of seded by another so that a personage enters, it is a Part. called Prayogatis'aya (Supersession of a part). COMMENTARY. a. For example, in the Kundamala-"[Behind the Scene.] Madam, alight this side-this side-please. * The second sense of the stanza is the following :- "May the sons of Pandu rejoice with Madhava, the fire of their antagonism extinguished from the ex- tinction of their foes; and may the departed souls of king Dhritarashtra's sons and of their proteges be in peace, having graced the Earth with the blood of their bodies wounded in battle."

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"Manager-Who is this verily that renders me assistance by calling my lady ? [L.ooking closely-] O misery ! It is most pitiful-Alas ! it is Lakshmana drawing Sitá to the woods-Síta who though oppress- ed with the weight of pregnancy, has been banished the country by Rama perplexed with the fear of his people's censure, as she had re- mained so long in the habitation of the king of Lankú." Here the Manager, wishing his wife to be called for the purpose of dancing, goes out hinting the entrance of Sita and Lakshmana with the exclamation-"this is Lakshmana leading Sita to the woods'-and thus performs a part superseding that which he had apparently intend- ed for his own, viz. dancing. Hence the name Prayogatis'aya. TEXT.

The Pravartaka. No. 292. When the Manager makes a de- scription taking the season current for the subject, and a personage enters thereupon-it is called Pravartaka (Introduction). COMMENTARY. a. As, for example, the stanza commencing ' Smiling with the clear silvery moon' (§283. f.) having been recited, Rama enters as therein described. TEXT. The Avalagita. No. 293. When in a performance another business (viz. the hinting of the entrance of the hero or the like) is performed in unison with it-it is designated by the learned-Avalagita. COMMENTARY. a. For example in the S'akuntala-"Manager-Suddenly was I carried away, &c., (see § 283. g.)" *- Then enters the king. TEXT. No. 294. Herein may also be admitted any of the other elements of the Vithi, according to the occasion. COMMENTARY. a. 'Herein'-i. e. in the A'mukha. b. 'The other elements'-i. e, those besides the Udghatyaka and the Avalagita, to be described hereafter (see §521.) c. Nakhakutta, however, declares- * This is cited as an instance of the Prayogatisaya by Dhanika in his expo- sition of the Das'a-rupa, see that work, chap. 3, s'l, 10.

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Another variety of "In the Nataka and the like, the Induction the Induction, accord- (Amukha) may also be founded on words, heard ing to some. to be spoken, either behind the scene, or in the air." TEXT. No. 295. The Manager should employ any of these varieties (in. cluding those intimated last), and thereby hinting either the matter or a personage, go out at the end and then represent the action. COMMENTARY. a. 'Action'-i. e. the series of incidents that form the subject of the drama. TEXT.

Action two-fold. No. 296. This Action again is held by the (1) The Principal. learned to be two-fold; the one is the Principal (Adhikarika), and the other Incidental (Prasangika). Property (Adhi- kara) is the ownership or possession of the result; the holder of that ownership is the Principal person -- the IIero (lit. Owner, Adhikarin), hence the story pertaining to him is designated by the poets Adhikari- ka (of the Principal perscnage). COMMENTARY. a. 'Of the result'-i. e. of the principal fruit, (such as Rama's recovery of Sita through the destruction of Ravana.) b. The story of Rama, or the main action, in the drama Bala Ramayana, is an example of the first of these divisions. TEXT.

(2.) The Incident- No. 297. Incidental, or Episodical is that al. which is subservient to it. COMMENTARY. a. That story or plot which is intended to be subscrvient ' to it' i. e. to the Principal action, is the Incidental : for example the actions of Sugriva or the like. TEXT.

The Patáka-sthánaka, No. 298. The Pataka-sthanaka (Telling or an important element Striking Point) is to be admitted here into the in tue action. action with good judgment. COMMENTARY. a. 'Here into the action'-i. c. into the dramatic action.

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TEXT. This defined. No. 299. That is called the Patáká Sthánaka when instead of the thing thought of, or expected, another of the same character is brought in by some strange or unexpected circum- stance. COMMENTARY. a. He states the divisions hereof :- TEXT. Tho first Pataka No. 300. When an object is unexpectedly, Sthanaka. and in an excellent manner, gained under a pecu_ liarly favourable circumstance-it is declared to be the first Pataka .

Sthánaka. COMMENTARY. a. As, for example, in the Ratnávalí, when the king, thinking that it was Vasavadatta, his wife, about to commit suicide from his falling in love with Sagarika, unties the noose from her neck and then re- cognizing by her voice the lady disguised as his wife to be Ságarika exclaims-'How, is it, Sagarika, my love! O forbear from this des- perate rashness.' Here we have an attainment of the principal ob- ject, viz., the company of Ságariká, excellent, that is to say happier, under the excessively favourable juncture, than the expected one of Vásavadattú. TEXT. The Second. No. 301. A speech extremely equivocal and containing a variety of epithets is declared to be the Second Patáká Sthánaka. COMMENTARY. a. For example, in the Vení Sanhára- " Manager-May the sons of king Dhritarashtra with their proté- ges obtain tranquillity, having desisted from all fighting (vigraha), and subdued the people's heart by their protective affection (rakta)." As this sentence suggests the Germ* and the Endt by means of an equivoque based on the words 'rakta,' 'vigraha,' &c., bearing the second significations of 'blood,' 'body,' &c., respectively,t-happiness * Viz., Yudhishthira's energy, roused by the indignation of Bhima, which latter is first manifested at the Manager's recitation of the above lines. t Scil. The binding of Draupadi's trsses through the destruction of Duryo- dhana and his brothers-the foes of the hero. See note-§ 290. b. 2 B

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to the hero comes unexpectedly to be understood from the lines, instead of blessing to the enemies which they, at first, seem to indicate : so the general definition of the Patáka Sthánaka (see § 299) holds good here. TEXT. The Third. No. 302. What hints the Deed (Karya- see § 323), obscurely, and under a certainty as to some particular,- containing equivocal replies-is spoken of as the third Patáka Sthá- naka. COMMENTARY. a. 'Obscurely'-i. e. under a sense not clearly expressed. b. 'Containing equivocal replies'-i. e. containing replies fitly connected with the matter in hand, but used under a different im- port. c. 'Under a certainty as to some particular' -- i. e. under the at- tainment of certainty as to some particular matter. d. What is characterized by the above qualities is the third Patá- ká Sthánaka: as, in the Vení Sanhára, Act II- " Eunuch .- Broken, Sire, Broken- King .- By whom? Eunuch .- By the Fierce (Bhimena)- King .- Whose? Eu .- Your Majesty's. King .- Ah! What dost thou babble? Eu .- [Terrified.] Nay, my king, I say-Broken by the Fierce [wind], your Majesty's. King .- Fie! thou wretched old man, whence is this hallucination in thee, just now ? Eu .- My king, it is no hallucination, it is indeed a reality. Broken by the fierce wind, your Majesty's chariot-flag has been thrown down upon the ground-making, as it fell, a cry of lamenta- tion with the sound of its tinkling string of bells." Here is exhibited an intimation that ends in hinting the matter in hand, viz., the fracture of Duryodhana's thigh by Bhimasena, which forms the catastrophe of the drama. TEXT. The Fourth. No. 303. An equivocal arrangement of words (or a double entendre) well connected and fit for poetry-such as has

.

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an eye to a third sense, viz., the End, is the next and last Pataka Sthánaka.

COMMENTARY. a. For example, in the Ratnávalí : "I shall certainly make the countenance of the queen red with anger to-day-by looking-as on another woman inflamed with love- at this garden creeper entwining the Madana trec, powerfully bloom- ing in blossoms white (pale with powerful anxieties-), about to be fully blown (yawning through langour -- ), and every moment shaking itself through the frequent puffs of the wind (-increasing her own pain by the frequent heaving of sighs)."* Here is hinted the future event of the king's falling in love with Sagarika, terminating in his union with the lady by marriage-which is the End of the business. The Patáká Sthá- b. These four Pataka Sthanakas are employed nakas may be used any where through- in all the junctures (Sandhis-see § 332) some- out the play. times for the purpose of intimating some bless- ing, sometimes a misfortune too; they may be multiplied according to the taste of the poet. As to what has been asserted by some, viz., 'They are to be employed respectively in the four junctures commenc- ing with the Mukha (Opening Juncture-see § 333)'-in this others do not agree, for it is proper that all these, extremely acceptable as they arc, should be used every where without restriction. TEXT.

An improper inci- No. 304. A matter or incident which is im- dent in the hero's lifo to be omitted or al- proper with respect to the hero, or opposed to tered in the plot. relish, is to be altogether omitted, or shaped otherwise.

COMMENTARY. a. An 'improper' event is, for instance, the killing of Valin by Rama by an artifice. It is entirely omitted in the Udatta Raghava, and is altered in the Vira Charita, where Valin himself comes forward to slay Rama in fight, and is killed by him.

• The qualifications enclosed within brackets, of course, apply to 'another woman inflamed with love.'-The difference between this and the socond Pataka Sthanaka (§ 301), says tho scholiast, lies in the latter (the 2nd) being entirely based upon a double entendre, whilst the former has an expressed comparison besides. 2 B 2

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TEXT.

What incidonts to No. 305. Incidents which are not to be shown be hinted in the Ar- thopakshepaka or In- or represented in the Acts and are yet consider- troductory Scene. ed necessary to be told, as also such as extend through, from two days to a year (§ 278), and others too extensive, are to be hinted by the learned by means of the Arthopakshepakas* ([ntroductory Scenes). COMMENTARY. a. 'Incidents or events not to be shown in the Acts'-such as events of battle, &c. TEXT. No. 306. A business extending beyond a year should be comprised within a year. COMMENTARY. a. As has been said by the sage --

Its duration, not " All that was done in a month, or even in a to be more than a year, should be performed in a separate Introduc- year. tory Scene (Ankachheda), but never what ex- tends beyond a year." So the destruction of Virádha, &c., parts of the story of Rama's dwelling in the forest, though it extended over fourteen years, may be hinted, without opposition to the above dictum, to have occupied a year or any portion of it, such as a couple of days, &c. TEXT.

A whole day's No. 307. What was done in a day, but in a event also to be told by the Arthopakshe- whole day, is to be intimated by means of the

paka. Introductory Scenes apart from the main Act. COMMENTARY. a. The question arising-what are these Introductory Scenes ?- he says- TEXT.

Its divisions. No. 308. The Introductory Scenes are five viz., the Vishkambhaka, the Praves aka, the Chúliká, the Ankávatára, as also the Ankamukha (Protasis). The Vishkambhaka The Vishkambhaka is represented in the be- pure, and mixed. ginning of an act, being brief and exhibitive or suggestive of parts of the action both past and future. When acted * Lit. Intimators of Matter.

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by one or two middling personages, it is pure, but it is spoken of as mixed, if performed by a low and a middling character. COMMENTARY. a. Of these two divisions of the Vishkambhaka, the pure is, for instance, acted by Kapálakundala in the cemetery, in the drama Málati Madhava of Bhavabhuti; the mixed, by Kshapanaka and Kapalika, in the Ramabhinanda. TEXT. The Praves'aka. No. 309. The Praves'aka (Introducer) is per- formed between two consecutive acts by one or two low characters, in ah unelevated discourse; it is like the Vishkambhaka in other re- spects. COMMENTARY. a. 'Between two acts'-so it is forbidden to be employed in the first act. b. An example of this is the part played by the couple of Demons in the Act-' As'watthamanka' (or Act of As'watthaman) in the Veni Sanhára. c. Now of the Chúliká :- The Chúliká. No 310. The hinting of a matter or event by those behind the curtain is the Chúlika: COMMENTARY. a. For example, in the Vira Charita, in the beginning of the fourth Act :- "(Behind the Scene-) Up! up! Deities, Riders in aereal cars, up with theatrical festivities! &c." Thus is hinted, by the persons behind the scene, the event of Para- s'u Rama's defeat by Ráma. b. Now of the Ankavatara. TEXT. The Ankavatara. No. 311. When an Act, hinted by persons at the end of the preceding Act, is brought in continuity with the latter -this is called Ankavatara (Descent of an Act).

COMMENTARY. a. As in the S'akuntala, the 6th Act, having been hinted by persons, at the end of the 5th, is introduced as a portion, or conti- nuation, as it were, of this Act. b. Now of the Ankamukha (Protasis).

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TEXT.

The Ankamukha, No. 312. That part of an Act, wherein the or Protasis. subject of all the Acts is intimated, is styled Ankamukha (Face or Opening of the Act) which suggests the Germ (Víja) as well as the End (Artha). a. For example, in the Malati Madhava, at the commencement of the first Act, Kamandakí and Avalokita hint the parts to be played by Bhurivasu and others, and collaterally the arrangement of the plot, in brief.

TEXT.

Another kind of No. 313. Or the Ankamukha may be, when Ankamukha. persons, at the end of an act, hint the opening point of another Act, divided, or not continued, from it.

COMMENTARY. a. 'Persons at the end of an Act'-i. e. persons entering at the end of an Act. b. As, in the Vira Charita, at the conclusion of the second Act- "Sumantra-(Entering-) The holy Vas'ishtha and Vis'wamittra are calling you together with Bhargava. Others-Where are the holy sages? Sumantra-With the great king Das'aratha. Others -- Let us then go there." Here ends the Act. Now this is called Ankamukha (Face of an Act), as the Minister Sumantra, entering just at the conclusion of the Act-which suspends the action of Janaka and S'atananda-hints or introduces the face or opening of the succeeding Act, viz. ' Enter Vasishtha, Vis'wamittra, and Paras'u Rama seated.' c. I have said this according to the opinion of Dhanika. Others, however, assert that this sort of Ankamukha is in fact the same with the Ankávatára .*

• The definitions of these two kinds of the Introductory Scene-nay the whole of this chapter, mostly without even the lenst alteration-are borrowed from the Das'a Rupa the expositor whercof is Dhanika. Now the detinitions mark a difference botween them not less than that betweon othor divisions. The example indced, cited hero to illustrate the Ankavatara, which is different from that of Dhanika, confounds the two divisions. Vide Das'a Rupa-S'l. 55 -56.

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TEXT.

Tho Vishkambha- No. 314. When a good deal of the insipid ka when to succeed matter, forming the commencement of the story tho A'mukha. upon which a drama is founded, is left out, and the remainder, required to give us the clue to the story, is to be exhi- bited, then the Vishkambhaka in the drama must be performed imme- diately after the Induction (Amukha)-the characters of the former having been hinted in the latter : COMMENTARY. a. For example, in the Ratnávalí, the Vishkambhaka performed by Yogandharáyana. TEXT.

The Act when to No. 315. But when relishable matter com- snccced the A'mu- mences at the very opening of the story, then kha. the Act must commence at the very beginning- introduced by the Induction : COMMENTARY. a. As, in the S'akuntalá. TEXT. The hero's death No. 316. The death (lit. killing) of the prin- not even to be hint- ed. Passions and in- cipal personage or hero (Adhikárin) is not to be cidents toharmonize. declared even by means of the Vishkambhaka, &c. ; nor should any of the two-Flavour (Sentiments) and matter (Incidents), cover over or out-balance the other. COMMENTARY. a. Flavour-i. e. the Erotic, &c. To this effect it has been said by Dhanika -- "The dramatist should neither disperse far the matter (i. e. the incidents of his play) by a superabundance of Flavour or passionate descriptions, nor should he cover over the Flavour by an excess of matter and embellishment." TEXT. The five Sources No. 317. The Vija (Germ), the Vindu (Se- of the End. condary Germ), the Patáká (Collateral action), the Prakari (Episode), and the Karya (Deed) are the five Sources of the End or the Grand Object-which are to be known and employed according to the rule.

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COMMENTARY. a. 'The Sources of the End'-i. e. the causes or means of the ac- complishment of the principal object. b. Of these the Germ is defined as follows- TEXT.

The Germ (Vija) No. 318. That which is the first cause of definod. gaining the end, is but slightly intimated, and expands itself in various ways, is denominated Víja. COMMENTARY. a. For example, in the Ratnavalí, the source of the monarch of Vatsa's obtaining Ratnavali is the exertion of Yogandharayana, fa- voured by kind Fortune. Or, in the Veni Sanhara, the cause of the binding of Draupadi's tresses is the energy of Yudhishthira enhanced by the rage of Bhimasena. TEXT.

Tho Vindu, defin- No. 319. When the course of the business of od. the drama seems to be interrupted, the cause of its being developed again is called Vindu .* COMMENTARY. a. For example, in the Ratnavali, the business, at the completion of the worship of Kama, being suspended, Ságariká, hearing these words of the bard-'They (the assembled prinees) expeet to see t e feet of Udavana as the beams of the rising moon'-exelaims in joy -'How, is he the king Udayana!' This excites the succeeding part of the businesst. TEXT.

The Pataka or Col- No. 320. A Collateral Story, pervading, or lateral Action. stretching through, the drama is styled Pataka. * COMMENTARY. a. For example, in the Rama Charita the story of Sugriva, &c .; in the Veni Sanhara, that of Bhima, &c. ; and in S'akuntala that of the Vidűshaka.

• Lit. Drop, as a drop of oil on wator quickly diffases itself. t Lit. 'This is the Spring or Germ of an intermediate object'-that which follows, viz. Sngarika's falling in lovo with the king. Thus the Vindu is dis- tinguished from the Vija (Germ) as being the sourco of an intermediate object, whils: the latter is that of the principal one, and consequently being possibly more than one, whiist the latter can not but be one ..

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TEXT.

The hero's minor No. 321. An object of the hero other than object, not the Patá- the principal is not the Pataka, for that may be ká proper. accomplished either in the Juncture Garbha or Vimarsha. COMMENTARY. a. For example, the attainment of the kingdom of Balin by Su- griva, which is a minor object of the hero Rama fulfilled before the consummation of his principal object, the destruction of Ravana. The object of the hero of the Patáká, b. As to what the sage has said viz .- 'The also indicated by Patáká is concluded either at the end of tho Bharata by Patáká. Garbha or of the Vimarsha'-this the venerable Abhinava Gupta has thus explained: ' The word Pataka here denotes tropically the object of the hero of the Patáká, for the Patáká, pro- perly so called, is found to continue even to the Nirvahana or Conclu- sion. TEXT.

Tho Prakari or No. 322. A Collateral action of limited du- Episode. ration is what is meant by Prakari. COMMENTARY. a. For example, in the act named Kulapati, the dialogue between Jatayu and Rávana. TEXT.

The Deed (Kárya), No. 323. An object of the hero other than defined. the principal is not the Prakari. That is called the Deed or Object (Karya), through which is to be accomplished the sought for End, which is the motive of the business, and for the consummation of which the incidental actions are perform. ed. COMMENTARY. a. As the killing of Ravana for the recovery of Sita in the Rama Charita. TEXT. No. 324. There are five conditions or stages Deed. Five Stages of the of the Deed, undertaken by those that seek an End-viz., Commencement (arambha), Effort (vatna), Hope of At- tainment (práptyás'a), Certainty of Attainment (niyatapti), and At- tainment of the Fruit (phalágama). 2 c

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TEXT.

The Junctures spe- No. 332. The Mukha (Protasis), the Prati- cified. mukha (Epitasis), the Garbha (Catastasis), the Vimarsha (Peripateia), and the Upasanhriti (Catastrophe) : these five are its divisions the definitions whereof are stated in order, as follows : COMMENTARY. a. He states the definitions according to the order of their mention : TEXT. The Mukha. No. 333. That Juncture is designated Mukha (Protasis or Opening Juncture) wherein is the origination of the Germ (see §318), giving rise to a variety of matters and flavour, and con- taining the ' Commencement' (Arambha-see §325). COMMENTARY. a. As is exhibited in the first act of the Ratnávalí. TEXT. The Pratimnkha. No. 334. The Pratimukha (Epitasis) is that in which the first cause or Germ (see §318) of the Fruit (i. e. the End or Ultimate Object), laid in the Juncture Mukha, has sprouted but not in a very perceptible manner. COMMENTARY. a. For example in the second act of the Ratnavali, we have the sprouting or discovery of the Germ of affection, the primary canse of the union of Vatsa-raja and Sagarika-which was intimated in the first act-since here it is somewhat marked on account of its being known by Susangata and the Vidushaka, and guessed by Vasavadatta through the circumstance of Sagarika's drawing the picture of the king. TEXT. The Garbha. No. 335. The Garbha (Catastasis) is that wherein the first cause or Germ of the Fruit, that has previously sprouted, is developed, but is attended with frequent hindrance in its growth, and search for the object wished for. COMMENTARY. a. This Juncture is called ' Garbha' (womb) from its being preg- nant with the Fruit: As in the 2nd act of the Ratnavali- " Susangata. Indeed, friend, thou art unkind now, as thou quittest not thy anger, though thus held by the hand by thy lord &c."

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Here we have the development of the Germ viz. Sagarika's love for the king of Vatsa, which has now become mutual and manifest. Again we have a hindrance of it on the entrance of Vasavadatta. In the third act we have the ' search' (for the beloved object) in these words of the king-' How is it that Vasantaka, gone to seek intelligence of her, is delaying?' We have its (the Germ's) re-manifestation in the following- "Vidushaka. Ha! ha! the joy of my dear friend even on gaining the kingdom of Kaus'ambi was not such as will be felt by him on hearing from me the news of his love." There is again the obstruction in the recognition of Vasavadatta by the king who had mistaken her for Sagarika disyuised as the queen ; again the ' scarch' in Sagarika's resorting to the appointed place ; and again the development in Sagarika's putting the noose of a creeper round her neck to kill herself. b. Now of the Vimarsha- TEXT. The Vimarsha. No. 336. Where the means of gaining tho End is developed more than in the Garbha, but is impeded by a curse or the like-that is known as the Vimarsha. COMMENTARY. a. For example, in the beginning of the fourth act of Sákuntalá- " Anasúy. Priyamvadá, complete as is the happiness of our beloved friend S'akuntala through her marriage of love* (gandharva vivaha), mny heart is particularly satisfied that she has bern united to a worthy husband." The whole of the matter, commencing with this and extending up to the recognition of S'akuntala represented in the seventh act, is embraced by the impediment in the shape of the king's forgetting S'akuntala. b. Now of the Nirvahana. TEXT. The Nirvahana. No. 337. The Nirvahana (Catastrophe or Conclusion) is that in which the matters sprung and gradually deve- loped from the Germ, that have occurred in their proper places in the Mukha &c., are caused to end in the consummation of one object. COMMENTARY. a. For example, in the Vení Sanhara :-- "Eunuch. (Approaching with joy.) Triumphant is your Majesty, * Or secret marriage by mutual consent.

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great king: Here comes Bhimasena with his whole body reddened with Duryodhana's blood-hard to be recognized &c." Here the various incidents, scattered in their proper places, of the Mukha and other Junctures,-that had originally sprung from the Germ, converge to one object, viz. the binding up of Draupadi's tresses. Or, for example, in the seventh act of S'akuntala, the whole body of the matter after the recognition of S'akuntalá. b. He mentions the members or elements of each of these Junc- tures :- TEXT.

The members of No. 338. Upakshepa, Parikara, Parinyása, the Mukha. Vilobhana, Yukti, Prápti, Samádhána, Vidhána, Paribhavana, Udbheda, Karana, Bheda : these are the elements in the Mukha. COMMENTARY. a. He defines these according to the order of their enumeration. TEXT. Upakshepa. No. 339. The springing up of the dramatic matter is designated Upakshepa (Hint). COMMENTARY. a. 'Dramatic matter'-i. e. the thing to be represented, viz. the action. b. For example in the Veni Sanhara -- " Bhima. Shall the sons of Dhritarashtra be in peace, whilst I live -having struck at our lives and siezed our property, by setting fire to the resin-covered house we had becn treacherously sent to live in, by giving us poisoned food, and by obliging us to enter the gambling assembly ; and having laid violent hands on the garment and hair of the wife of the P'andavas ?" TEXT.

Parikara. No. 310. By the Parikara (Expansion) is meant the expansion of the matter thus sprung up. COMMENTARY. a. For example, in the same- "Of that enmity that grew up between me and the Kurus while I was yet a boy, neither our revered brother (Yudhishthira) was the cause, nor Kirití (Arjuna), nor were you two. Do you make peace -- Bhíma, in wrath, breaks it asunder again like the broad breast of Jarasandha."

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TEXT. Parinyasa. No. 341. The Parinyasa (Establishment) is the settlement thercof (i. e. of the matter sprung up, §339) : COMMENTARY a. As, again in the same drama- " I-Bhíma will adorn thy hair, O princess, with my hand red with the thick and abundantly gushing blood of Duryodhana when his thighs are smashed by the powerful blows of the elub revolved by my whirling hand." Now, the Upakshepa (Hint) is the mere intimation, in brief, of the objeet matter of the dramatic poem, i. e. of the plot. The P'ari- kara is the exposition of the same. The Parinyasa, implying a still greater determination than what is suggested in the Parikara, is, as it were, the fixing of the objeet about the heart. Such is the distinetion among them. These elements must come in the order indicated. The other members to be presently described may occur otherwise, or differently from their order. TEXT. Vilobhana. No. 312. The Vilobhana (Allurement) is the deelaration of excellence. COMMENTARY. a. For example, in the same- " Draupadí .- My lord, what is hard for you to do, if excited with wrath ?" Or, for instance, in my ' Chandrakala' in the deseription of Chandra- kala, beginning -- " Here is she, that Lustre of youth." b. As to the description of the excellence of the deer, for instance, in the stanza of S'akuntala, commencing " Charming with this turning of the neck" (ग्रीवाभङ्गाभिरामम्)-it is not a part of the Juncture, since it has no connection with the Germ and through it, the End. So is it to be understood with respect to the other members ... that they are members, only when connected with the Germ and the End. TEXT. Yukti. . No. 313. The Yukti (Resolution) is the deter- mination of purpose. COMMENTARY. a. As in the Vení Sanhára-

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"Sahadeva. (To Bhima.) Have you, Sir, taken these words of His Majesty without reflecting on their scope." Commencing with this down to the speech of Bhíma- " Wrathfully to destroy the family of the enemies shames you indeed before the people, but your partner's hair, siezed in the midst of the assembly, calls not up your blush." TEXT. Prápti. No. 344. The Prapti (Cain) is the access of delight. COMMENTARY. a For instance, in the same- " I am not destroying, with wrath, the hundred Kauravas in war, &c." (see §266. c.) Hearing this, Draupadi exclaims with joy-" My lord, such a heart- delighting speech was indeed never heard by me before .- O, utter it again and again." TEXT. Samádhána. No. 315. The Germ's actually coming to be such, is termed Samadhana (Deposition). COMMENTARY. a. As in the same -- "[Behind the scene.] Hear, ho, Virata, Drupada, and others! That flame of wrath at Duryodhana's seizing the hair and garment of the princess (Draupadi) ; which was smothered by him all this time with care-his conscience shrinking from the breach of his vow of truth ; nay, which was desired to be forgotten by the pacific king wishing peace to the house-that powerful Yudhishthirean flame, struck by the flint* of gambling, bursts forth now upon the forces of the Kurus." The Germ exhibited in the stanza beginning-'Shall the sons of Dhritaráshtra be in peace, whilst I live,'-is here, as it were, properly deposited, being agreed upon by the principal personage, the hero; hence the name Samadhana. TEXT.

Vidhana No. 346. A passage, containing sentiments of pleasure and pain together, is termed Vidhana. * In the original-wood to produce fire from,

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COMMENTARY. a. For example, in the Balacharita-, " Bhargava-(To Rama) My mind is at once possessed with joy and grief, as I see the excess of thy energy, dear child, as also thy tender age-joy to have to cope with a worthy rival, and grief to have to kill a boy." Or, as in my Prabhavati, the stanza beginning-"O! this form, ecstatic to my eyes," (§219.) TEXT. Paribhávaná. No. 347. Words implying curiosity are called Paribhávaná. COMMENTARY. a. For example, in the Venisanhara, Draupadi, doubting whether the war would take place or not, enquires after the drum has sounded -- ' Why, my Jord, is this martial drum, that roars like elouds in the universal dissolution, being struck now every moment?' TEXT. Udbheda. No. 318. The Udbheda (Sprouting) is the shooting forth of the Germ (vija). COMMENTARY. «. As in the same- " Draupadi .- My lord, you will come and console me again. "Bhima -- You will not see Bhima again, with his face down.cast* throngh shame to have endured the enemy's insults -see me again without having destroyed to a man the deseendi nts of Kuru." TEXT. Káraņa. No. 319. The Karana is the proper commenee- ment of the main business. COMMENTARY. a. As in the same --- "We are now going, princess, for the destruction of the Kuru family." . TEXT. Bheda. No. 350. Bheda (division) is the breach of a union. COMMENTARY. n. As in the same-" Hence is it that from this day I separate myself from you, Sirs." * Or, according to another reading, ' cheerloss' or ' sad.' 2 D

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b. But some* say that Bheda is an urging or excitement. c. Now of the members of the Pratimukha. TEXT.

The Members of No. 351. Vilása, Parisarpa, Vidhúta, Tápana, the Pratimukha. Narma, Narmadyuti, Pragamana, Virodha, Paryu- pásana, Pushpa, Vajra, Upanyása, and Varnasanhára belong to the Pratimukha. COMMENTARY. a. Of these- TEXT.

Vilása. No. 352. Desire for the objeet of love is termed Vilása (Amorousness). COMMENTARY. a. Vilasa is the desire for a woman or man who is the exciting cause or object of the sentiment of Love, as in S'akuntala :- "My beloved is indeed not easy to obtain, yet my heart solaces itself in having seen her amorous gestures ; and thus, though Cupid has not yet done his duty in uniting us in marriage, our mutual longing produces a delight almost equal to that enjoyed in actual embrace." TEXT.

Parisarpa. No. 353. The pursuit or seeking after one seen once, but afterwards lost, is called Parisarpa (Going about). COMMENTARY. a. As in S'akuntalá- " King .- She must be here; for here on the door-way to this ratan bower, bright with sands, I see fresh foot-prints, raised in the front but depressed behind from the weight of the loins." TEXT. Vidhúta. No. 354. Vidhúta (shaking off) is the non- aceeptance, at first, of a courtesy or a wooing speech. COMMENTARY. a. For instance, in the same drama, as is quoted above, Sakuntala affects not to admit Dushyanta's professions of love thus-" You nced not longer detain the royal sage, anxious as he is in being separated from his harem." * The author of the Das'arupa is principally moant herc. .

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₺. According to some, however, Vidhúta is indifference or a shak- ing off of love. TEXT. Tápana. No. 355. The not finding of a means is named Tápana (Torment). COMMENTARY. a. As in the Ratnávali- "Sagarika-Difficult is that person to be obtained for whom longs my heart and my shame is great ; myself am dependent upon another and love is invincible-death, then, my dear friend, death is the only refuge for me." TEXT. Narma. No. 356. Narma (Pleasantry or jest) is a jocular speech. COMMENTARY. a. As in the Ratnávali :- "Susangata-Iere, my friend, before thee stands he for whom thou hast come here. "Súgarika-(With seeming anger.) For whom have I come? "Susan .- Nay for the picture, lady-suspeet me not of meaning any thing else." TEXT.

Narma-dyuti. No. 357. Whilst Narma-dyuti (Brilliancy of jest) is joy produced by joko. COMMENTARY. a. As in the same :-- "Susangatú-Thou art cruel now, friend, as thou quittest not thy anger, though thus held by the hand by thy lord. "Ságarika-(With a frown and a smile.) Wilt thou not yet cease to jest, Susangatá ?" Some, however, assert-' a joke covering over a fault is Narma- dyuti.' TEXT. Pragamana. No 358. The Pragamana is a speech contain- ing an excellent answer. COMMENTARY. a. As in the Vikramorvas'í- " Urvas't-Victorious be thou, great king, be thou victorious !.

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" King-Victorious, indeed, have I become to whom victory has been proclaimed by thee, fair lady &c." TEXT. Virodha. No. 359. The Virodha (Adversity) is falling into danger. COMMENTARY. a. As in the Chanda Kaus'ika- " Acting imprudently, I have, indeed, like a blind man, trodden under my feet, a fire with blazing flames." TEXT. . Paryupásana. No. 360. Asking pardon for a fault done is Paryupásana. COMMENTARY. a. For example, in the Ratnávalí- "Vidushaka-Pray, be not angry: it has flown into the plantain bower &c." TEXT. Pushpa. No. 361. A declaration of excellence is called the Pushpa. COMMENTARY. a. As in the same- " (The king holds Sagarika by the hand.) "Vidúshaka-This, my friend, is an extraordinary Beauty you have obtained. " King-Indeed, friend, she is Beauty herself, and her hand is a sprout of the Párijata (Heavenly tree), otherwise how comes to ooze from it this nectarine liquid, disguised as heat-drops ?" .TEXT.

Vajra. No. 362. The Vajra is a speech directly cruel. COMMENTARY. a. For example in the same :-- "King-How could you know me here ? " Susangata-Not only you but the picture too, so I go to inform the queen of it." TEXT. Upanyása. No. 363. The Upanyása is a propitiation or gratifving.

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COMMENTARY. a. As in the same :- "Susangata-Let not my master suspect me. I have indeed played with these through the favour of my mistress. It would be a greater favour to me, should your majesty propitiate my dear friend Sagarika who is angry that I have drawn her likeness here." b. Some, however, say-' an assertion made with a reason is termed Upanyasa,' and cite, from the Ratnavali, as an example-"This born- slave is extremely impertinent"-where the assertion of impertinence, in respect of the female attendant Susangata, is accompanicd with the reason of her being a slave by birth. TEXT Varņa-saņhára. No. 364. A meeting of men of the four castes is called the Varna-sanhara (Assemblage of the classes). COMMENTARY. a. For example in the 3rd act of the Viracharita :- "This assembly of saints ; the hero Yudhajit ; the aged king Loma- pada together with his ministers; as also this ancient lord of the Janakas, the perpetual performer of sacrifices and the teacher of Divine knowledge-solicit of thee a friendly conduct." Here we have a meeting of men of different castes such as the Brahman saints and the Kshattriyas.

Another interpro- b. The venerable writer Abhinava Gupta, tation of the Varna- however, asserts that the word ' varpa' indicates sanhára. personages of the drama and ' sanhara' means a drawing together. He refers, as an example, to the passage in the second act of the Ratnavali- "This would be a greater favour to me * * * * * * * * Hold her by the hand and then propitiate her. * * * * * * * * * * * * * * *

"King-Where is she [Vásavadattá (?) ], where is she ?" c. Now of the elements of the Garbha :- TEXT. The Members of No. 365. Abhútáharna, Márga, Rúpa, Udá- the Garbha. harana, Krama, Sangraha, Anumana, Prarthana, Kshipti, Trotaka, Adhibala, Udvega, and Vidrava arc the members belonging to the Garbha.

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A bhútáharaņa. Of these the Abhútáharana (Utterance of an unreality) is a speech founded on fraud. COMMENTARY. a. For example in As'wathaman's Act of the Venisanhara :- "The son of Pritha (Yudhishthira) having clearly spoken-' As'wa- thaman is killed,' afterwards uttered-truthful indeed as he is-'the elephant,' indistinetly." TEXT. Márga. No. 366. Marga is the declaration of the truth. COMMENTARY. a. For example in the drama ' Chanda Kaus'ika' (Vis'wamittra Wroth). "King-Holy saint! accept this that I have earned by selling my wife and children; for the rest of the donation I have promised to you, I will sell myself even to a Chándála." TEXT. Rúpa. No. 367. A speech implying reflection is Rúpa. COMMENTARY. a. As in the Ratnavali :- " King. How did Cupid pierce my mind with all his arrows together? restless as it is by nature and never to be perceived (or aimed at)." TEXT. Udáharaņa. No. 368. An extolling or lofty speech is called the Udáharana (Extolling). COMMENTARY. a. As in the As'watthamanka, or the third act named after As'wcat- tháman, of the Vent Sanhara :- " Whoever holds a weapon in the troops of the Pandavas; whoever belongs to the family of Panchala, be he a grown up man, a boy, or even lying in the womb; whoever has witnessed or connived at that deed ; and whoever opposes me whilst I walk in the field of battle- of every one of these I myself am the destroyer, mad with wrath,- though he be the destroyer of the worlds or Death himself." TEXT. Krama. No. 369. The discovery of the reality of one's love is termed the Krama.

The Mirror of Composition. 207 COMMENTARY. al. For example in the S'akuntal :- " Fit it is that my eyes looking at my love have forgotten to wink ; since, the countenance of my angel,-with one of the eye-brows raised up, as she composes verses of love,-bespeaks, with quivering cheeks, her affection for me." TEXT. Sangraha. No. 370. The Sangraha again is the accom- plishment of an object by means of sweet words and a gift. COMMENTARY. a. For example in the Ratnávalí. " King-Bravo! my friend, this is your reward, (gives his golden bracelet.)" TEXT. Anumána. No. 371. The Anumana (Inference) is a con- clusion from a characteristic sign. COMMENTARY. a. As in the drama Jánaki Rághava : "Rama-Causing the earth to waver even with his careless steps, and making the heads of all to bow down merely with his looks, ho with a body radiant like gold, leads us to infer his solar descent as well as his irresistible prowess." TEXT Prárthaná. No. 372. The Prarthana Request) is a wish- ing or calling for enjoyment, rejoicing, or festivity. COMMENTARY. a. For example, in the Ratnavali :- "King-Beloved Sagariká, thy face is the cool-beamed moon, thy eyes are a couple of blue lotuses, thy hands imitate the red lotus, that pair of thighs of thine shines like the plantain trunk, and thy arms may be compared to the lotus-stalk in coolness-come, O come, my love, who thus gladdenest with every one of thy members, embrace me at once without fear, and cool my members tormented with the fire of love." The Prarthana only b. This element-the Prarthana-has been but a conditional element of the Garbha. cunditionally admitted here upon the opinion of such as deny that there is any such element as the Pras'asti (see §405.) in the Conclusion or last division of the plot

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(Nirvahana-see §337) inasmuch as it has a place here under the form of this Prarthand. Otherwise than on this condition, the clements would amount to 65, whilst they are held to be 64 only. TEXT. Kshipti. No. 373. The development of a concealed matter is termed the Kshipti (Hint) .* COMMENTARY. a. As in As'watthaman's Act or the 3rd in the Veni Sanhara :- "Dreadful has been the effect on the world of that single seizure of hair (viz. of Draupadf's)-surely mankind will all be aninihilated on this second seizure (i. e. of Drona's)." TEXT. Troțaka. No. 374. The Trotaka again is a wrathful speech. COMMENTARY. a. For example, in the Chanda Kaus'ika :- "Kaus'ika-Ah! How-are the donations of gold thou hast pro- mised to me not yet ready ?" TEXT. Adhibala. No. 375. The Adhibala (Overreaching) is an inquiry or examination by an artifice. COMMENTARY. a. For example, in the Ratnavali Act III. "Kanchana-mala-This, my lady, is the picture-gallery-let me beckon to Vasantaka &c."

TEXT. Udvega. No. 376. Fear caused by a king or the like is termed the Udvega (Anxiety). COMMENTARY. a. For example in the Veni Sanhara, Act V. "They have arrived, mounted in one car, inquiring for you here and there-that foc of Karna (Arjuna), and that fierce Vrikodara (Bhíma) of wolfish deeds."

• This is a doviation from the definition of the Das'a Rupa and, as is thoe usual conseqnence in such cases, it is very obscure, being scarcely reconcilablo with the example.

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TEXT. Vidrava. No. 377. By the Vidrava (Confusion) is meant the hurry occasioned by apprehension, fear, or terror. COMMENTARY. a. For example : "There was an indescribable hurry produced in the army of the monkeys at the sight of the wrath-excited Ravana with faces dread- ful like black Death's." b. Now of the Members of the Vimarsha :

TEXT. . The Members of No. 378. Apaváda, Sampheța, Vyavasáya, the Vimarsha. Drava, Dyuti, S'akti, Prasanga, Kheda, Pratishe- dha, Virodhana, Prarochana, Adána, Chhadana : these belong to the Vimarsha (§336). Apaváda. Apaváda (Censure) is the declaration of fault. COMMENTARY. a. For example in the Vení Sanhara, Act VI. " Yudhishthira. Panchalaka, have you discovered any where the traces of that wretch ? "Pánchálaka. Not only his traces but the wretch himself has been found, the chief cause of that sin of touching the queen's tresses." TEXT. Sampheța. No. 379. The Sampheto is an angry interlo- cution. COMMENTARY. a. As in the same, Act V. " King .-- O thou son of Vayu, dost thou extol, before the old king, thy deeds, though detested ? Hear thou-Thy wife, or thine, O beast, or that prince's, or the twin brothers'-the common wife of you all- my slave won in gambling, was seized by the hair, before the princes, by my command, the lord of the earth. In that perverse enmity between me and you, say what harm did the princes do whom thou hast killed ?- and dost thou brag, even without having vanquished me fiercely proud of the cumbrous property of the might of these brawny arms ? " Bhima. (Angrily) Oh wreteh! " King. Oh villain ! &e." 2 E

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TEXT. Vyavasáya. No. 380. By Vyavasáya (Resolution) is to be understood a vow combined with a reason.

COMMENTARY. a. For example in the same, Act V .:- " Bhima. He who has destroyed, one and all, the descendants of Kuru, who, intoxicated as he is with Dus's'asana's blood, shall break the thighs of Duryodhana-here is Bhima bowing down his head to you, venerable old uncle."* TEXT. Drava. No. 381. Drava is rudeness shown to a supe- rior from the agitation of grief or the like.

COMMENTARY. a. For instance in the same, Act VI. :- " Yudhishthira. Worthy elder brother of Krishna! brother of Subhadra! You brought not to mind the affection you owe to your kindred, nor did you heed a Kshattriya's duty, nor the strong friend- ship that cxists between your younger brother and Arjuna; well, however, might affection's chain tie your honour with equal strength to both your disciples-what, alas, is the conduct you have adopted, that you are altogether averse to my unhappy self?"

TEXT. Dyuti. No. 382. The Dyuti is declared to consist in reviling and vexing.

COMMENTARY. a. For example in the same, Act VI., the prince Bhima thus speaks, in bitter language, to Duryodhana : "Thou declarest thyself to be born in the spotless race of the moon ; thou holdest yet thy club; me thou countest an enemy, drunk thongh I am with the wine of Dus's'asana's warm blood ; blind with pride, thou dealest haughtily even with Krishna, the destroyer of Madhu and Kaitabha; and now, thou beast of a man, having, through fear of me, quitted the field, shrinkest in the mud."

• That he is Bhima (ticrce) by his very name, and intoxicated with draughts of hi enemy's blood is the roason in his vowing to destroy Duryodhana, his 'dearest enemy.'

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TEXT. S'akti. No. 383. S'akti is the quelling of opposition or conflict. COMMENTARY. a. For instance in the same :- " Whether or not they reduce to ashes the heaps of the bodies of warriors killed by kindred in the midst of battle-let these surviving kinsmen, any how give funeral water, mixed with tears, to their dead relations; let them seek the bodies of their kindred, amidst this dense heap of corpses, dissevered by vultures and herons-behold, the sun is set together with the foes-back let the troops be called."

TEXT. Prasañga. No. 384 Prasanga is a mentioning of one's sires.

COMMENTARY a. As in the Mrichchhakatika or the Toy Cart, Act X .:- . "Chandalaka. This is Charudatta, son of Sagaradatta, and grand- son of the venerable Vinayadatta-being led, to be slain, to the place of execution, for he has murdered the courtezan Vasantasena, from avarice of gold. "Charudatta. That family of mine, purified by a hundred sacrifices, and formerly extolled in assembly by chanters of the Veda crowding the house,-is now proclaimed in impure defan ation by unworthy wretches, as I stand in the condition of a criminal to be killed." Here we have an instance of the Prasanga in the naming of Cháru- datta's sires which suits the present occasion of his being taken to be executed.

TEXT. Kheda. No. 385. Languor, produced (1) simply in the. mind, or (2) by bodily exertion is called Kheda (Lassitude).

COMMENTARY a. Languor, or rather distress, produced in the mind-as in the Malati Madhava (Malati and Madhava), Act IX .:- " My heart bursts in deep anguish, but oh it breaks not into two; my frame distracted faints away, yet it loses not its consciousness absolutely ; the internal flames burn my body, yet they reduce it not 2 E 2

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to ashes-Fate scourges me, cutting to the very quick, but alas! cuts not my life through." b. So, the languor produced by exertion. TEXT. Pratishedha. No. 386. The obstruction of a wished-for object is called the Pratishedha (Prevention). COMMENTARY. a. For example in my Prabhávatí :- " Pradyumna. (To the Vidushaka) Iow is it, friend, that you are alone here-where is my most beloved Prabhavati and her dear friends the ladies, that attend her ? " Vidúshaka. She has been called away somewhere by the lord of the Demons. " Pradyumna. (Heaving a deep sigh) O! where art thou gone having abandoned me, thou, with face like the full moon, with eyes like the wanton Chakora (partridge), and with a body gently inelined -- quickly do thou go now, my life; let Fortune, bent upon tormenting . me, have her wishes fulfilled." TEXT.

Virodhana. No. 387. The apprchension of failure in the purpose is called Virodhana (Obstruction). COMMENTARY. a. For example in the beginning of Act VI. of the Veni Sanhara :- " Yudhishthira. When the mighty ocean of Bhishma has some- how been crossed, when the fire of Drona has been extinguished, when the poisonous serpent of Karna has been destroyed, and when S'alya has gone to heaven,-when our victory has almost been complete, we all have been at once put in danger of our lives by the rash Bhíma with his words." TEXT.

Prarochaná. No. 388. The Prarochana (Persuasion) is to be known as that which represents the End as all but accomplished .* COMMENTARY. a. For example in the Vepi Sanhara, Act VI. :- " Panchálaka. I have been sent to your Majesty by the Divine Krishpa. * * * * * * * * * * * * * * * **

• The italicized part is from the Das'a Rúpa -- p. 44.

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Do away with all doubts. Let the gemmed jars be filled with water for your royal bathing ;* let Krishna hold festivity in the business -- so long neglected-of binding up the braid of her hair ;- when Paras'u Rama, eradicator of the Kshattra trees, with his hand glistening with his whetted battle-axe, and Bhimasena, blind with rage, move violent- ly upon the field of battle-what doubt is there of your victory ?" TEXT. Adána. No. 389. The Adana (Taking in) is the sum- ming up of the main business. COMMENTARY. a. For instance in the Veni Sanhara, Act VI. :- " What ho! you who move on the Samanta-panchaka! I am neither a demon, nor a goblin; I am a passionate Kshattriya, who have crossed the impassable ocean of a dread vow, whose body has been cooled with the water of enemies' blood ;- hear, Ye Kshattriya warriors, left by the devouring flames of the fire of war, forego this . your. terror that impels you thus shrinkingly to lie concealed among those carcases of elephants and horses." Here we have the Adana exhibited in the main business-the slaughter of all the enemies being summed up. TEXT. Chhádana. No. 390. An enduring of insult or the like for the fulfilment of the Deed is what they call the Chhadana. COMMENTARY. a. For example in the same, Act V. :-- " Arjuna. Worthy sir, let him use us ill-he is powerful in word, not in deed; what pain can come from the words of this miserable man who has lost his hundred brothers in battle ?" b. Now of the members of the Nirvahana :- TEXT. The Membors of No. 391. Sandhi, Vibodha, Grathana, Nirņaya, the Nirvahana. Paribhashana, Kriti, Prasada, Ananda. Samaya, Upagúhana, Bháshaņa, Púrvavákya, Kávyasanhára, and Pras'asti: thus are the members of the Sanhara or Nirvahana (Conclusion-see §337) severally designated.

• Bathing with the water of various sacred streams is one of the principal rites in the inauguration of a king.

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COMMENTARY. a. Of these : TEXT. Sandhi. No. 392. The Sandhi is the noticing of the Germ (Víja). COMMENTARY. a. For example in the Veni Sanhara, Act VI. :- " Bhima. Lady born of the sacrificial altar, do you remember what I said that day-' I -- Bhíma will adorn thy hair, O princess &c. ?' " (see § 311, a.) Here the Germ, intimated in the Mukha, is recalled to the mind, and so it is an instance of the Sandhi. TEXT. Vibodha. No. 393. The Vibodha is the seeking after the End or the consummation of the ullimate object.

COMMENTARY. a. As in the same, Act VI. :- " Bhima. Give me, sir, a moment's leave. " Yudhishthira. What more is remaining ? " Bhima. A good deal is remaining. Let me bind up the tresses of Draupadí, that were pulled down by Dus's'asana,-with these hands wet with Duryodhana's blood. "Yudhishthira. Go, let the poor woman enjoy the pleasure of having her hair-braid bound up." Here, the End, viz. the binding of the hair, being actually sought after, it is an example of the Vibodha. TEXT. Grathana. No. 394. Grathana is the intimation of the End. COMMENTARY. a. For instance in the same, Act VI. :- " Bhima. Do not, Draupadi, whilst I live, bind, with your own hands, thy tresses dishevelled by Dus's'asana-stay, I myself am bind- ing them." TEXT. Nirņaya. No. 395. Nirņaya (Certainty) again is the derlaration of a fact personally known.

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COMMENTARY. a. As, in the same, Act VI. :- " Bhima. Sire, Ajatas'atru,* where still is that accursed Duryo- dhana ?- I have cast the body of that wretch upon the earth. With the blood, as with sandal, I have anointed my body. His fortune I have brought over to thee together with the earth bounded by the waters of the four oceans. Iis proteges, friends, warriors-the whole Kuru family I have burnt in the fire of war-that name only, which thou utterest, Preserver of the earth, is now the remnant of the son of Dhritaráshțra." TEXT. Paribháshaņa. No. 396. A speech implying censure is what they call Paribhashana.+ COMMENTARY. a. As in S'akuntala, Act VII. :- "King. Pray, madam, what is the name of the royal saint whose consort is this lady ? "Hermitess. Who will take the name of that deserter of a lawful wife ?" TEXT. Kviti. No. 397. The consolation or confirmation of the objeet gained is the Kriti. COMMENTARY. a. For example in the Vení Sanhara, Act VI. - " Krishna. The holy sages-Vyasa, Valmíki, and others, wait holding the water for your royal bathing." Here we have the Kriti exemplified in the confirmation, by the auspicious ceremonies of bathing &c., of the kingdom obtaincd by Fudhishthira. TEXT. Prasáda. No. 398. The Prasáda (Gratification) is a waiting upon or the like. COMMENTARY.

hair by Bhíma. a. For example in Act VI. of the same, the binding of Draupadi's

Yndhishthira. * Etymologically-one who has not an enemy born-another name of t In the Das'arupa, this is explained simply to mean a mutual conversation.

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TEXT. Ananda. No. 399. Ananda (Joy) is the attainment of what was wished for or the End. COMMENTARY. a. For instance in the same, Act VI. :- " Draupadi. Long forsaken and therefore forgotten, I shall again learn this business of binding up my tresses, through your favour, my lord." TEXT. Samaya. No. 400. Samaya (the Hour of happiness) is the removal of misery. COMMENTARY. a. As in the Ratnavali :- "Vásavadattá. (Embracing Ratnávalí) Sister, be thou consoled, be thou consoled !" TEXT. Upagúhana. No. 401. The arrival or appearance of a won- der is the Upagúhana. COMMENTARY. a. For instance, in my Prabhavati Parinaya or the Marriage of Prabhavati, the appearance of Narada at which Pradyumna looking up says :- " What is this I bchold! Is it the white mountain Kailasa falling from the heavens, whitening all space with beams of light bright like the dewy moon, and inwreathed, as with the lightning's streaks, with a garland of flowers wooed with songs by humming bees roving round for their sweet scent ?" TEXT.

Bháshaņa. No. 402. The Bháshana is conciliation, dona- tion, or the like. COMMENTARY. a. For example, in the Chanda Kaus'ika :- " Dharma .* Come, then, inhabit the world of Dharma.

• Yamd, the god of justice and ruler of the southern quarter, -- here, as indi- cated by the milder appellation of Dharma, acting particularly in his character of the Rewarder of tho virtuous, contradistingnished from that of the Punisher of the wicked, marked by his more common but dreaded namo of Yama-Con- troller or Discipliner.

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TEXT. Púrva-vákya. No. 403. By Purva-vákya (Previous Speech) .is to be understood a reference to a thing as spoken before. COMMENTARY. a. As in the Vení Sañhara, Act VI .:- " Bhima .- Well, Buddhimatika, where is our Bhanumati ?* let her now insult the wife of the Pandavas." Iere Bhima vindictively sneers at the taunt used by Bhanumati towards Draupadi, in the beyinning of the drama. TEXT. Kávya-sañhára. . No. 404. The occasion of giving a boon is termed the Kavya-sañhara (Conclusion of the drama). COMMENTARY. a, As in all the dramas : " What may I do to please you further?" TEXT. Pras'asti. No. 405. The declaration of peace to the dominion of a king, &c. is designated Pras'asti (Benediction). COMMENTARY, a. For instance in the Prabhavati :- "May kings henceforth ever view their subjects exactly in the light of a son ; may the good live long-they who appreciate merit, and readily diseriminate good from evil ; may the earth prosper wish an inereasing abundance of corn and wealth; and may the triple world have an unflagging faith in Narayana, the Supreme Spirit!" b. Among these members of the Nirvahana, the Upasañhara or Kavya-sanhara, and the Pras'asti occur only in the end, in one order, or that exhibited in the text.

Which of the Mem- c. "These two are the principal here in the bers chief in the se- Juncture Nirvahana ; the Upakshepa, Parikara, veral Junctures. Parinyasa, Yukti, Udbheda, and Samádhána, in the Mukha; the Parisarpa, Pragamana, Vajra, Upanyasa, and Pushpa, in the Pratimukha; the Abhutaharana, Marga, Trotaka, and Kshipti, in the Garbha; and the Apaváda, S'akti, Vyavasáya, Prarochaná, and Adana are the most prominent in the Vimarsha. The others too occur when there is occasion for them." Such is the opinion of some. * Duryodhana's wife. 2 F

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TEXT.

Junetnral Mem- No. 406. These are the sixty-four kinds of bers altogother 64 -- may be promisenous- members declared by the learned. They may be ly introdnced. admitted into the Junetures even irregularly or promiseuously, taking care that they harmonize with the Flavour of the play ; for Flavour alone is essential in Poetry.

COMMENTARY.

a. For instance in the third act of the Veni Sanhara the lengthy dialogue in Yukti or the Determination of Purpose (§313) between Karna and Duryodhana is introduced irregularly. So in other cases. b. As to the declaration of Rudrata and others that it is a rule to introduce the members into their proper Junctures, it is opposed to the dramas themselves which are always kept in view as guides in the formation of the dramatic rules.

TEXT.

Use of the Mem- No. 457. The use of the Members is sixfold, bers sixfold. viz. (1) composition of the intended matter, (2) excitement of surprise, (3) expansion of the plot, (4) increase of the interest of the performance, (5) the concealment of what is to be con- cealed, and (6) representation of what is to be represented. As a man without his limbs is never fit for work, so a drama without its mem- bers is not suitable for representation. The Hero and the Rival Hero should represent the members of the Junctures; if they do not perform these, they should represent the Patáká and the two others (viz. Prakari and Karya-§317) ; and if not these latter, they should represent the Germ.

COMMENTARY.

a. The members of the Jurictures are generally represented by the principal personage, but it is always best if the first three members of the Juncture Mukha, i. e. the Upakshepa, &c. (§338) are not repre- senteu by the hero, as the Germ is only slightly hinted in them.

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TEXT. The Members to bo introduced only in No 408. These members are to be admitted consonance with Fla- only with the view to the development of Flavour, vonr. and not simply from a desire of following up the rules.

COMMENTARY. a. For instance, Duryodhana's ' separation'* (vipralambha-see §212) from Bhanumati, deseribed in the 2nd act of the Veni Sanhara, is on that occasion, extremely improper.

TEXT. .

A Superfluous No. 409. An incident, though not opposed to matter also, to be Flavour, yet not necessary to the development of omitted or altered. it, is also (see §301) to be altered by the wise, or not mentioned at all. COMMENTARY. a. Illustrations of the two cases implied in the text are evident enough in my dramatie works. b. Now of the Actions (vritti) :

TEXT.

'The four dramatio No. 410. The Kais'iki is used in the Erotic; Actions or Styles. the Sattwati, in the Heroic; the Arabhati, in the Furious; and the action called the Bharati is alwvays employed in the Wisgustful Flavour. These are the four actions, the parents of all representations in the Nataka and other sorts of the drama, being particular performanees of the Hero or the like.

COMMENTARY. a. Of these the Kais'iki is defined thus :-- TEXT. The Kais'ikí do- No. 411. That performance is called the Kais'i- fined. ki which is associated with charming vivacity (S91), which is peculiarly delightful from the fascinating dresses worn therein by the heroine and others, in which women abundantly take part, daneing and singing are fully indulged in, and the actings are founded on the enjoyments of love.

• Arising from his jealous suspicion of her unfaithfulness. 2 F 2

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The four elements It has four elements-(1) Narma (Pleasantry), of the Kais'ikí. (2) Narma-sphúrja (Development of love), (3) Narma-sphota ( Bloom of love), and (4) Narma-garbha (Covert love). COMMENTARY. a. Of these :

TEXT. (1) The Narma. No. 412. The Narma is a witty jest tending Its three varieties. to charm the beloved: this again is held to be threefold according as it is used (1) in pure joke, or (2) joke mixed with love, or (3) joke mixed with fear. COMMENTARY.

The Narma of pure a. Of these, the Narma employed in simple joke joko. or raillery-as in Ratnavali in the following words of Vásavadattá to her husband : "Vasavadatta .- And this another-a female shape-that is por" trayed beside you-is this worthy Vasantaka's skill in painting?" Narma of Love. Narma of love-as in S'akuntala : " S'akuntalá .- (To the king). If not satisfied, what would he do ? " King .- This. (Determines to kiss S'akuntala.) "S'akuntala .- (Turns away her face.)" Narma of Fear. Narma of fear or frightening jokc-as, in Rat- navalí, when the king had found the picture- " Susangatá .- I have come to know the matter including the pic- ture, so I am going to inform the queen of it." Thus has the Narma pertaining to speech been exemplified: So the Narma pertaining to dress and action, or practical jest. TEXT.

(2) The Narma- No. 413. The Narma-sphúrja (§411) is the sphúrja. first union of two lovers in which there is joy in the beginning, but fear in the end. COMMENTARY. a. The following is an instance in 'Málavika and Agnimittra' where the heroine Malavika has resorted to the hero, her lover in the appointed place. "Abandon, O fair one, the delicacy thou feelest in our first union Long have I been expectant in love, and now, as I fancy myself the

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fragrant mango tree, assume towards me the character of the Atimukta creeper .* "Malavika .- The fear of the queen prevents me, my lord, from doing my own good, &c." b. Now of the Narma-sphota : TEXT.

(3) The Narma- No. 414. The Narma-sphota is held to be fla- sphoța. vour (the Erotic) slightly suggested by glimpses of love. COMMENTARY. . a. "Languid is his pace and vacant his sight, his body is beauty- wanting and his respirations increased-what may be the cause of it ?-- what other than this ?- Cupid's command roves through the world, youth is fickle, and those soft and sweet things are ever apt to disturb all fortitude." HIere we have the love of Madhava for Malati somewhat manifested by slight indications of love, such as his languid pace, &c.

TEXT.

() The Narma- No. 415. The Narma-garbha is the action of garbha. the amorous hero in concealment.

COMMENTARY. a. For example in the same drama as quoted above-the prevention of Malatí from killing herself by Madhava in the disguise of her female friend. b. Now of the Sattwati (§410) :-

TEXT. The Sáttwati dofin- No. 416. The Sattwati is a performance ed. Four Kinds of it. abounding in the displays of energy, bravery, generosity, benevolence, and honesty. It is joyful, has little of love in it, is devoid of grief and attended with the Marvellous. The Uttha- paka, the Sañghátya, the Sañlápa, and the Parivartaka are declared to be the four kinds of the Sáttwati. (1) The Utthápa- A speech calculated to excite the enemy is ka. termed the Utthápaka (Exciter).

• The Gortnera racemosa'-Wilson.

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COMMENTARY. a. As in the Viracharita :- "To my joy and admiration art thou seen by me, or rather to my grief-how can my eyes be satiated with the sight of thee, fair, valor. ous, and virtuous youth. But the joy of thy friendship is not to bo shared by me *- what need then is there of much talk-let this hand illustrious with the victory of Jamadagnya grasp the awful bow." TEXT. (2) The Sanghá- No. 417. The Sanghatya is a breach of alliance tya. under the influence (1) of counsel, (2) of money, or (3) of Fortune. COMMENTARY. a. Breach of alliance under the influence of counsel or machination -as, in the Mudra Rakshasa, the division of Rakshasa's allies by the cunning of Chanakya .- That under the influence of money is also exhibited in the same drama .-- That under the influence of Fortune is exemplified in the separation of Vibhishana from Ravana in the Rama- yaņa. TEXT.

(3) The Sanlápa- No. 418. The Sanlapaka (Conversation) is an ka. elevated interlocution embodying a varicty of sentiments. COMMENTARY. a. For example in the Viracharita : "Rhma .- This, I believe, is that battle-axe which the Great S'iva presented you-his disciple for a thousand years-gratified by your defeat of the War-god together with his attendants. "Paras'u Rama .- Rama, child of Das'aratha, this is the same loved battle-axe of my adorable master"t-and so forth. TEXT.

(4) Tho Parivar- No. 419. Doing of actions other than that taka. commenced is the Parivartaka (Deviation or change). COMMENTARY. a. For instance in the Veni Sanhara :- * This clause is obscure and has consequently called forth a variety of read- ings. I have followed the reading adopted in Pundit Taranatha Tarkavachas- pati's edition of the drama, 1857. t The Heroic Flavour with a mixture of 'love for a deity,' Pride &r, are bere suggezied.

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"Bhima .- Sahadeva, go you and follow the sire (Yudhisthira), whilst I am entering the arsenal and furnishing myself with arms-or 1 must at first take Jeave of Draupadí." b. Now of the Arabhati (§410) :- TEXT.

The Arabhati de- No. 420. The Arabhati is held to be a vehe- fined. Its four divi- ment performance consisting of magic, conjuration, sions. conflict, rage, distraction, imprisonment, slaughter, and other such acts. Vastutthapana, Sampheta, Sankshipti, and Ava- pátana are declared to be the four divisions of the Arabhati. (1) The Vastút- Things raised up by magic or the like are spoken thapana. of as the Vastútthápana (Conjuration). COMMENTARY. a. As in the Udátta Rághava :- " Whence is this ?- that the powerful and glorious rays of the sun himself have suddenly been vanquished by the hosts of night-born darkness covering over the heavens-that these jackals, with bellies puffed up with draughts of blood sucked from the throats of horrible headless corpses, ejecting flames from the caverns of their mouths, utter such sharp fearful yells." TEXT.

(2) The Samphe- No. 421. Sampheta is a mutual encounter of ta. the angry and the agitated. COMMENTARY. a. For instance, in Malati Madhava the encounter of Madhava and Aghoraghanta. TEXT. The Sank- No. 422. A brief arrangement of some matter, shipti. by contrivances of art or otherwise, is termed the Sankshipti ;- as also the replacement of a character by another, on the removal of the former. COMMENTARY. a. Of the first kind we have an instance in the Udayana Charita, or ' Actions of Udayana' in the contrivance of the straw-made elephant. -The second sort is exemplified in the Vira-charita in the replace- ment of Balin, on his death, by Sugriva; or in the change of Paras'u Rama from a haughty to a peaceful character, indicated in his speech Leginning-'The pure nature of the Brahman.'

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TEXT. (4) The Avapáta- No. 423. The Avapátana is a medley of en- na. trance, terror, exit, joy, and flight. COMMENTARY. a. As in the 6th act of the Kritya-Ravana, the scene opening- 'Enter a man sword in hand,' and terminating with the exit. TEXT. No. 424. The Bharati, the fourth of the dramatic actions mentioned in §410, has already been described (see §285). COMMENTARY. a. Now of the dramatic phrases :- TEXT. Dramatic phrases. No. 425. Something which is not to be heard or is spoken to one's self on the stage is called Swagata* or Speech Aside; what may be heard by all is termed Prakas'a or Public. A secret of another uttered by one turning aside is called Apavarita or Speech Apart. The mutual whisper of two persons in the midst of the conversation of the company, preventing, as it were, the others from hearing by means of the three-bannered hand is termed Janan- tika. When in the action a person speaks beginning-" What do you say ?" without the presence of any addressed, as if hearing something though not really spoken, it is called Akás'abhashita or Speech in the Air. COMMENTARY. a. When any thing is spoken to another away from the person from whom it is to be concealed, the speaker raising his hand in the form called the 'three-bannered' i. e. with all the fingers raised but the ring-finger lowered-it is called Janantika. 'T'he expressing of another's secret by turning away is Apavarita. The rest of the text is clear. TEXT.

How certain cha- No. 426. The names given to courtezans racters to be named. should contain the word 'datta,' 'siddha,' or 'sená'; those of merchants should generally end in dattá; and those of male and female servants be the names of things described, for instance, as connected with the Spring. * Lity .- Self-abiding, inward,.secret.

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COMMENTARY. a. A courtesan's name-such as .Vasantasena; a merchant's, as Vishnudatta ; a male servant's, as Kalahansa (gander) ; a female ser- vant's, as Mandáriká. TEXT.

How the Nátaka No. 427. The Nátaka should be named so as to be named. to indicate the matter contained. COMMENTARY.

a. Thus, for example, ' Ramabhyudaya' or the Triumph of Rama. TEXT.

The Prakarana, &c. No. 428. The Prakarana &c. are to be named how to be named. after the hero and the heroine together .* COMMENTARY. a. As for instance-' Malati and Madhava.' TEXT.

The Natika, &c. No. 429. The Nátika, the Sattaka, and others how to bo named. are to be designated after the heroine. COMMENTARY. a. Thus-Ratnavali, Karpuramanjari, &c. TEXT.

Tho root ' sadh' for No. 430. The causal form of the root ' sadh' 'gam' used in the is generally used instead of ' gam' in the sense of dramas. going. COMMENTARY. a. For instance in S'akuntala, the two sages say-' sadhayavas távat'-meaning-' We go then.' TEXT.

The charactors No. 431. A king is to be addressed by his how addressod. servants-'Lord' (swamin) or 'Sire' (deva), and Bhatta by low persons ; by royal sages and the Vidushaka-' Friend' (vayasya) ; by saints-' King,' or by a patronymic. A Bráhman is to be accosted by Brahmans optionally by his patronymic or proper name, and by the other classes-'Sir' (Arya). The Vidúshaka is to be addressed by a king-' Friend' (vayasya), or by his name. The Manager and the Actress are to be mutually addressed by the term * 'As a general rule,' adds the commentator, 'for we seo such a name as Saugandhikaharana.' 2 G

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Arya (Sir). The Paripars wika or Assistant Manager (see §287. a.) should call the Manager ' Bhava,' and the latter should accost the former by the title of Marisha. Equals are addressed-' Hande' among low persons; Vayasya, among men of the highest class; and ' Hanho' among those of the middling elass. An elder brother is to be called, 'Sir.' Those who bear the insignia of a Divine Saint (Devarshi) are to be addressed by all -- ' Bhagavan' (holy sage). The Vidúshaka should give the queen and her female attendant the title of Bhavati (Madam). A driver should address the chariot-rider- 'A'yushman' or ' Sir-long live you.' One not old should call an old man-'Father' (Tata). A son is to be addressed-Vatsa (darling), Puttraka (child), Tata, or by his proper or family name; and so also a disciple and a younger brother. A minister is to be accosted --. 'Arya' by low men ; and ' Minister' (Amatya) or 'Sachiva,' by the Brahmans. A devotee and one with subdued passions are addressed by the wise-' Sadho' (Holy Sir). A revered person is accosted by his disciple and others by the epithet Sugrihitabhidha' (Sir of auspicious name). A spiritual tutor is to be addressed-Upadhyaya (master) ; a monarch-Mahárája (great king); a prince co-regent (yuvarája) -- swamin (lord) ; a prince-Bhartridaraka. A prince is addressed by low mnen-'Saumya' (gentle sir) or ' Bhadramukha' (You of benign face). The daughter of a king is to be called by his subjeets-Bhartridarika. Women are to be addressed in the same manner as their husbands by men of the high, middling and low elasses. Among the women themselers, an equal is to be accosted-'Hala,' a maid-servant-'Hanye,' and a courtesan -- ' Ajjuká.' A procuress is to be addressed by her adherents -Amba (mother). Thus also is a vencrable old woman to be addressed by all persons. The Pashandas (infidels) are to be called by their own sectarian names. The S'akas are to be accosted by such names as Bhadra- datta, &c. Generally a person is to be addressed after his occupation, art, learning, or easte. So according to propriety is it to be understood of others. COMMENTARY. a. Now of the division of dialects : TEXT.

Distribation of No. 432. Men not low, and educated, must dielects. speak the Sanskrit, and women similarly cireum-

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stanced are to speak the S'auraseni dialect. These, however, should em- ploy the Maharashtri in songs or verses. The Magadhi is mentioned as .the tongue of those who move in the inner apartments of a king. The dialect of servants, prinees, and merchants is the half Magadhi. The Prachya (Eastern i. e. the Gaudiya) is the dialect of the Vidúshaka and others; the Avantika, of gamesters; and the Southern dialect (i. e. the Vaidarbhi), of soldiers and citizens while gambling. The Sakarí should be used by left-hand brothers-in-law, the S'akas and others. The Vahliki dialect belongs to the people of Northern India ; the Dravidi to the people of Dravida; the Abhiri, to the cowherds; the Chandali, to the Chandalas and others. The Abhiri and the S'avarí are spoken by those who work upon wood and leaves, as also by charcoal-makers. The Pais'achi is the tongue of the Pis'achas and also of female attendants; these latter, if not mean, speak the S'auraseni. This dialect belongs to boys, cunuchs, mean astrologers, and mad and diseased men ; and sometimes the Sanskrit. Mendicants and asceties &c. must employ a Prakrit dialeet. The Sanskrit is to be used by noble women, hermitesses, &c., as also, according to some, by a queen, a minister's daughter, and a courtesan. The language of a low person must be that of his country, and men of the highest and middlo dlasses too change their tongue-the Sanskrit, when necessary. A woman in general, a female friend, a boy, a courtesan, a gambler, and a nymph are to be made occasionally to speak Sanskrit in order to set off their wit. COMMENTARY. a. Illustrations of these are to be observed in the Storehouses-the dramas. Descriptions of the different dialects are to be found in the Bhasharnava or Ocean of Dialects of my adored father. TEXT. Further clemonts No. 433. The thirty-six Lakshanas, the thirty- of the drama. three Dramatie Embellishments, thethirteen Mem- bers of the Vithi (see § 521) and the ten divisions of Lásya must be employed in it, with a view to the development of Flavour, where ocasion requires. COMMENTARY. a. 'Must be einployed where occasion requires'-this is the con- neetion .-- 'In it' i. e. in the Nátaka. b. Of these, the Lakshanas are the following : 2 G 2

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TEXT. The 36 Lakshanas. No. 434. Bhushana, Akshara-sangháta, S'obhá, Udáharana, Hetu, Sans'aya, Drishțánta, Tulya-tarka, Padochchaya, Nidars ana, Abhipráya, Prápti, Vichéra, Dishța, Upadishța, Guņáti- páta, Atis'aya, Vis'eshana, Nirukti, Siddhi, Bhrans'a, Viparyaya, Dákshinya, Anunaya, Málá, Arthápatti, Garhana, Prichchhá, Prasid- dhi, Sárúpya, Sankshepa, Gunakírtana, Les'a, Manoratha, Anukta- siddhi, and Priyavachah. COMMENTARY. a. Among these- TEXT. Bhúshana. No. 435. The Bhúshana (Ornament) is a com- bination of Excellences (Chapter VIII.) and Embellishments (see Chapter X.) COMMENTARY. a. For example :- "The Lotuses, O fair one, reflect on the beauty of thy face: what indeed is beyond their power ?- furnished as they are with a treasury (kosha*) and a rod (danda)." TEXT. Akshara-sangháta. No. 436. The Akshara-sanghata or Sum of Syllables is a discourse in a few words of charming import. COMMENTARY. a. As in S'akuntalá, Act III. :- "King. I hope your dear friend is not too much afflicted by the fevert of her body. " Priyamvadá. It will be soothed, now that it has had its remedy."

TEXT. S'obhá. No. 437. A speech bearing a striking import in the form of a double-entendre, in which an acknowledged matter is implied along with things intended to be established-is called S'obha or Elegance.

• Kosha and Danda respectively mean a bud and a stalk as well as a treasury and a punishing rod. The word rod answers well to the Sanskrit Danda. t The original has S'arira-santapah, or, as is supposed by the commentator of the present work, as'arira-santapah (flame of the Incorporeal one or Kama) which latter might be meant by the king, thus implicitly and explicitly-as the clause is equally resolvable into both these readings.

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COMMENTARY. a. For instance :-

. Though born in a good family (or, as the words signify also the properties of a bow-formed of a good bamboo), himself pure in other respects, giving ten millions (or, yielding its ends), and possessed of accomplishments (or, bearing a string), a severe master, like the twanging instrument of war, is assuredly to be shunned by the good. TEXT. Udáharana. No. 438. When analogous facts are adduced in establishing an intended matter -- it is held Udaharana or Example. . COMMENTARY. a. For example : " Well hast thou acted in following to the woods thy Jord who transcends the world : what is the Beauty of day without the sun, and what is Night without the moon ?" TEXT.

Hetu. No. 439. The Hetu is a brief speech conveying the intended meaning by showing a reason. COMMENTARY. a. As in the Veni, Act I. where the female attendant repeats to Bhima the words she had spoken to Bhanumati the wife of Duryodhana : "I spoke to her thus-How are the locks of our queen to be bound whilst yours, Bhanumati, are not yet dishevelled ?"* TEXT. Sans'aya. No. 440. The uneertainty implied in the speech of a person not knowing the truth is Sans'aya. COMMENTARY. a. For example in the Yayáti Vijaya :- " Is this the Beauty of the Lord of the heavens, or the daughter of a Yaksha, or is she the goddess of this spot, or Uma herself?" TEXT. Drishtánta. No. 441. Drishtanta is the showing of a reason for the establishment of a matter or circumstance in respect of the subject of the discourse.

• The reason, observes the commentator, of Dranpadi's tressos not being bound np is the circumstance of Bhanumati's not being let down. Under this reason is briefly intimated that Duryodhana must die before the outraged wife of the Pandavas should bind her hair -- and this is the 'intended meaning.'

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COMMENTARY. a. For example in the Veni, Act I .:- " Bhima .* Sire, this is quite befitting her, for she is Duryodhana's wife"-and so forth. TEXT. Tulyatarka. . No. 442. The Tulyatarka is a surmise made from a matter coincident with nature's course.t

COMMENTARY.

a. For instance in the same, Act II. :- "Bhima. Frequently indeed are dreamt dreams hoth auspicious and inauspicious; but this number of a hundred seems to touch ine together with my (99) brothers." TEXT. Padochchaya. No. 443. A combination of words echoing to the sense is the Padochchaya. COMMENTARY.

a. As in S'akuntalá, Act I .:- " Red like the tender leaf is her under-lip, her hands imitate the soft sprout, and charming like a full-blown flower is the flush of youth glowing in her members." Here the words are equally soft with the things implied. TEXT. Nidars'ana. No. 444. When well known facts are addueed for the purpose of refuting the opinion of others, it is termed the Nidars'ana.

COMMENTARY. a. For example : " Away, prinees, away with the duties enjoined to a Kshattriva, in the destruction of a foe: Rama sent forth his arrow against Balin while turned away in fighting against another person."

• It should be Sahadera, yet the manuscript I have consulted as well as Dr. Roer's edition reads Bhima. t Thus explains the commentator adopting the reading prakriti-gamina instcad of prakriia gamana as read in Dr. Roer's edition. I should prefer the latter as conforming more to the example (-for our scholiast is not always to be trnsted even in his reading and loss in his oxplanation-), and refer the text thus : Tulyatarka (Analogy,) is a surmise mado from a circumstance touching tho matter in question.

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TEXT. Abhipráya. No. 445. The Abhipraya is the supposition of .an impossible* matter under a similitude. COMMENTARY. r. For example in S'akuntalá, Act I. :-- "He the saint who wishes to make this unartifcially eharming body endure the rigors of asceticism verily desires to cut the S'ami tree with the edge of the blue lotus leaf." TEXT.

Prapti. No. 416. The Prapti is when something is guessed from a certain peculiarity in the object with respect to wchich the conjecture is made. COMMENTARY. a. For example in my Prabhavati :- "My beloved Prabhavatí must be known by this bee that wanders every where."t TEXT.

Vichára. No. 447. The Vichara (Argument) is the establishment of an imperceptible matter by reasonable words. COMMENTARY. a. For instance in my Chundrakala :- "King. She certainly conceals in her heart the perturbations of a powerful love, since she smiles without real joy, sees not aught though apparently staring, and gives an incongruous answer when spoken to by her fair friend." TEXT Dishța. No. 448. The description of one under the similitude of time or place is called Dishta. COMMENTARY. a. For example in the Veni, Act I .:- "Sahadeva. Asuredly shall this Draupadi, like the Season of rains,

• Dr. Rocr's odition reads बद्धतार्थस्य (of a marvellous matter) instead a G which is adopted by the MSS. of the text and scholium that I have consulted. + Wandering everywhero is the peculiarity in the bee, from which is guessed . its kuowledge of Prabhavatı.

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enhance the fire, like lightning, kindled to-day in the angry prince (Bhíma)." TEXT. Upadishța. No. 449. The Upadishta (Advice) is a winning discourse in conformity with the Scriptures.

COMMENTARY. a. As in S'akuntala, Act IV .:- "Serve your superiors, behave like a loving companion towards your fellow-wives, be not sullen even though reproached through anger by your lord"-and so forth. . TEXT. - Guņátipáta. No. 450. Gunátipáta is an action opposed to the excellences that one possesses. COMMENTARY. a. For example in my Chandrakala :- " Chandrakala. (To the moon.) Though thou destroyest darkness, dwellest on the head of Pas'upati,* and thy feet (rays) are touched by all, yet dost thou take the life of women." TEXT. Gunátis'aya. No. 451. The Gunátis'aya is held to be the superiority of the compared to what is compared to, consisting in the former's possession of merits in excess over those that are common to both. COMMENTARY. a. As in the same drama :- " King. (Pointing to Chandrakala's face.) Where didst thou get, O fair-faced one, that moon, devoid of spot, and ever full, though never associated with Night,t with a couple of full blown fresh blue lotuses quivering within, with a conch shell shining below, and with a collec- tion of bees glowing above ?" TEXT. Vis'eshokti. No. 452. The Vis'eshokti is the distinguish- ing of one of two things compared, after the declaration of many re- nowned qualities belonging to the other.

• Lord of the creatures, a name of S'iva. t In the original विनादाषासङम which means also-'without connection with a fault.'

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COMNENTARY. a. For example :- " A pond is pure, a remover of thirst, a dwelling of birds, the native seat of lotuses,* and loved of men, yet it is dull-a place of water (जड़ाशय),t and thou art wise." TEXT. Nirukti. No. 453. A declaration of a thing previously effected is termed the Nirukti. COMMENTARY. a. For example in the Veni, the stanza beginning-" He who has destroyed, one and all, the descendants of Kuru," &c. (-sce §380, a.) TEXT. Siddhi, No. 454. The Siddhi is the declaration of qualities, severally belonging to many, to be in one combined, for the conveyance of an intended meaning. COMMENTARY. a. For example :- "The strength that belongs to the king of tortoises, and the power that is possessed by Vasuki, reside united in thee, O monarch, in the preservation of the Earth."$ TEXT. Bhrans'a. No. 455. The speech of a proud man or the like, being the reverse of what was intended by zim to be spoken, is the Bhrans'a (slip). COMMENTARY. a. For example in the Vení : "Duryodhana. (To the eunuch.) Ere long will Pandu's son, through his prowess, destroy Duryodhana in battle, with his proteges, with his kindred, with his friends, with his sons, with his brothers." TEXT. Viparyaya. determination under à doubt. No. 456. The Viparyaya is the alteration of a

• The threo opithets, in the original, corresponding to these mean respectively also-'sinless,' ' satisfier of a thirst of gain,' and ' giver of prosperity.' t This word means . of idiotic apprehension,' and, by the allowable exchange of for a, it means* a place of water' also. $ The extolling of tho king's protective energy is the ' intended meaning.' 2 II

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COMMENTARY. . For example : " Those who, deeming the world miserly, resolved to be contented, act not consistently, O King, with respect to your majesty." TEXT. Dákshiņya. No. 457. Dákshinya (Complaisance) is com- pliance with the wishes of others by words or deeds. COMMENTARY. a. Complaisance in words-as- " Protect the city Lanka, thou, Vibhishana, art the King : to one befriended by the adorable Rama there is no obstacle to prosperity." b. So Complaisance in deed. TEXT. Anunaya. No. 458. Anunaya (Conciliation) is the ac- complishment of a purpose by means of kind words. COMMENTARY. . a. As in the Veni, Act III., the speech of Kripa to As'watthaman- " Equal to Drona in valour, and versed in the science of heavenly arms, what art thou not capable of?" TEXT. Málá. No. 459. Mala (garland or string of things) is an offer of many things or services for the attainment of a desire. COMMENTARY. a. As in S'akuntalá, Act III .: " King. Shall I move the cooled air with fans of the cool and refreshing lotus-leaves, or shall I, my taper-limbed charmer,* place thy lotus-red feet upon my lap, and knead them to thy comfort ?" TEXT. Arthápatti. No. 460. Arthápatti is when by the assertion of some thing, some thing else is suggested. COMMENTARY. a. As in the Vení, Act III., the following speech of the King (Duryodhana) to Karna as he was declaring that Drona wished to place lis son As'watthaman on the throne :-

• Lit. One with thighs resembling the part of the metacarpus between the wrist and the little finger.

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" King. Well spoken, monarch of Anga, well spoken. How can it be otherwise-if what you say is not the true reason, how comes it to be, that the great warrior, having at first bidden him not to fear, should take no heed of Sindhu's King, while he was being killed by Arjuna ?" TEXT.

Garhana. No. 461. Garhana is a reproach consisting in the proclamation of a fault. COMMENTARY. g. As in the same, Act III .:- " As'watthaman. (To Karna) Are my weapons powerless, as thine are under the influence of thy master's curse &c. ?" TEXT. Prichchhá. No. 462. Prichchha (Inquiry) is held to be an inquiry after a matter in respectful terms.

COMMENTARY. a. For example in the same, Act IV .: " Sundaraka. Have you, worthy sirs, seen the emperor Duryodhana with his charioteer or not?" TEXT. Prasiddhi. No. 463. Prasiddhi is the announcement of one, under relation to excellent and noted things or persons.

COMMENTARY. a. As in Vikramorvas'í : " King. He whose grandfathers on the maternal and paternal sides are the sun and the moon; who was chosen husband of their own accord, by both Urvas'i and Earth." TEXT. Sárúpya. No. 464. Sárúpya is a passionate treatment of one mistaken for another through resemblance .* COMMENTARY. a. As in Act VI. of the Veni, Yudhishthira, mistaking Bhima for Duryodhana, addresses him-"Thou accursed wretch, Duryodhana! &c."

• Dr. Rocr's odition of the original has a difference of roading in this text -- bavo followed. namely abhibhutasya for anubhutasya which the scholiast adonts and which I

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TEXT. Sankshopa. No. 465. It is Sankshepa when one offers himself, in short words, in the service of another.

COMMENTARY. a. For example in my Chandrakal :- " King. My beloved, why wouldst thou thus vainly pain thy limbs, tender like the S'irisha flower ?- here (referring to himself) is thy ser- vant ready to get thee thy wished-for flowers." TEXT. Gunakírtana. No. 466. Gunakírtana (Applause) is but the declaration of excellences. COMMENTARY. a. As in the same, the passage beginning-" O thy eyes mock the wagtail." TEXT. Los'a. No. 467. A speech resting upon a similitude is termed the Les'a. COMMENTARY. a. As in the Vení :- " King. That same glory will be ours which the sons of Pándu acquired having killed the decrepit Bhishma by placing S'ikhandin* before him." TEXT.

Abhipráya. No. 468. Abhipráya is the oxpression of a desire in an indirect manner.

COMMENTARY. a. As- " Behold, thou of beautiful brow, bchold, the swan, engaged some- what in caressing sports and languishing with love, fondly kisses his beloved." TEXT. Anukta-siddhi. No. 469. An extent of surmise in speaking of persons or things in a particular (i. e. laudatory) manner is termed the Anukta-siddhi. * The daughter of Drupada metamorphosed into a male, and hence not a person for Bhishma to fight with -- him whose dread heroic vow would not permit hin to cast weapon upon one who had even once been a woman.

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COMMENTARY. a. For example :- , " These two, wise lady, that you behold before the beautiful moon are, we believe, Tishya and Punarvasu* of blessed names." This is addressed to Sita by her female friends, viewing Rama and Lakshmana seated before Vis'wamittra the saint, and poetically surmising them to be the said luminaries.t TEXT. Priya-vachah. No. 470. Priya-vachah (Agrecable discourse) is a gratifying speech in credencing a venerable person. COMMENTARY. a. As in S'akuntalá, Act VII. :- " The flower first comes to sight, then the fruit; the clouds rise first, afterwards descend the rains: such is the order of the cause , and the effect in nature, but, superior over physical causes, your pro- pitiousness is preceded by blissful fruits." b. Now of the Dramatic Embellishments (§133) : TEXT.

The Dramatic Em- No. 471. As'íh, Akranda, Kapata, Akshamá, bellishments. Garva, Udyama, As'raya, Utprasana, Sprihá, Akshobha, Pas'cháttápa, Upapatti, As'ansá, Adhyavasáya, Visarpa, Ullekha, Uttejana, Pariváda, Níti, Artha-vis eshana, Protsáhana, Sáháyya, Abhimána, Anuvartana, Utkírtana, Ychná, Paríhára, Nive- dana, Pravartana, Akhyana, Yukti, Praharsha, and Upades'a: these are the Dramatic Embellishments, being means of ornamenting the drama. As'íh. As'íh (Blessing) is a friend's benediction. COMMENTARY. a. For example in S'akuntala, Act IV. " Be thou greatly regarded by thy husband, as was S'armishtha by Yayati, and mayest thou get an imperial son, as she did Púru." TEXT. Akranda. through grief. No. 472. Akranda (Crying) is a lamentation

• The seventh of the lunar astorisms, Tishya being the cighth. t So much from the commontator.

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a. As in the Vení :- COMMENTARY.

" Eunuch. Oh madam, Oh Kunti, glory of the royal house ! &c." TEXT. Kapața, No. 473. Kapata (Treachery) is when another form is assumed by means of magic. COMMENTARY. a. As in Kulapatyanka (the Act of Kulapati) : " Having quitted the form of a deer and assumed a treacherous appearance, that demon, combating Lakshmana, is driving him to a dangerous position." TEXT. Akshamá. No. 474. Akshama (Non-forgiveness) is when even a slight offence is not endured. COMMENTARY. a. As in S'akuntalá, Act V .:- " King. O truthful man, we grant this, but what shall we gain by imposing upon her ? " S'arngarava. Destruction !"-and so on. TEXT.

Garva. No. 475. Garva is a speech procceding from pride. COMMENTARY. a. As in the same, Act VI .: " King. What, are my houses too infested by spirits ?" TEXT. Udyama. No. 476. Udyama (Undertaking) is the com- mencement or design of an action. COMMENTARY. a. For example in the Kumbha : " Ravana. Overpowered as I am by grief, I will meet death." Here is hinted Ruvana's design of fighting. TEXT. Ks'raya. No. 477. The having recourse to any one for some cxeellent purpose is termed As'raya (Resort).

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COMMENTARY. a. As in the act named " The Reproach of Vibhishana:" " Vibhi- shana. To Rama will I resort." TEXT.

Utprásana. No. 478. Utprásana (Derision) is a ridicule by a man not good, yet imagining himself to be good. COMMENTARY. a. For example in S'akuntala :- " Surngarava. Supposing, Sir King, your majesty has forgotten the past incidents in the company of others, how should you abandon your wife, afraid as you are of unrightcousness ?" TEXT.

Kkánkshá. No. 479. Kkánkshá (Desire) is a longing for a thing, out of its charmingness. COMMENTARY.

a. For example in the same : " King. O, the under-lip of my beloved, tender and unbitten, secins, as it quivers so sweetly, to give my thirsty self permission to suck its nectar."

TEXT.

Kshobha. No. 480. Agitation oc asioning the use of reproachful terms is styled the same, viz., Kshobha (Agitation). COMMENTARY. a. For example : " Thou ruffian of a devotee, that killest concealed, hast not only destroyed Balin, but cut off thy own soul from the world to come." TEXT.

Anutápa. No. 481. A repentance for an object slighted through folly is termed so, i. e. Anutapa (Repentance). COMMENTARY. a. As in the Anutapanka, or the Act named Repentance, of a certain drama : "Rama. Did not my angel kiss me then many a time though having blamed me but in jest (?) &c."

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TEXT. Upapatti. No. 482. Upapatti (Argument) is the giving of a reason for the establishment of a matter. COMMENTARY. a. As in the Badhya-s'ila (The Block of the Condemned) :- " Preserve thyself at the expense of my life, if thou wishest her to be living, who dies if thou diest, and who lives if thou livest." TEXT. As'ansá. No. 483. A wishing for one's self is As'ansá (Desire). COMMENTARY. a. As in Malati and Madhava, the desire of Madhava in the ceme- tery shown in these words of his : " May I then once more see her face, the blissful home of Love!" TEXT. Adhyavasáya. No. 484. Adhyavasáya (Resolution) is a vow, or an expression of determination. COMMENTARY. a. For example in my Prabhávati : - " Vajranábha. Bruising in a moment his breast with this club, sportively do I destroy both your worlds." TEXT.

Visarpa. No. 485. Visarpa is an action done, leading to an evil result. COMMENTARY. a. As is indicated in the Veni in the couplet beginning-" Direful has been the effect on the world of that single seizure of hair," (§373. a.) TEXT.

Ullekha. No. 486. A mentioning of a purpose is termed Ullekha (Mention). COMMENTARY. a. As in S'akuntala: " Ascetics. (To the king). We proceed to bring fuel. There you see the hermitage of our spiritual tutor, the sage Kanwa, on the bank of the Malini, graced by the fair S'akuntala as by its presiding deity. If no duty be thus neglected, do you go in, and accept the services due to a guest."

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TEXT.

Uttejana. No. 487. Harsh words uttered to excite or . exasperate another for the completion of one's own object are called Uttejana (Provocation). COMMENTARY.

a. For example : " Of awful valour art thou, Indrajit, powerful only by name : fie ! fie ! distracted with dread of me, thou fightest concealed." TEXT.

Paríváda. No. 488. Paríváda (Censure) is a reproof. COMMENTARY. a. As in 'Sundara's Act' or the fourth of the Venisanhra : " Dur- yodhana. Fie, ie, charioteer, what hast thou done! O the evil man will do evil to my boy, wanton by nature, &c." TEXT.

Níti. No. 489. Niti is acting according to the Seriptare. COMMENTARY. e. As in S'akuntala Act I .: " Dushyanta. One must enter the sacred wood of holy saints in a humble guise." TEXT.

Artha-vis'eshana. No. 490. A reprehensive repetition of some thing uttered by another is termed Artha-vis'eshana (Particularization of a thing). COMMENTARY. a. As in S'akuntala, Act V .: "S'arngarava. (To the King.) Ah ! what mean you by saying ?- 'what is this that has been spoken !' Are not you, Sir, well conversant with the manners of the world? A married lady living in her father's house is regarded with suspicion by the people, chaste though she be; a wife, therefore, whether beloved cr not, is wished by her relations to be with her husband." TEXT. Protsáhana. No. 491. Protsahana (Exciting) is the urging: of any one by stimulative words. 2 I

242 The Mirror of Composition.

COMMENTARY. ' a. As in the Bála Rámáyana: " She is dreadful like the Night of the universal dissolution-why hesitatest thou, because she is a woman ? Do thou, child, strike this female demon Tádaká, and preserve the triple world." TEXT. ' Sáháyya. No. 492. Sáháyya (Assistance) is the helping of another in danger. COMMENTARY. a. As in the Veni: " As'watthaman. (To Kripa.) Be you also attending at the side of the King. Eripa. " I am determined to-day to revenge, &c." TEXT. Abhimána. No. 493. Abhimána (Pride) is just what the name implies-a speech of pride. COMMENTARY. a. As in the same, Act V .: " Duryodhana. Unbecoming and poor are thy words, mother"-and so on. This is the answer given by the unconquerable pride of Duryodhana to the concilialory words of her mother. TEXT.

Anuvritti, No. 494. Anuvritti (Complaisance) is courteous humility. COMMENTARY. a. For example in S'akuntalá, Act I .: " King. (To S'akuntalá.) Are your devotions prospering, lady ? Anasuya. Yes, by the reception of a particular guest now &c." TEXT.

Utkírtana. No. 495. By Utkírtana (Rehearsal) is meant the relation of past incidents. COMMENTARY. a. As in the Bóla Rámayana: " Here were we bound in the serpent noose, and here was brought the Drona hill by Hanumat, when your brother-in-law (Lakshmana) had been struck by Ravana's dart deep in the heart," &c. .

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TEXT.

Yáchná. No. 496. A request made personally, as is sometimes the case, or through a messenger, is termed Yachna (Asking).

. COMMANTARY. a. For example : " Do thou give back Sita even now: Rama is gracious towards thee : why wouldst thou make the fierce monkeys play the game of balls with thy heads ?" TEXT. Parihára. No. 497. Begging pardon for a fault com- mitted is termed Parihára (Apology). COMMENTARY.

a. For example: " Overwhelmed with the pangs of expiration I have uttered improper words; pardon me therefore, lord-and I entrust Sugríva to thee." TEXT. Nivedana. No. 498. Nivedana (Announcement) is the intimation of a'duty neglected. COMMENTARY. a. For example in the Raghavabhyudaya: " Lakshmana. What are you about, Sire ; are you going to sue the ocean ?" TEXT. Pravartana. No. 499. Pravartana (Commencement) is the happy commencement of an action. COMMENTARY.

a. As in the Veni, Act VI .: King. Eunuch, out of our reverence for the divine son of Devaki, let suitable preparations be commenced- for the joyous festivity to be held on dear Bhima's victory." TEXT. Kkhyána. No. 500. Akhyana (Narration) is the declara- tion of a previous event. , COMMENTARY.

.a. As in the same: " This is that place in which ponds were filled with the liquid of the enemies' blood &c." 2 T 2

244 The Mirror of Composition.

TEXT. Yukti. No. 501. Yukti (Reason) is the settlement of a question by reason. COMMENTARY. a. As in the same, Act III .: " War being shunned, were there no dread of death, fit would it be to fly the field; but if a creature must necessarily die, why would you thus vainly taint your glory ?" TEXT. Praharsha. No. 502. Praharsha (Ecstasy) is an excess of joy. COMMENTARY. a. As in S'akuntala: " King. Why then should I not congratulate myself, now that my desires are all fulfilled ?" TEXT. S'ikshá. No. 503. S'iksha (Instruction) is advising. COMMENTARY. a. As in the same: " It is not proper, friend, for a person dwell- ing in a hermitage freely to go away, leaving a particular guest unentertained." b. These Lakshanas and Dramatic Ornaments, though generically the same, are spoken of distinctively in pursuance of established cus- tom. And though, among these, some are included severally under the heads of Excellence (Guna-see Chap. VIII.), Ornament (Chap. X.), Incomplete Flavour (§ 245) and the members of the Junctures (§ 338 &c.), they have been particularly mentioned here, as they are carefully to be employed in a Nataka. That these must be used in the Nataka, is established by the following dictum of the sage : . "The poet must compose the Nataka thus: It must contain the five Junctures (§ 332), the four kinds of Action (vritti), the sixty-four members, and the thirty-six Lakshanas. The style must be elevated and embellished with the Ornaments, the use of soft or feeble-sounding words being avoided. It should represent great characters* and good * Hore instead fmahapurusha-sancháram, the reading I have followed, the commentator reads mahapurusha-satkaram and explains it-mahapurushanam satkaro gunavarnanam yatra. (-where the excellencies of great men are de- scribed). The passage, however, in this and soveral other places, is extremely obscure, and I have, sometimes, been forced to follow the commontator's inter- pretation.

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deeds. It must be full of exquisite relish and noble sentiments. Having its Junctures well connected, it should be suitable for repre- sentation, as also interesting and delightful." c. The members of the Vithi shall be mentioned hereafter (see (§ 521). He states the Members of the Lasya. TEXT.

The Members of No. 504. Geyapada, Sthitapáthya, Asína, the Lásya. Pushpagandika, Prachehhedaka, Trigúdha, Sain- dhava, Dwigúdha, Uttamottamaka, Uktapratyukta: These are the ten members or varieties of the Lasya declared by the learned. COMMENTARY. a. Among these- TEXT. Geya-pada. No. 505. The Geya-pada (Ballad) is simply a song* sung to the Vina by one scated on a seat. COMMENTARY. a. For example, listen to Malayavatí singing to the Vina in the temple of the goddess Gaurí : "Goddess of radiance yellow like that of the farina powdering the filament of an expanded lotus, O blessed Gaurí, may my desire be fulfilled by thy grace!" TEXT. Sthita-páthya. No. 506. When a woman, burning with love, stands reciting Prakrit it is designated Sthita-pathya (Recitation of one standing). COMMENTARY. a. The venerable Abhinava Gupta, however, says-' What is declared in the text with respect to a woman is elliptical, the utterance of Prakrit by one infuriate with rage being also Sthita-pathya.' TEXT. Ksína. No. 507. When a woman under grief and anxiety sits without any ornament on her body, and without any musical instrument, it is termed Asina (the Seated). · Pushpagnndika. When songs are sung accompanied with music, and verses of diverse metres recited, and when the men and women act contrarily to their nature, this is called Pushpagandika. * i. e. not accompanied with dancing.

246 The Mirror of Composition.

Prachchhedaka. When a woman considering her lord to be in love with another, and grieved by his infidelity, sings in concert with the Vina, it is designated Prachchhedaka (Breach of Affection). Trigúdha. The agreeable acting of men in the dress of women is Trigudhaka (the Thrice-covert).

COMMENTARY. a. An example of the last sort occurs in ' Malati and Madhava': " Makaranda. I here have become Malatí!"

TEXT. Saindhava. No. 508. When one disappointed in an assig- nation chants Prakrit in concert with a clear musical performance, it is called Saindhava.

COMMENTARY. a. 'Performance' (Karana)-i. e. a play on the Vina or the like.

TEXT. Dwigúḍhaka. No. 509. A song of harmonious numbers, full of flavour and sentiments, in the shape of an interlocution* is termed Dwigúdha. Uttamottamaka. The Uttamottamaka (The Most Excellent) again is a poetical song, sung in anger or grace, charming from a variety of metres, containing reflections, and accompanied with the graces termed, respectively, 'hava' (see § 127) and hela (§ 128). Uktapratyukta. A conversation in song, associated with ' viva- city' (see § 91), and containing feigned reproofs is spoken of as the Uktapratyukta (Speech and Reply).

COMMENTARY. a. Examples of these are evident in the dramas. TEXT.

What entitles the No. 510. This, when containing all the Pataka Náțaka to the name .Sthanakas or Telling Points (see § 299) and con- of the Great Nátaka. sisting of ten acts, is called by the wise the Great Náțaka (Mahánátaka).

• In the original, mukhapratimukhanwitam which the scholiast so intorprets, -mukha and .pratimukha meaning, according to him, speech and reply respec- tively. The Junctares so called have apparently no connection here.

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COMMENTARY. a. This i. e. the Nataka .- For example, the Bala Rámáyana. b. Now of the Prakarana :

TEXT.

The Prakarana do- No. 511. The story of the Prakarana must scribed. be mundane or human, being invented by the poet. Love should be the principal sentiment in it; and the hero must be a Brahman, or a minister, or a merchant, of the description called ' firm and mild' (see § 69), and intent upon meritorious deeds, objects of desire, and wealth, such as are subject to destruetion or bring but transitory pleasure here or hereafter, being sought with selfish motives .* COMMENTARY. a. A Prakarana with a Brahman hero is such, for example, as 'the Mrichchhakatika or The Toy Cart ; one with a minister for its hero is Malatí and Madhava; and one with a merchant hero, the drama Pushpabhúshita. TEXT. No. 512. The heroine in the Prakarana is sometimes a woman of' family, or a courtesan, or both. So there are three divisions of it, the third of which is crowded with such characters as a cheat, a gambler, &c., the ' humble friend' (see § 77) and the ' dependent.'

COMMENTARY. a. An honourable woman is the heroine, for instance, in the Push- pabhushita; a courtesan in the Rangadatta; both an honourable woman and a courtesan are heroines in the Mrichchbakatiká. b. Since it has the Nataka for its type, it resembles it in all other respects. c. Now of the Bháņa : TEXT. The Bhana de- No. 513. The Bhana is a piece in one act, con- scribed. sisting of a variety of incidents not progressively developed, being other than those included under the fire stages of the

• The portion in italios is according to the interpretation of the commontator. He says-Merit is transitory (sfpaya) when songht as a door to swarga or the short-lived bliss of Indra's heavon; Objects of desirc are perishable when children or cattle ene wished for; and Wealth is so, when desired for enjoyment.

248 The Mirror of Composition.

Deed* (see § 324). In this an expert and learned ' vita' (§ 77) must. singly represent on the stage what has been experienced by himself or others. He should accost, speak, and reply, as if he were addressing one actually present (lit. by the akas'a bhashita-see § 425); and . suggest the Heroic and the Erotic by descriptions of heroism and beauty. The fable must be invented by the poet, and the Action (vritti-see § 410) should generally be the Bhárati (§ 285). This species has only the Junctures Mukha and Nirvahana, and all the ten members of the Lasya. COMMENTARY. a. In the Bhana one should make replies and rejoinders, quoting the suppositious speeches of another-technically called Aerial Dis- course. b. The Erotic and Heroic Flavours are to be suggested by descriptions of beautyt and heroism. c. Commonly the Action Bháratí, but sometimes the Kais'ikí too is employed. d. The Members of the Lasya-i. e. the Geyapada, &c. (see § 504). e. The Lílamadhukara is an example of this class of plays. f. Now of the Vyayoga. TEXT.

The Vyayoga de- No. 514. The Vyáyoga must have a well scribed. known story for its plot, its dramatis personc consisting mostly of males and but few females. It should be in one Act, and devoid of the Garbha and the Vimarsha (see § 335 and 336). It should represent a contest the occasion of which is not, a woman, and should be without the Action Kais'iki. The hero must be a celebrated personage, being a royal saint or a god, of the class styled ' firm and haughty' (see § 67). The principal Flavours of this variety are to be other than the Comic, the Erotic, and the Quietistic. COMMENTARY.

a. For example, the Saugandhikaharana. b. Now of the Samavakara : * Such is the explanation of the Commentator, the original having merely- ' consisting of a Variety of other conditions or stages.' t In the original, t172, which means also ' happiness in love.'

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TEXT. The Samavakara No. 515. Of the Samavakara the fable should described. be well known, pertaining to gods and demons. It has all the Junctures (§ 332) except the Vimarsha, and consists of three acts, the first of which contains the first two Junctures, and the latter' two comprise the others respectively. It has twelve high-spirited heroes, being well known Divinities and Demons, cach of whom obtains a 'separate fruit. The Heroic is to be the most prominent of the Flavours and the Action Kais'iki is to be seldom employed. The Vindu and the Praves'aka (§ 309 and 319) are not admitted ; but the thirteen members of the Vithi (see § 521) may be employed according to occasion. It is composed in a variety of metres, principally the Gayatri and the Ushnih. It must represent the triple Love, the three-fold Circumvention, and the three Vidravas. The business of the first act must occupy twelve Nadikas; that of the second, three ;* and the fourth, two. COMMENTARY. a. A couple of ghatikast is called a Nadiká .- The Vindu and the Praves'aka (see § 309 and 319), though mentioned in the description of the Nataka, must not be admitted here. b. Now- TEXT. . The three species No. 516. Love is three-fold, as being (1) con- of Love, Circumven- formable to the Law, (2) for the sake of money, tion, and Confusion, or (3) from mere voluptuousness. Cireumvention 'or delusion' again is of three sorts, bein, (1) natural or caused by natural agencies ; (2) contrived or effected by the enemy ; and (3) preternatural. And Confusion (Vidrava-see § 377) also has three varieties, according as it is caused (1) by things inanimate,t (2) by rational beings,§ or (3) by irrational animals. COMMENTARY. a. Of these, Lawful Love is love indulged in not in opposition to scripture. Mercenary Love is love made for the purpose of obtaining * The Das'arupa has four instead of three (tisribhih) which latter reading, how- over, is evidontly from a very natural mistako of the seribes-changing chatasri. bhih into chatisribhih. t A 'gharikd' in equal to two-fifths of an hour. Lit. Things unsentient. Lit. Sentiens beings. . 2 K

250 The Mirror of Composition.

money. Voluptuous Love is comic love, such as is represented in the satirical play called Prahasana (-see § 533). Of these, the voluptu- ous love must be described in the first act; as to the others, they say there is no rule. b. 'Irrational animals' (lit. sentient and unsentient beings) are the elephant and the like. c. The drama in question (§ 515) is called Samavakara (sam + ava + krí, to disperse), as a multitude of things is huddled together in it .- The Samudra Mathana or the Churning of the Ocean is a specimen. d. Now of the Dima: TEXT.

The Dima de- No. 517. The Dima must have a celebrated scribed. story for its plot, and abound with representations of magic, conjuration, war, rage, bewilderment, and eclipses of the sun and moon. The Furious Flavour should be the principal in it, the others being subservient to it. It is recognized as comprehending four acts; the Vishkambhaka and Praves'aka (see § 308 and 309) are not to be employed in it. Its heroes should be sixteen in number, being extremely haughty, such as a god, a Gandharva, a Yaksha, a Rákshasa, a Serpent (Mahoraga), a ghost, a sprite (Preta), a goblin (Pis'acha) &c. The Kais'ikí is excluded from among its actions, and the Vimarsha, from among its Junctures. The Quietistic, the Comic, and the Erotic being avoided, it must glow with the six other Flavours. COMMENTARY. a. According to the great sage, the Tripura Daha, or Conflagration of Tripura is an example. b. Now of the Thamriga: TEXT. The Ihamriga. No. 518. The T'hámriga is described to com- prise four Acts founded on a mixed story (see Com.), and to contain the Junctures Mukha, Pratimukha, and Nirvahana. The hero and the rival hero in it may be indifferently a mortal and a god, both illustrious and 'firm and haughty' (§ 67). The other (see Com). covertly commits improper acts. The ' semblance of love' (see.§ 248) in him, as he endeavours to obtain a divine lady against her will by

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violent or artful means, is also to be exhibited slightly. The heroes of the Patáká (see § 320) must be ten haughty characters, being either divinities or mortals. The wrath of the enemy being provoked, war, by some artifice, is prevented from taking place. Magnanimous personages, though described in the original story as killed, are not to be so represented here. Some again declare it to be in one Act and to have a divinity for its hero. Others allege that there should be six heroes in it, a war for a divine female being the subject. COMMENTARY. a. 'Mixed' i. e. partly popular and partly invented .- ' The other' i. e. the rival hero .- The heroes of the Pataka, or assistants. of the hero and the rival hero, should he altogether ten .- This species is designated the Thámriga, as the hero in it seeks (íhate) a female as unobtainable as a doer (mriga). The Kusumas'ekhara Vijaya and the like are specimens. b. Now of the Anka or Utsrishtikanka: TEXT.

The Utsrishtikén- No. 519. The Utsrishtikánka is a piece in a ka. single Act, ordinary men being its heroes. The Pathetic is the permanent Flavour in it, abounding, as it does, in lamentations of women and words of self-disparagement. The plot should be a well known story expanded by the poet's imagination. The Junctures, the Actions, and the Members are to be the same with those of the Bhana (§ 513) .. War, victory and defeat should be verbally represented. COMMENTARY. a. Some allege that it is named Utsrishtikánka to distinguish it from the Anka (Act), the common division of the Nataka and other dramas .* Others, however, deriving the name from ut (trans) and srishti (creation or plot), explain it a play whereof the business trans- gresses (utkranta) or contravenes the common rules. The S'armishtha Yayáti is an example : b. Now of the Vithi :- * Prof. Wilson, seems to have misunderstood this passage, when he says that the Anka is considered by some ' a supplementary Act &c.'-see Hindu Theatre, I, p. 17. 2 K 2

252 The Mirror of Composition.

TEXT.

The Víthí. No. 520. The Vithi should be in one Act, and represent any one character who, by means of surprising replies made to speeches called Voice in the Air (§ 425), must suggest the Erotic Flavour in full, as also other Flavours in some degree. Of the Junctures it has the Mukha and Nirvahana, and contains all the Sources of the End (see § 317). COMMENTARY. a. 'Any' i. e. of the ' best,' the ' middling,' or the ' lowest' descrip- tion (see § 75) .- The piece being full of the Erotic Flavour, the Action Kais'ikí is extensively used in it. TEXT.

The thirteen ele- No. 521. The learned mention thirteen cle- ments of the Vithi. ments as belonging to it : these are. Udghátyaka, Avalagita, Prapancha, Trigata, Chhala, Vákkeli, Adhivala, Ganda, Avasyandita, Nalika, Asatpralápa, Vyahara, and Mridava. COMMENTARY. a. Among these, the Udghátyaka* and the Avalagita have been defined and illustrated under the head of the Prastávana (sce § 289 and 293). TEXT.

Prapancha. No. 522. The Prapancha (Delusion) is held to be a conversation founded in falsehood and exciting laughter.t

COMMENTARY. a. 'For example in the Vikramorvas'i, beginning of Act II., the laughable dialogue between the Vidushaka and the female attendant in the turret on the top of Pururavas' palace. TEXT.

Trigata. No. 523. The Trigata is the application of. more than one meaning to a sentence from a sameness of sound. * The definition of it given by our author is quite distinct from that in the Das'arúpa, III. 12.

word is changed. t This definition too is ontirely different from Dhananjaya's, though only one

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COMMENTARY. a. As in the same drama, where Pururavas inquires for his Love, lost in the woods, of a mountain which is called in Sanskrit ' kshiti- bhrit' (preserver of the earth). " King. O thou chief of those that preserve the earth, has a woman, all beauteous, separated from me, been seen by thee in this charming wood? (Hears the echo.) How ! ' seen' he says." The inquiry itself is here construed into a reply (-the same words in the original equally serving for both.) b. According to some (Dhananjaya), it is to be used only by the three-the Actor &c.,* the name being a compound of' tri' (three) and 'gata' (pertaining to). TEXT. Chhala. No. 521. Chhala (Treachery) is a deceiving by the allurement of words apparently friendly but inimical in reality. COMMENTARY. a. For example in the Vení :- " Bhima and Arjuna. Where is that proud king, venerated by Duhs'asana and others-his hundred younger brothers, the friend of Anga's King (Karna), who played those tricks at gambling, who set fire to the lac-made house, who was expert in seizing the hair and garment of Draupadí, whose slaves are the Pandavas, -- where is that Duryodhana ?- give notice, ye ment-we have come to SEE him." TEXT. dofined . Chhala as defined No. 525. But others assert that Chhala is a by. others. speech uttered, with some object in view, in such a manner as to deccive, amuse, or provoke a person. Vákkeli. The Vakkeli is a passage exciting laughter by means of two or three rejoinders. COMMENTARY. . a. The expression ' two or three' tropically implies even a greater number.

(see § 287). * By the &o, is meant perhaps, the Manager or the Actress and the Associate

t Dr. Roer reads क थयतु म वषा instead of कथयत पबषा: which latter might also be rendered simply-'tell (me) ye men.'

254 The Mirror of Composition.

b. The following is an example : " Dost thou eat flesh, mendicant ?- What need of it without wine? -Wine too is agreeable to thee ?- Ho! agreeable it is, together with harlots .- But a harlot seeks money, and whence gettest thou that ?- By gambling and theft .- Your honour then indulges in gambling and theft also ?- What else can be the course of a reprobate ?" TEXT.

Other definitions No. 526. Some allege it (Vákkeli) to mean a of Vákkeli. breaking off in a speech commenced,-before its sense is complete. And others define it a single answer to a variety of queries. Adhivala. By Adhivala is meant an interlocution of high words in mutual defiance. CUMMENTARY. a. For example in my Prabhavati : " Vajranabha. Having bruised even in a moment his (Pradyumna's) breast with this club, I shall sportively destroy both your worlds to-day. Pradyumna. Enough of this magniloquence, thou wretched demon. Let this earth be in a moment delightful to the flesh-eating fiends- drenched with the blood of the whole multitude of the Titans under the showers of arrows issuing from the mighty bow grasped by my rigid hand."# TEXT. Ganda. No. 527. The Ganda is a hurried or suddan speech, casually connected with a matter in hand-though having a different signification (i. e. having no real reference to what it chances to be connected with). COMMENTARY. a. For example in the Veni: " King. My thighs indeed, O thou of taper thighs,t are fit long to be occupied by thy loins. Enter Eunuch. Eu. Broken, Sire, broken. &c." (see § 302, d.) * Lit. Eixed on the rod of my hand. t Lit. One with thighs like the lower part of the hand (Karabha),

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Here the words importing the breaking of the chariot-flag are con- strued into the sense of the breaking of, Duryodhana's thighs, which actually happens to take place towards the end of the drama. TEXT. Avasyandita. No. 528. Avasyandita is the interpretation of a speech contrary to the sense in which it was first spoken. COMMENTARY. . a. For example in the Chhalita Rama : "Sita. To-morrow, child, thou art to go to Ayodhya: thou must please the King with thy humility. Lava. Are we two, henceforth, to be the dependents of a King ? Sitú. He is your father, child. Lava. Is the lord of the Raghu family our father ? Sita. Apprehend not otherwise-he is not only the Father of you two, but of the entire Earth." TEXT. Náliká. No. 529. The Náliká is but an enigma (prahe- lika) associated with pleasantry or jest .* COMMENTARY. a. An answer concealing the real meaning is a 'prahelika.'-The following is an example of it (Nalika) from the Ratnavali :- "Susangata. Even here, my friend, stands he for whom thou hast come. Ságariká. For whom have I come ? Susan. Nay, for the picture." Here is concealed the meaning-' Thou hast come for the King's sake." TEXT. Asat-pralápa. No. 530. An irrelevant (1) speech, or, (2) reply, or (3) salutary words spoken to an unwise person, though not accepting them, are termed Asat-pralapa (empty speech). COMMENTARY. a. Of these the first description is exemplified in the following lines from my drama Prabhávatí :- * The cirenmstance of its being attended with joke, says the Commentator, constitutes its distinction from Avasyandita.

256 The Mirror of Composition.

" Pradyumna. (Rejoicing at the sight of the mango plant.) Aha! how ! Is it here that she with hair beautiful like the bee-swarm, breathing sweet fragrance, with hands soft like the tender leaf, speak- ing with the Kokila's sweet voice-is it here that my slender-formed beloved dwells ?" So an irrelevant reply. The third sort is such, for example, as in the Vení, the speech of Gandhárí to Duryodhana. TEXT.

Vyáhára. No. 531. Words spoken for the sake of another, exciting laughter and desire, are termed Vyahara. COMMENTARY. a. For example in ' Malavika and Agnimitra' :- "(Malavika, at the end of her dancing performance, wishes to go. out.) Vidúshaka. Nay, thou shalt not go untaught. Slave. (To the Vidushaka ) Say, sir, what violation of the rules of propriety you have observed in her behaviour. Vidu. A Brahman must first be entertained, and this duty has been neglected by her. Malavika. (Smiles)."-and so forth. These words of the Vidushaka excifing, as they do, joy and desire in the hero, as he thereby observes the purity of the heroine -- are an instance of the Vyáhára. TEXT.

Mridava. No. 532. When (1) faults turn into merits, or (2) merits into faults, it is termed Mridava. COMMENTARY.

a. The following are examples, respectively :- " Love of life and cruelty, ingratitude and want of affection-these in me have become merits, now that I see him (my lord) again." " O! that beautiful form of her, ornamented with the lustre of youth, O! that sole diffuser* of joy in me has now turned to be my affliction." * 'Soleeabode of my joy'-if सुखकायतनं instead of सुखेक तायमं be tho read- ing adopted.

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These elements, though also occurring in the Nataka and others, and expressly admitted therein, are here illustrated, because they are necessarily to be admitted into the Víthí. As to the name Víthí (garland), this kind is so designated, as a variety of sentiments resides in it, as it were, in the shape of a garland, or, in other words, as it is a garland wreathed with sentiments. The Malavika is an example. Now of the Prahasana: TEXT.

The Prahasana de- No. 533. The Prahasana is a representation scribed. of reprobates invented by the poet, resembling the Blina in the number of its act, in its Junctures, and Members of the Lásya. COMMENTARY. a. Herein is not to be admitted the Action Arabhati (§ 420), nor the Introductory Scenes Vishkambhaka and Praves'aka (§ 308). TEXT .*

The Pure Praha- Nos. 534-35. The Comie is the principal Fla- sana. vour in it, and the members of the Vithi (§521) may or may not be introduced. When the hero in it is an impudent character, being an ascetic, a mendicant, a Brahman, or the like, it is called Pure Prahasana. COMMENTARY. a. The Kandarpa-keli or ' Sports of Love' is an instance. TEXT.

The Mixed Praha- . No. 536. When 'ounded on any character sana. whatever, it (the Prahasana) is known as the Mixed Prahasana. COMMENTARY, a. For example the Dhurta-charita or ' Action of the Rogue.' TEXT.

The Mixed Praha- No. 537. Some call that the Mixed Prahasana sana. which represents the character of a multitude of reprobates. This again may either consist of two Acts or merely of one act.

• Roer's edition has this divided into two distinct texts, and inserts, as com- mentary to the first, the word W which can have no meaning here, nor is it found in my MS.' 2 L

258 The Mirror of Composition.

COMMENTARY. . For example the Natakamelaka or the like. b. But the sage declares-"That in which a courtesan, a slave, a eunuch, a gallant, a rogue, and a harlot are represented without a change in their appearance, dress, and proeeedings-is named Mixed Prahasana." TEXT.

The Vikrita Pra- No 538. That they call the Vikrita Praha- hasana. sana or Farce of Disguise, in which an imbecile, a eunuch, and an ascetic are represented with the guise and language of a gallant, dancer, soldier, &c.

COMMENTARY. a. This sort being implied in the division of the ' Mixed' is not separately mentioned by the sage. b. Now of the Uparupakas or minor forms of the Drama. c. Of these : TEXT.

The Natika de- No. 539. The Nátiká is founded on an invent- scribed. ed story, consisting of four acts, and abounding with female characters. The hero in it should be an illustrious prince, and a character ' gay and thoughtless, yet firm' (§ 68). The heroine should be a maid of royal family, newly in love, belonging either to the inner apartment of the hero, as an attendant of the queen, or employed as a musical performer. The hero, fallen in love with her, conducts herself restrainedly from fear of the queen. The queen, older than the other lady and also of royal family, should be a bold woman, every moment in indignation. The union of the two is to be under her control. The Kais'ikí must be the action employed in it, and the Junctures should be without the Vimarsha .* COMMENTARY. a. 'Of the two'-i. e. of the hero and the heroine .- The Ratná- valí, Viddha-s'álabhanjiká and the like are examples of this kind. b. Now of the Trotaka :-

• So explains the commentator the expression-सवल्पविमषाः सन्धयः, which would be' more naturally rendered-"The Junctures with but a scanty Vimarsha."

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TEXT. The Trotaka de- No. 540. A performance in five, seven, eight, scribed. or nine acts, founded on the story of a demigod, and representing the Vidushaka in every act, is designated Trotaka. COMMENTARY. a. From the very circumstance of the Vidúshaka's being repre- sented in every act, it is to be inferred that Love is the chief senti- ment in it. b. Of the Trotaka in seven acts the Stambhita-rambha is an exam- ple, and the Vikramorvas'i, of that in five acts. c. Now of the Goshthi : TEXT. The Goshthi de- No 541. The Goshthi is graced with nine or scribed. ten common characters, does not contain lofty discourse, and employs the Action Kais'iki (§ 411). It is devoid of the Garbha and Vimarsha (§ 335 and 336) and represents five or six female characters ; it represents love and enjoyments, and consists of one act. COMMENTARY. a. For example the Raivata Madanika .- Now of the Sattaka :-

TEXT. The Sattaka de- No. 542. The Sattaka has all its recitations, scribed. or spceches, in Prakrit, and is without the Prave- s'aka (§ 309) and Vishkambhaka (§ 308). The Marvellous Flavour prevails in it. Its acts are named Javaniká. It is like the Nátiká in other particulars. a. The Karpúra-manjarí is an example. b. Now of the Nátya-rásaka : The Nátya-rasaka No. 543. The Natya-rasaka is in one act and described. abounds in dancing and music. A ' high-spirited' personage (see § 65) is to be the hero in it, and his ' comrade' (§ 76), the secondary hero. The Comic and the Erotic Flavours are chief in it. The heroine. is to be one 'prepared in her house' (§ 120). It contains the Junctures Mukha and Nirvahana and the ten Members of the Lasya (see § 504). Some would exclude from it the Juncture Pratimukba alone. 2 L 2

260 The Mirror of Composition.

COMMENTARY. a. Of these two descriptions, as answering to the two different opinions mentioned in the Text, the ' Narmavati' is an example of the kind with two Junctures ; and the Vilasavati, of that with four Junc- tures. b. Now of the Prasthána. TEXT.

The Prasthana de- No. 544. In the Prasthana, the hero and the scribed. heroine should be slaves or servants, and the secondary hero a low person, and the action must be that called Bharatí (§ 285). Drinking of wine les to the consummation of "the end in the drama. It is in two acts. Music and song and festivity are plenteously indulged in. COMMENTARY. a. The S'ringaratilaka is an example .- Now of the Ullapya. TEXT.

The Ullápya de- No. 545. The Ullapya should have a divine scribed. plot, a ' high-spirited' hero, and consist of one act. ' It is associated with the Members of the S'ilpaka, and with the Comie, Erotic, and Pathetic Flavours. The Ullapya, according to some, should be in three acts, have four heroines, abound in combats, and be .. delightful with songs in triplets. COMMENTARY. a. The Members of the S'ilpaka shall be stated hereafter .- The Deví Mahadeva is an example of this kind. b. Now of the Kávya. TEXT.

The Kavya de- No. 546. The Kavya is in one act, devoid of scribed. the Action Arabhati (§ 420), and full of the Comic. It is graced with songs named Khandamátrá, Dwipadiká (distich) and Bhagnatala. It employs also the metres Varnamattrá, and Chhaddalika. It is a love-story with a high-spirited hero, and similar heroine, using the first two and last Junctures (viz. Mukha, Pratimukha, and Nirvahaņa). COMMENTARY. a. The ' Yadavodaya' or Rise of Yúdava is an example. b. N. w of the Prenkhana.

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TEXT.

The Prenkhana No. 547. The Prenkhana is in one act, devoid described. of the Garbha and Vimarsha (§ 335 and 336) as also of the Vishkambhaka aud Praves'aka; the hero being a low person. Angry interlocution and single combats form its subject. It employs all the kinds of dramatie Action (see § 410). It is without the peculiar performance of the Manager (see § 281), the Benediction (§ 282) and Propitiation (§ 286 a.) being performed behind the scene. COMMENTARY. a. For example the Bali-vadha. Now of the Rasaka :- . TEXT.

The Rásaka de- No. 518. The Rasaka has five principal cha- scribod. racters and contains the Junctures Mukha and Nirvahana. It employs a varicty of languages and dialects,* and the Actions Bharati and Kais'iki. It is in one act, without the Manager's performance (§ 281), containing the Members of the Vithi (§ 521) and musical performances. It has a Benediction (§ 282) with a double entendre, and a foolish man and noted woman for its hero and heroine. Its representations must be more and more dignified as it progresses. Some admit into it also the Juncture Pratimukha.

COMMENTARY. a. The Menakahita is a specimen of it. Now of the Sanlapaka. TEXT.

Tho Sanlapaka de- No. 519. In the Sanlapaka there may be three scribed. or four acts, the hero being a heretic, and the flavours other than the Erotic and the Pathetic. Blockade of a city, treachery, combat, and confusion are represented. Neither the Action Bharatí nor Kais'iki is employed.

COMMENTARY. a. For example the Mayakapalika. Now of the S'rigadita.

• In the original-WTUT and faHTWT, the former, according to the commen- tator, including under it the Sanscrit and the differont forms of Prakrit proper, the latter denoting those corrupt dialects of the Prakrit, called qin.

262 The Mirror of Composition.

TEXT. The S'rigadita de- No. 550. The S'rígadita is held to be a species scribed. of the Minor Drama (Uparupaka-see § 276) consisting of one act, founded on a celebrated story, with a famous high-spirited hero and a celebrated heroine. It is wanting in the Garbha and Vimarsha (§ 335 and 336). The Action Bharati is chiefly employed, and the word S'ri (prosperity) comes frequently into its vocabulary. COMMENTARY. a. The Krídarasátala is an example.

The S'rigadita ac- b. Some declare the S'rigadita to be a play in cording to another which S'ri, or Lakshmi, (the Goddess of temporal description. and spiritual prosperity) seated, sings and recites something ; consisting of one act and employing chiefly the Action Bharati. An example of it may be imagined. Now of the S'ilpaka.

TEXT.

Tho S'ilpaka do- No. 551. The S'ilpaka has four acts and uses scribed. all the four Actions ; the Flavours are without the Quietistic and Comic , the hero is a Brahman, and the secondary hero a low character. A cemetery or the like forms the subject of its representation. It comprises twenty-seven elements, which are these: Expectation, Surmise, Doubt, Pain, Anxiety, Inference (Prasakti), Effort, Intimation of purpose, Longing, Dissimulation, Belief or Con- viction (Pratipatti), Voluptuousness, Indolence, Perverseness, Rapture, Indecency, Folly, Sceking of means (sadhananugama), Relaxation, Surprise, Obtainment (prapti), Gain (lábha), Forgetfulness, Angry speech, Expertness, Instruction, and Astonishment. These are not* defined because of their clearness.

COMMENTARY. a. The Sampheta and Grathana, spoken of before (§ 421 and 391), have been already defined. b. The Kanakavatí Mádhava is a specimen. Now of the Vilásiká: . TEXT.

The Vilásiká de- No. 552. The Vilásiká is defined a play in scribed. one act, with Love for its leading sentiment, con- taining the ten Members of the Lasya (see § 504) and graced by the

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Buffoon (see § 77), the 'humble friend' (§ 77), and the 'Comrade' (§ 76). It is without the Junctures Garbha and Vimarsha; it has a low hero, a short fable, and a beautiful toilet.

COMMENTARY. a. Some read ' Lásika' instead of Vilásiká, and others include it in the Durmallí. Now of the Durmallika.

TEXT.

The Durmalliká No. 553. The Durmallika is an entertainment described. in four acts, with a hero of an inferior character, employing the Actions Bharati and Kais'iki, and wanting the Juncture Garbha. Its dramatis personæ are composed of men of pleasure. The first act, oceupying three ' nadikas' (§ 515 a.), should represent the sports of the 'humble friend' (§ 77) ; the second, of the duration of five nadikas, should contain the enjoyments of the ' buffoon' (§ 77); the third, of six nadikas' duration, those of the ' comrade' (§ 76) ; and the fourth, extending over ten nadikas, should represent the sports of the hero.

COMMENTARY.

a. The Vindumatí is an example. Now of the Prakaraniká. TEXT. í de- The Prakaraní de- No. 554. The Nátika is termed Prakaraní, scribed. when it has, for example, a merchant for its hero, and a heroine of a family similar to the hero's. COMMENTARY. a. Let an example of it be searched out by the reader for himself. Now of the Hallis'a. TEXT.

The Hallis'a de- No. 555. The Hallis'a is a piece in one act, scribed. with one male, and seven, eight, or ten female characters ; the language being elevated, the Kais'ikí its chief Action, the Mukha and Nirvahana its Junctures. It uses musie and song in abundance. COMMENTARY. a. The Keli Raivataka is an example. Now of the Bhániká.

264 The Mirror of Composition.

TEXT. The Bhániká de- No. 556. The Bhanika is a play in one act, scribed. in which the actors dress themselves beautifully, containing the Mukha and Nirvahana (§ 333 and 337) and the Actions Bharatí and Kais'ikí, with a heroine of high family and a vulgar hero. The following are its seven elements: Upanyasa, Vinyasa, Vibodha, Saddhwasa, Samarpana, Nivritti, and Sanhara. Upanyasa is a casual declaration of the end. An utterance of self-disparaging words is called Vinyasa. Vibodha is the removal of error,.and Saddhwasa is a false statement. Reproachful words uttered under the agitation of grief are termed Samarpana. A mentioning of an example is called Nivritti. The accomplishment of the object is styled Sanhara.

COMMENTARY. a. Examples of these are evident in the dramatic works .- The Kamadattá is a specimen of this species of drama. b. The pcculiarities spoken of as belonging to the Nátaka may be admitted, only if proper and possible, into these other kinds begin- ning with the Prakarana, though generically they all are of the nature of the Nataka. But such elements, mentioned in the Nátaka, as have been repeated in the several descriptions of them are, as a rule, to be introduced into them. c. Now of Audible Poetry (see"§ 272.)

TEXT.

Audible Poetry, No. 557. Audible Poetry, or Poetry that is twofold, viz. (1) Me- merely to be heard, is twofold, being (1) Metri- trical, or (2)in Prose. cal (padya), or (2) in Prose (gadya.)

COMMENTARY. a. Of these, he speaks of Poems in Metre.

TEXT.

Metrical Poetry, No. 558. Metrical Poetry is that in which defined. the words are regulated by metre, generally mak- ing up four lines which constitute what is termed a ' padya' (stanza). A piece of Poetry, complete in a single stanza, is called Muktaka ( Free, or independent as to the completion of its sense, on the sue- ceeding stanza). Complete in a couple of stanzas, it is termed

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Yugmaka (couplet); in three stanzas, Sandanitaka (triplet); in four, kalápaka; and in five, Kulaka. COMMENTARY. a. Of these, the Muktaka is exemplified in the following verses of mine: " Him of Perfect Bliss, Infinite, Immutable, and Unborn, whom devotees, absorbed in meditation, unceasingly adore in order to behold him in beatific vision even for a moment-blessed were those young women of Mathura who would sportively draw away that Supreme Brahma, talk to him a hundred ways, embrace him, and kiss him !" b. A Yugmaka, as these verses of mine: "Why dost thou, love, thus recline thy cheek on thy hand-anger, in extreme, is not proper towards a lover yielding in affection'-thus as I would speak to the deer-eyed one, the swect hum of the honey- maker rose on the mango tree." Similarly the others. TEXT.

The Mahakavya or No. 559. The Great Poem (Mahakavya) is a Great Poem, describ- poetical composition in a number of cantos: The ed. hero thercof should be a deity, or a Kshattriya of noble family, characterized by firmness and generosity of heart. Or a number of kings belonging.to the same noble family may be its heroes. Of the Erotic, Heroie, and Quietistic any one flavour should be the principal in it, all the other flavours being ancillary thereto. It should contain all the dramatic Junctures (§ 332). The story, pertaining to some virtuous character or characters, must be derived from history such as the Mahabharata, or from any other source. It has for its fruits (i. e. the final objects obtained by the hero or the like) all the four of the class consisting of the great objects of human desire, viz. Merit, Wealth, Enjoyment and Liberation, or it has only one of them. It begins with a salu- tation to a deity or a benediction, or simply with the mention of a matter# leading into the main story of the poem. Sometimes it * In the original, aeferw: which I have translated in accordance with tho common acceptation of the term , as Mallinatha has explained the expres. sion in the beginning of his commentary on the Kumara Sambhava. The commentator of the present work, however, explains the term to mean the lead- ing personage of the poem, Premachandra Tarkavagis'a adopts this interpreta- tion, but includes under the term elso one rolated to the hero. (Soe Kavyadars'a, p, 16 Bib. Ind.) 2 M

266 The Mirror of Composition.

begins with a reproach of the malicious or the like, and an eulogium of the good. It consists of cantos, more than eight in number, neither too short nor too long, each canto comprising stanzas composed in some particular metre, but ending in those of a different one. Sometimes, however, we find a canto composed in a variety of metres. At the end of each canto should be hinted the subject of the succeeding* canto. The sun and moon, day and night, morning and evening, noon, twilight, and darkness, ocean and mountain, woods, and hunting, the seasons, the enjoyment and separation of lovers, saints, heaven1 city, sacrifice, military march, counsel, marriage, birth of a son, &e .: these are to be described in it, according to occasion, together with their attendant incidents and circumstances .* It is to be named after the poet, the story, the hero or the like, whilst the designation of a canto is to be after the principal matter contained therein. COMMENTARY. a. The Members of the Junctures (§ 338-405) are to be admitted into it as occasion may require. b. 'Ending in those of a different one' (see Text)-here the plurality implied in ' those' is not necessarily intended. c. 'Together with their attendant incidents and circumstances'- implying, for instance, sporting in water, carousal and the like, which must be described in connection with evening and night. Specimens of the d. The Raghuvans'a, the S'is'upalavadha, the Great Poem, Naishadha and others are specimens of the Great Poem. Or my own Raghava-vilasa and other poems might be instanced. TEXT.

A Great Poem by No. 560. The cantos of this again, when a saint. composed by a saint (rishi), are designated Akhyana (Narration). COMMENTARY. a. 'Of this'-i. e. of the Great Poem .- The Mahabharata is an example of a Great Poem composed by a saint. TEXT.

A Prákrit Great No. 561. The cantos belonging to that com- Poem, posed in any of the Prakrit dialects are named

Lit. Together with their members and by-members.

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Aswasa. This (a Prakrit Great Poem) is generally composed in the, metre called Askandaka, and sometimes also in those named Galitakas. COMMENTARY. a. The Setubandha (Bridging of the Sea) or my own Kuvalayas'wa -. charita (Actions of Kuvalayas'wa) is an example. TEXT.

A Great Poem. in No: 562. The cantos belonging to a Great a corrupt dialect Poem written in any of the corrupt dialects .(Apabhrans'a.) (Apabhrans'a) are styled Kadavakas. A. variety. of metres befitting the corrupt dialects are employed in it. . COMMENTARY. a. The Karna-parakrama, or the Valour of Karna, is an instance. TEXT.

The Kavya, or Poem No. 563. The Kavya, or Minor Poem, is one simply so called, de- in which, as a rule, the pure and corrupt forms scribed. of Prakrit as well as the Sanskrit are to be employed, which is without the division into cantos, consisting of stanzas tending to one object, and not comprising a totality of Junctures (§ 338-405). COMMENT BY. a. For instance, the Bhikshatana or the Aryavilasa. TEXT.

The Khanda Kavya No. 561. The Khanda Kavya, or Partial described. Poem, is a composition partially* resembling the Kávya. COMMENTARY. a. The Meghaduta of Kálidasa and the like are examples. TEXT.

The Kosha de- No. 565. The Kosha, or Poetical Treasury, scribed. is a collection of independent stanzas arranged.in the order of classification ; and this is indeed extremely charming. COMMENTARY. a. 'Classification' (vrajya) is the putting together of things of the same speeies. b. The Muktavali and the like are specimens of the Kosha.

• Hence, says the' Commentator, it comprises Sanskrit verses only, unlike the Kavya whioh admits the, various forms of Prakrit along with Sanskrit. 2 M 2.

268 The Mirror of Composition.

c. Now we have to speak of 'Poems in Prose,' and therefore, as being essentially connected therewith, we shall first define Prose and its varieties. TEXT. Prose and its four No. 566. Prose (Gadya) is speech not re- varieties defined. gulated by metre, and this is fourfold, viz. the Muktaka, the Vrittagandhi, the Utkalikápréya and the Chúrnaka. The first of these kinds is devoid of compounds, the second contains portions of metre, the third abounds in long compounds, and the fourth is characterized by short compounds. COMMENTARY. The Muktaka. a. The Muktaka, or Free Prose; as -- . गवर्वचसि प्ृथुररसीत्यादि (Grave of speech and wide of breast, &c.) The Vrittagandhi. b. The Vrittagandhi, or Prose smelling of Metre, is instanced in this line of mine- समरकण्ड़ननिविड़भ जदण्डकुण्डलो हतकोट डमिख्चिनोटफरोज्जागरितवैरिनगर (O thou, whose foeman's city is startled by the twang of the string of thy bow, as it is drawn into the form of a ring by those rods -thy brawny hands, eager for war.) Here, कुण्डलोछत कोदण्ड is a complete line of the Anushtubh metre, and o is another line of the same metre, without its first two syllables. The Utkalikapráya. c. The Utkalikápráya is illustrated in the following line also of mine :- कााशिसबिसरमर पसिददरसर विसर विद लितसमरपरिगट्पबर परवलेत्यादि- (O thou the fighting forces of whose enemy, powerful as they are, are torn by the multitude of thy excessively sharp arrows, flying incessantly.) The Chúrnaka. d. The Chúrnaka, as this line of mine- गणरलसागर जमदेकमागर कामिनीमट्न जनरअ्जनेत्यादि (0 ocean of the gems of excellence, gallant unique in the world, O charmer of the fair ones and gladdener of the people.) TEXT.

The Kathá de- No. 567. In the Katha (Tale), which is one scribed. of the species of poetical somposition in prose, a poetical matter ie represented in verse, and, sometimes, the Aryá and, sometimes, the Vaktra and Apavaktraka are the metres employed

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in it. It begins with stanzas in salutation to some divinity, as also descriptive of the behaviour of bad men and others.

COMMENTARY. a. The Kadambari of Vuna Bhatta is an example. TEXT.

The Äkhyáyiká No. 568. The Akhyáyiká (Narrative) resem- described. bles the Katha, but it has these dietinctive peculiarities. The genealogy, &c. of the poet of the cumposition and, sometimes, an account of other poets also are given. The divisions of the story are distinguished by the name of As'wasa. The matter to be related in an A's'wasa should be hinted in its beginning, in any of the metres Arya, Vaktra and Apavaktraka, under the artifice of describing something else.

COMMENTARY. a. The Harsha-charita and others are instances. The opinion of b. Some assert that the story of the Akhyá- some that the story of the Akhyáyika is yiká must, as a rule, be related by the hero,- to be rolated by the which is not right, as is evident from the decla- hero-refutod. ration of Dandin, the Acharya (Great Doctor), viz. " We find that there is no rule as to this (i. e. the relation of the story by the hero), for other personages also than the hero do relate it in the A'lhyúyika." Other divisions of ' Poetry in Prose' fall c. The Akhyana (Narration) and other divi- under the Katha and sions of Poetry in Prose, being included under Akhyáyiká. the Kathá and Akhyáyika, have not been separ- ately spoken of; as has been said by the same author, Dandin- " Under these will be included the remaining descriptions of Narra- tive." The Panchatantra and others are examples of these latter kinds. d. Now of ' Poems in prose and verse.'

TEXT. No. 569. A Poem composed in prose and fined, The Champú de- rse is designated Champú. COMMENTARY. a. For oxample, the Des'araja-charita or Adventures of Des'araja:

270 The Mirror of Cumposition.

TEXT. .

The Viruda de- No. 570. A eulogium of a king, in prose and scribed. verse, is styled Viruda. COMMENTARY. a. For example, the Virudamanimala, or Gem-garland of Royal Praise.

TEXT. The I rambhaka. No. 571. A Champú composed in a variety of dialects is called the Karambhaka.

COMMENTARY. a. Such is my Pras'asti-ratnávali, composed in sixteen dialects. b. Other such divisions of the Champu, known merely by name and not falling beyond the said distinctions, have not been specified. So much for the sixth chapter of the Mirror of Composition- entitled the ' Declaration of Poetry to be seen and Poetry to be heard'

CHAPTER VII. The Declaration of Blemishes. It was shown in the beginning of. this treatise how in Poetry reside Faults, Excellences, Style and Ornaments. Now the question arising -- What are they ? he declares the nature of Faults, as coming first in the order of mention.

TEXT.

Faults defined. No. 572. Faults are depressers of Flavour.

COMMENTARY. a. The sense of this has been already cleared (see § 4 a.) b. He states their divisions.

TEXT. And divided. No. 573. They are held to be fivefold, inas- much as they occur in (1) a word (pada), (2) a part of a word (padans'a), (3) a sentence or phrase, (4) the semte, and (5) the Flavour. COMMENTARY. Of these-

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TEXT. Faults of a word, No. 574. Unmelodiousness, the threefold In- part of a word and a sentence or phrase decency, Improper Signification, Unemployedness, -specified. Vulgarism, Unintelligibility, Ambiguity, a Mean- ing to be guessed out, Obsoleteness or a Sense overpowered by another, Inexpressiveness, Obscurity, Repugnant Suggestion, and Non-discri- mination of the Predicate, the Apodotic or the Emphatic (vidheya)* belong to words and sentences, some of them occurring in amart of a Faults exclusively word also. And Unmeaningness, Powerlessness of a word. . and Solecism occur only in a word.

COMMENTARY.

Unmelodiousnoss. a. UNMELODIOUSNESS, as a foult of a word or phrase, is its painfulness to the ear arising from harsh syllables ; as- कार्नाथ्यें यातु तन्बजी कदाइनङ्रवशंवदा।

(O when may that slender-bodied lady, subjugated by Cupid, have her desires fulfilled !) The threefold In- b. INDECENCY is threefold, as being sugges. decency. tive of (1) shame, (2) disgust and (8) inauspici- ousness. These three forms are, in their order, exemplified as follows :-

दप्तारिविजये राजन् साधनं सुमलसव।

"Great are thy resources (sadhana), O Monarch, in vanquishing the proud enomy."

प्रससार मनैवीय बिनाशे तन्विते तदा। "The wind then flowed languidly, O slender one, at thy loss." Here, the words sadhana, váyu (wind) and vinás'a (loss by separa- tion or death) are respective instances of the three sorts of Indecency. * It is necessary to remark here that the Sanskrit word fawy is not restricted to the sense of ' predicate,' but is used also in the signification of a word that gratifies the expectation raised by a previous word, as also in the sense of one on which antress is laid. In the absence of any English word con- veying the second sense, I have been obliged to coin the adjective apodotic from Apodosis, whioh in Greek Rhetoric means the completive part of a sentence, which gratifies the expectation maised by the Protasis, or the introductory part.

272 The Mirror of Composition.

Improper Signifi- c. " Heroes attain to the state of immortals cation. -as animals killed in the sacrifice of war." Here the word ' animals' conveys the improper notion of wretched- ness with reference to the heroes ; so it has the fault of Improper Signification .* Unemployednese. d. UNEMPLOYEDNESS is when a word is used in a form, which, though admitted as correct, is not approved by the poets; as-"There shines the lotus (vw:) in the pond." Here the word qwe is used in the masculine gender, which is against the practise of the pocts, though the word is well kenown as both masculine and neuter. Vulgarism. e. VULGARISM is instanced in-' Thy buttock (kați) ravishes my heart,' where the word kati is vulgar. Unintelligibility. f. UNINTELLIGIBILITY is when an expression is used in a sense which is not recognized in Poetry, but only in some particular department of learning. As,-' With his deserts (as'aya) destroyed by divine meditation.' Here the word as'aya is employed in the sense of ' desert' which it has only in the Yoga Philosophy.t Ambiguity. g. " Admit in Pour ear the series of his bene- dictions (ás'íh-parampará) and have mercy on the prisoner (vandyám)." Here the. word 'vandyam' is Ambigious, since it is doubtful whether it is the Locative of Vandi and means ' on the prisoner' or the Accusative of ' vandyd' and an epithet of' as'íh-parampara,' signi- fying laudable.' A Meaning to be h. 'A MEANING TO BE GUESSED OUT' is the guessed out. fault of an expression employed, from the poet's inability to find a better one, to convey an Indicated sense which it cannot properly do because of the absence of Notoriety or a Motive necessary to Indication (see chapter II. § 13). As-' Thy face, O fair-faced one, has kicked the lotus.' Here by ' kicked' is indicated 'vanquished' or 'excelled,' the term, therefore, is faulty, inasmuch as it is neither (1) notorious, or established by Usage, as indicative of such a sense, nor (2) is there any Motive for such an Indication.

" Simple as this sontence is in the original, Prof. Goldstücker understands it in a sense tho very reverso of what is really meant, and thus confounds the present fauft with Unintelligibility or Technicality (§ f.) See the word afTHTel in she eularged edition of Wilson's Sanskrit Dictionary. t Sae Dr. Ballantyne's Aphorisms of the Yoga, I. § 24, a.

The Mirror of Composition. 273

Obsoleteness. i. OBSOLETENESS is the employment of a word with two senses in the obsolete meaning. For example- "The waters (s'ambara) of Yamuna overspread the sky." Here the word ' s'ambara,' generally known to mean the demon s0 called, is used in the obsolete sense of ' water.' Inexpressiveness. j. 'He gives (acatte) ear to songs :' the verb 'dá' with the prefix d, used here in the sense of ' giving,' is Inexpres- sive of that sense, as it signifies ' to take.' Or for example- "Night, though covered with darkness, is day (dina) to me when thou hast come.' Here, the word ' dina' is inexpressive of the sense of 'luminous' in which it is used. Obscurity. k. OBSOURITY is the circumstance of the meaning's being far-fetched, as is exemplified in this line- "The native regions of the dwelling of her who was born of the milky ocean are lucid." She who was born of the milky ocean is Lakshmi, her dwelling is the lotus and its native regions are the waters. Ropugnant Sug- l. REPUGNANT SUGGESTION is instanced thus :- gostion. " May the lord of Bhavani (etymologically, the wife of Bhava or S iva) be for our prosperity !" Here the word ' Bhavanis'a' (lord of Bhavani), bringing in, as it does, the notion of another lord of Bhavani, conveys a repugnant suggestion. Non-discrimination m. NON-DISCRIMINATION OF THE PREDICATE of the Predicate. is exemplified in the following :- " Or what from these arms that in vain swelled (gdrec:) with the pride of carrying off the spoils of the poor villages of heaven" (§ 2,f.) . Here, 'vanity' is intended to be PREDICATED of the 'arms,' but losing its prominence in the compound epithet applied to the subject, it looks as if it were meant only to be collaterally attributed. Non-discrimination n. Or, to exemplify " NON-DISCRIMINATION OF of the Emphatic. : THE EMPHATIO" which, in the original, is included under the same name (§ 574) :- " Are even demons able to stand before me-Rama's brother (रामामुजत्य)." 2 N

274 The Mirror of Composition.

Here instead of using the compound word TIHTSTET we should say separately nenasre, for the genitive termination (which is lost in the compound) is particularly significant here, as marking distinctly the relationship of the speaker ( Lakshmana) to Rama. The same. o. Or the same fault may be illustrated by this line from the first cante of the Raghuvans'a-" Of the lords of the earth to the ocean's verge (ब्ासमद्रचितीमानाम्)." Here the poet should have said Tn7 faalwIaTH, and thus given a separate, and thereby a prominent and emphatic expression to the circumstance implied in wronan, for it is this circumstance that, as heightening our idea of the extension of the rule of the kings, the poet wishes particularly to direct our attention to. The same. p. Or, for example :- " Wherever falls thy glance, fair-browed lady, like a sixth arrow (षछ्ठयाण दव) of Him of the five arrows (Kama) -. " Here a stress being evidently laid upon u8 (sixth), it should not be compounded with a1W (arrow), but the poetical fancy of the maiden's glance being a sirth arrow should be expressed by the words separated, thus-षछ्ठ दव वाण: The same. q. Or, to exemplify the same fault in a negation- " My lord, she was unquitted (wnat) by you, even for a moment, before." Here the denial in HanT bearing, as it does, the character of an Express, or Pominent Negation, ought to be directly or emphatically expressed. As it has been said- An Express Nega- " When the affirmation is not principal, but tion what. the denial is so, the latter is termed an Express Negation (प्रसच्य प्रतिषेध), in the case of which the negative associates with i. e. qualifies the VERB:" e. g. " It is a new cloud risen ready, NOT a proud demon."# In the former example, the denial has not the appearance of an emphatic negation, being reduced to an unprominent condition in the Ttpurusha compound eat, and hence faring like what is called a Privation. To thie effect it has been said-

न ह्पानमाचर, not चट्प्रनिशाचर (non-proud-demon), which, like EnT in the former example, would bo improper.

The Mirror of Composition. 275

A Privation what. " When the affirmation is chiefly intended and not the denial, it is to be recognized as that case of denial which is termed Privation (vwire), where the negative is compounded with another word." Hence- " Undaunted he protected himself, undiseased* he cultivated virtue, ungreedy he exacted tribute, and unaddioted he enjoyed pleasure." Here, since it is the protecting of self &c. that are meant to be predicated of the king, having COLLATERALLY ATTRIBUTED to him the qualities of undauntedness &c., the reduction of the negative fo one of Privation is proper.

above illastration of expression Ra WOULD imply an Express Nega- on to tho An objection to the r. But then, if an objector should say, the

the fault repelled. tion, just like the phrases वश्राद्रभोजो ब्राह्मय: (a Brahman not-eating at a funeral ceremony), बह्र्य्यम्पश्या राजदारा: (a prineess not seeing even the sun) &c. We would reply-No, for even in these cases then only would we acknowledge an instance of Express Negation, if (-to take the former example-) the negative applied to that portion of the meaning of s'raddha-bhojt (eating or eater at a funeral anniversary) which consists in the ACr -'eating,' but this is not the case, inasinuch as the negative relates to the portion AGENT, viz. the eater, since it is this which is the quali- fied, and therefore the most prominent part of the expression. To this effect it has been said: '-Since the AGENT-the eater at funeral anniversaries, and not simply the ACT of eating-is thought of, because of the employment of ' ini,' a suffix of agency." In ' amukta,' however, the relation of the negative being to the act, there is of course a fault. s. These faults, Obscurity, &c. are blemishes of a word, only in composition. sness Unmelodiousness t. Unmelodiousness in a sentence ; as, rea: in a Sentence. कदा लप्स्े कारताय्ीं विरच तब. (Blind, at thy. separation, with the torments of love, O when shall I have my wishes fulfilled !) Indecency in A a' "The poet who takes to another's senti-' Sentonce. u. ment eats vomit." Here we have Indecency suggestive of Disgust exemplified in a sentence.

distressed. * Unlike the great majority of mankind who think of religion, only when

2 N 2

276 The Mirror of Composition

A " Meaning to be 0. "Their bodies were adorned by the fair ones guessed out" in a Sentence. (vakrá) with orient rubies (kamala-lauhitya)." Here, 'kamala-lauhitya' and ' vakra' are GUESSED, by the sameness of the etymological sense in the one case and that of the primary meaning in the other, to indicate the words ' padmaraga' and ' vama,' which latter words respectively signify a ruby and a woman. The sentence, therefore, has the fault of a " Meaning to be guessed out." Obscurity ina Sen- 1. धम्म्रिल्वस्य न कस्य प्रेच्य निकामं कुरक्रश्वाच्या। tence. रज्यत्यपूर्व्वबन्धव्युत्पन्ते मोनसं शोभाम्। (Whose heart is not completely warmed to see the beauty of the locks of her with eyes like the young deer's-locks bound up with an unprecedented art ?) The construction of the line is Obscure, the connection being this -धम्म्रिष्षस्य शोभां प्रेक्य कस्य मानसंन र्यति. ' Nondiscrimination x. The fault of ' Nondiscrimination of the of the Predicate' in a Predicate' in a sentence is exemplified in-WTT Sentence. दयमेव यत् &c. (For, this indeed is an utter contempt of me &c .- see § 2. f.) Here RTT: (contempt) is meant to be the predicate, and should, therefore, be placed after the subject, thus- aa WIT:, but from the reversed order of the sentence, the word's character, as a predicate, is rendered less clear. The fault is that of a sentence or phrase, inasmuch as it arises from the reversed collocation of Two words. ' Nondiscrimination y. 'Nondiscrimination of the Apodotic' in a of the Apodotic' in a sentence; as -- वानन्दयति ते नेच यो (who) sस (he) Sentence. y SHTHH: (The one who cheers thy eyes, O thou of fair brows,-he has arrived.) In expressions such as this, according to the rule that there is an invariable correlation between the relative D (who or which) and the personal pronoun e (he or it), the pronominal words द्ट्म्, एतट्, चढः, usedan the same sense with the pronoun aE, in order to the fulfilment of the expectation raised by the relative , must, properly, belong to the Apodosis. But here the The Personal pro- Personal pronoun, being placed immediately after noun, immediately following the Rela- the Relative, appears as if it belonged to the tive, merely empha- Protasis. The word wE also, immediately fol- sizes the latter. lowing the word w, merely implies that the person or thing which it qualifies or points to, is well known ; e. g.,

The Mirror of Composition. 277

यः स* से नयनानन्दकर: सुभ्र स बागतः (That person who is the joy of thy eyes-he has come.) 2. These words (इदम्, एतट्, चदः, तट्), however, not immediately following the Relative , do gratify our expectation; as, यानन्दयति ते नेव योडधना ऐसा समागतः (He who cheers thy eyes has now arrived). So also in the case of the employment of TTH &c.,-the use of : (-which makes war in the nominative singular-) being exemplified here. aa. Where, of the Relative and Personal pronouns- and &c., one may be understood, there the expectation is fulfilled, though one only, i. e. either the relative or personal pronoun, be used: hence in such a case there is no fault.

When the Personal bb. Thus, the relative 7 being uscd in the pronoun may be un- latter clause, the personal pronoun a₹ may, from derstood. the context, be understood in the former ; as, an जानाति यत् पापं .- "The soul knows (that) which is a sin."t So also in such instances as the following -- यं सर्व्वश्ैला: परिकलप्य वत्समित्यादि। (Whom all the mountains made the calf, when, by Prithu's com- mand, they milked radiant gems and herbs out of Earth bearing the form of a cow-while Meru, dexterous in milking, acted as the milker.)

When the Relative cc. When the term aE refers to one that (1)

derstood. pronoun may be un- is the subject of discourse, or (2) well known, or (3) known by one's self, then the term is understood. For examples in their order :- " Having slain the brave Balin, HE (:) placed Sugriva on the throne so long wished for by him,(the latter), as the Grammarian substitutes a distinct syllable (-technically called ades'a-) in the room of a radical." "May Hu () with a lunar digit on his head help you to Divine Identity, or the union of your soul with Him !" * This form of expression cannot be translated into English. Pope's Iliad. t Or, for instance: 'But ho who found not whom his soul desired, &c.'- t Knmára-sambhava, I. 2.

278 The Mirror of Composition. " HER (at) of the moon-enchanting face I meditate in my heart." . The Personal pro- dd. But where the personal pronouns K₹n noun, whon of a dif- ferent gender or caso, &c., though standing close to the relative a (sce may immediately fol- § y.), have a different (1) gender or (2) case low the Relative: from that of the latter, there also is the sense com- plete. For examples in their order :- विभाति मगशावाचो या इदं भुवनभूषपस्। (The lady who shines-she, with eyes like those of the young deer, is an ornament of the world.) रन्दु विभाति यस् तेन दग्धा: पथिक योषितः। . (This moon that shines-by him have the separated wives of travel- lers been burnt.) The personal and relativo pronouns ee. Sometimes even both of these (viz. the may, somotimes, be relative and the personal pronoun), when not both understood. expressed, are understood from the context of the sentence. As -- "'Alas ! there is none to relieve my burden'-lament not thus, O Earth: there is, in the house of Nanda, a boy of marvellous prowess." Here is understood-' IIE wIO is such will relieve thy burden.' J. यद् यद् विरददुःखं मे तत् को वाऽपहरिष्यतति। (The pangs of separation that I feel, alas, who will remove them!) It is not to be asserted that one of the relatives, in this example, leaves the sense incomplete,* since, by the repetition of J, the thing (viz. pain,) is indicated in all its forms, whichever they be, and tho personal pronoun (it) refers to it as of such a character. gg. So may the illustration of the other faults (§ 574), as belong- ing to a sentence, be understood by the reader. Unmelodiousness in hh. Unmelodiousness in a PART OF A WORD (§ a part of a word. 574) is exemplified in the harsh combination of three consonants, viz. al (ddhyai), the inflected portion of the word fesi in-तङ्च् सिह्ी कुछ देवकाय्य (Go, act in behalf of the gods and prosper !) Obsoleteness in a ii, Obsoleteness in a part of a word; as part of a word. धातुमसां गिरि धेसे. (The mountain bears the nature of being metalne.) * Lit. is expectant. + Kumara Sumbhava; III. 18.

The Mirror of Composition. 279

Here the part HWT of uTgHwt has its sense overpowered by the more common meaning of 'intoxicated' which sense it bears as the feminine of Hn .* Inexpressiveness in jj. " How can Mahasena (the War-god), by a part of a word. whom was conquered (fasra:) the demon Taraka, be described ?" Here, in the word fasra, the suffix Er, (a sign of the future passive participle), is INEXPRESSIVE of the sense in which it is used, viz. that of the suffix i (of the past participle). Indecency in a part kck. पाणिः पल्मवपेलवः (Hand soft like the of a word. tender leaf.) Here the first two syllables of the word uera are INDECENT, as they form a Sanskrit word of an indecent import. ' A meaning to be ll. " Heroes, slain in battle, attained to the guessed out' in a part of a word. state of a god (वचावाणा)." Here the word a4: (word) is to be GUESSED OUT as signifying the synonymous word it: and thus, in composition with arw, suggesting the term aary (a god). So the fault might be exhibited by substi- tuting the synonymous word WT (arrow) for aTw in the same word गौवाण, so that neither of the component words in मौवास would bear being exchanged for a synonymous word. In such compounds, how- ever, as जलधि (sea), the latter word (f) only, and in such as बाड़ावानल (submarine fire), the former ("13a) only are not exchangeable. mm. Similarly may other faults, possibly occurring in a part of a word, be understood by the reader for himself. Unmeaningness. nn. And the three faults commencing with Unmeaningnesst may occur in our subject (i. e. Poetry), only as resid- ing in a WORD; as-मच् मानं हि मानिनि (Proud one, do quit thy pride). Here the word fo is an UNMEANING expletive used for the purpose of merely filling up the hetre. * The proper reading soems to be tare, as tho printed Kavya-prakas'a has, instead of aTe. Roor's Sahitya-darpana und my own MS., however, have the latter reading. It is ueceysary to remark here that tho fault denoted by fardm is not exactly represented by tho torm "obsoleteness' (see ger.) निदृताथेत्व literally means ' the state of having a sense overpowered or borne dowu by another more common meaning.' t See toxt 574.

280 The Mirror of Composition.

Powerlessness. 00. कुशं रग्ति लमोदरी (To the grove resorts the slender-waisted lady). Here vf, though read in Root-books in the sense of going, is POWERLESS in that meaning. Soleciem. pp. " He of the Gandiva bow (Arjuna) struck (R) with his hands the breast of the Uneven-eyed* God (S'iva), shining like a golden slab." Now on the authority of the rule-" Of the verbs and with the prefix T there is to be the Atmanepada termination, when one's own body is the object governed by them" (Pánini, I. 8, 28)-the Atmanepada termination is directed of with the. prefix T, only when the body of the agent is the object. This rule is transgressod here in the use of the word en, hence it has the fault of Solecism,

An objection to the as being without its grammatical characteristic. above fault belonging " But then," an objector would say, " since the to a word-confuted. word i is not in itself faulty, but in relation to other words (viz. ' the breast of the Uneven-cyed god'), the fault is that of a SENTENCE, not a WORD." I answer-Say not so : for the reason, or condition, of an excellence, a fault and an ornament being held as belonging, for instance, to a word or meaning is the cireum- stance of the fault, &c., appearing and disappearing with the word or meaning. Now here in the above example, the fault appears and dis- appears simply with the word Id-for it remains as it is, even on the alteration of the other words, hence it is no other than a fault of a word. Likewise, since the fault disappears as well on the change.of the root as that of the A'tmanepada inflection, it is not a fault of a PART of a word. Similarly in vw: (see § 574, d.), Unemployedness is to be recog- nized as a fault of a word, not a part of a word. gq. As in Sanskrit so in Prakrit or other dialects is the fault of Solecism to be understood, when words want the peculiarities assigned to them by the respective Grammars. Powerlessness, &c. rr. Powerlessness (असमर्थत्वं),t spoken of in distinguished. the text as a fault of a word, is when a vocable is used in a sense never applied to it; and Obsoleteness (fagareai) is when it is employed in a rare meaning. Obsoleteness can occur only * I. e .. With an odd number of eyes, or three-eyed. t The author of the Kavya-prakasa owns that " the Unomployed, &c. nre only certain varieties of the Powerless" thongh he has treated of them distinc- tively in pursuance of general custom. Calcutta edition, p. 82.

The Mirror of Composition. 281

in worde bearing more than, one signification. Unintelligibility (meai) may occur even in a word having but one sense, but not of universal application. Words conveying one meaning are the sub- ject of Unemployedness (wywet), and those bearing more than one sense, of Powerlessness (wendai). Under Powerlessness come such blemishes as the use of vfn in the sense of going, which we do find int the Dictionary ; but under Inexpressiveness we have such faults as few employed in the sense of ' luminous,' which is not given in the Diction- ary. Such is the difference between them. 88. Thus have the faults of a sentence, homogeneous to those of a word, been declared. Those of a different class are now stated. TEXT.

Faults peculiarly No. 575. Repugnance or Incongruity of Let- of a sentence or ters; Rejection, and Blunting, of the ' Visarga ;' phrase-specified. Redundancy, Deficiency, and Repetition, of a word; Lameness of Metre; Excellence falling off; Disjunction, Indecency, and Harshness, of 'Sandhi ;' Isolation of a word in a distinct half; Resumption of the concluded; Failure of an intended connection ; Syntactic Irregularity; an Unacceptable second sense; Omission of what must be said; Violation of Uniformity or Incongruity of Expression; Disregard of Usage; Misplacement of a word; a Compound (VHTE) out of place; Confusedness; the use of a Paren- thesis : these are faults residing only in a sentence or phrase. COMMENTARY.

Repugnance of Let- a. Repugnance of Letters is their incon- ters. sonance with the flavour of the piece in which they occur, as is exemplified in these verses of mine :- चोबहड उखड्ड सच्णे किम्पि मोडाचड णो परिषड। रिंयरच फिछक सव्जाइ खुटर दिच्ीए सा॥* (She turns over and rolls on the bed, towards none does she display gestures of love, she is confounded with shame, and her constaney keeps her stubborn.) * This is dot oited as an instance of Unmelodiousness (see § 574, a.) though the lettera are untaclodious, the distinction between it and Literal Incongruity being this, that the former is simply harshness, whilst the latter fault may consist even tu the amoothness of the letters, when the flavonr, for instance, is. the Heroic, or in other words the description is martial: For,

82 The Mirror of Composition.

Here the t's (z) are opposed to the Erotic flavour ($608), being used merely for a display of skill in alliteration. It is, however, no fanlt when the letter occurs once, twice, thrice, or even four times, inasmuch as this does not so much injure the flavour. The Rejeotion of b. The REJEOTION OF THE VISARGA is exem- the Visarga. . plified in गता निखा इमा वाले (Passed are these nights, O girl I) The Blunting of the c. The BLUNTING OF THE VISARGA means its Visarga. change into i1, as is shown in धीरो बरोअर्ो याति (The gentle and excellent man goes). The Redundancy of d. The REDUNDANCY OF A WORD is exhibited a word. in vwareifacaiet (she with lips ruddy like the form of the new leaf), where the word afar (form) is redundant. So in सदाभिवं नामि पिनाकपाणिम् (I adore S'iva, the holder of the Pinaka bow) the epithet fuaraurfan ('holder' &c.) is superfluous. In such a sentence, however, as कुय्यां इरस्याउि पिनाकृपायोधैर्य्यचुनिस्* (I can overthrow the fortitude even of S'iva, the holder of the Pinaka bow) the epithet is proper, being used to convey a particular sense, viz. the excessive valour of the speaker, Kuma of the flowery bow, defying the Terrible God armed with the Pinaka. Or, the same fault might be instanced in " Kautsa spoke a speech" where the word ' speech' is unnecessary, the word ' spoke' being sufficient for.the sense. Some- times, however, its use is proper, when it is for the purpose of adding an epithet, as -- ' He spoke a sweet speech.' But some say that there. too its employment is out of place, where the attributive may be used in an adverbial form, as-"Sweetly spoke the wise one." The Deficiency of e. The DEFICIENOY OF A WORD is instanced a word. in-"If a glance be cast on me, what need should I have of Indra's rank ?" where the word wuT (by thee) is wanting. "'T'is not enough no harshness gives offence, The sound must seem an echo to the sense." Literal Incongruity when the letters are smooth is exemplified in the follow. ing stanza, addressed by Rima to Ravana :- हन्दारकप्रकरमद् करोम्यभद् मानन्दयामि मनिहन्दममन्दसत्र। मन् मर्गवस्य भयं नयामि

*Kamara Sambhava, Canto III., stanza 10.

The Mirror of Composition, 283

The Repetition of a" f. The REPETITION OP A WORD is shown in- word. "The wind, sportively blowing, breaks the languor of amorous sports," where the word enter (sport) is repeated. So जए बिह एमविकाभिविसप्रलना (They ate the fibres, holding anexpanded lotus). Here fau, instead of being repeated, should be referred to by a pronoun thus-छतपरिस्पटतत्प्रसूमा. . Lameness of Metre. g. LAMENESS OF METRE, or lit., Dead Metre: Its three kinds. Metre is. lame (1) when it is harsh, though con- formable to its prosodial definition, or (2) when it is inconsonant with the flavour, or (3) when a verse ends in a short syllable that is not, according to Prosody, to be reckoned long. These are exemplified in their order :-

Metre harsh, though (1) इम सततमेतख्या इदयं मिन्ने मनोभव: कुपित conformable to the (Alas ! the angry god of love constantly pierces definition. her heart.)

Metre inconsistent (2) चधि मयि मानिनि मा कुछ माबम् (My proud with the Flavour. lady ! be not indignant against me.) . This Metre suits only the Comic Flavour. Anomalons Metre. (3) विकसितसरकारभारह्ारपरिमल एवं समामनो TET: (The spring has arrived, delightfully fragrant with the exuber- ance of blooming mango trees.) Here fr, the final syllable of the first line, is short. h. As for the rule of Prosody that the final short syllable of a stanzaic line is reckoned long, it always respects only the second and fourth lines, except in the metre ' vasantatilaka' or the like, where it relates to the first and third lines also. In the above line, instead of परिमस एव समामता बसन्, it would be proper to read प्रमदितसारभ THaT TET:, as fr would be accented long being followed by the com- pound consonant y. i. Or we may take the following example -- पन्याख्ा गुयरतरोइसभबो धन्या मदन्यैवसा सचास: बसु तेन्य एव विधिना वैरेषं छडठो युवा। गेमनं गानतनुर्न दिया करतलात् सोणां नितम्खसात पपर्तानन्त मुळमवसालसाि वलादि नं।। (Other ameChose landd which produce such gems of excellence, other is thet blossed earth, other are those materials whereby the

284 The Mirror of Composition.

Creator formed this youth, whom if his enemies or women of resplen- dent beauty but behold, down slip from their hands or hips the weapons or garments, agitated as they are with fear or love.) Here the composition Tenfe sounds flaccid to the ear. If, how- ever, we read awrwfa, it would sound strong and the fault be removed. The author of the Kavya Prakas'a declares it to be an instance of a verse ending in a short syllable not to be reckoned long. Others say- "it is properly an instance of the ' Harsh though conformable to the Definition' (§ 575, g.)" j. EXCELLENCE FALLING OPF is shown in -- off. Excellence falling

सासचिप्रकुल व्याभ्यत् पातु वो मरकेसरी।। (May He of the half human and half leonine form preserve you- the glory of whose mighty mane is terrible like the blaze of the flaming.fire-whose breath blew off the seven principal mountains !) The alliterative excellence in this verse gradually falls off. k. DISJUNOTION OF SANDHI is exhibited in- dhi, Disjunction of San-

(O thou of bright form, these thy eyes are expanded blue Iotuses.) * दकिते उत्पले रते चचिषी चमसाङिते।

l. Such a disjunction of Sandhi, conformable to grammar, as is illustrated here, is a fault only When occurring more than once. The same, however, resorted to even once, to the violation of a Gramma- tical rule, merely for fear of violating the Metre, is a fault; e. g. वासवाशमुखे माति दृन्दुबन्दनविन्द्ुवत् (The moon shines on the face of Indra's Quarter like a round ornamental mark of sandal.) Indecency ofSandhi. m. INDECENOY OF SANDHI is exemplified in weraTafer :. The Sandhi, here, giving rise, as it does, to the word wwi, is suggestive of disgust. Hambness of San- . HARSHNESS OF SANDHI is shown in-

पर्वद्राबंतू नगालतो मर्वने चायवस्िथि:। (Yonder at the ond of this desert, there is a long line of trees benutifully bituntga)

The Mirror of Composition.

Here the Sandhis between wuif and or &c. are Harsh. Isolation of a word 0. ISOLATION OF A WORD IN A DISTINOT HALF in a distinot half. is shoum in this couplet :- रन्दु विभाति कपूरगारे धैवलयम् करो। नगन्ा कुछ तम्वत्ि मानं पादानते प्रिये। (The moon shines whitening the world with camphor-white rays- be not unkind, O thou of slender form, to thy lover who is fallen at thy feet.) The word urrq, here, ought to be read in the first half of the distich. Resumption of the p. RESUMPTION OF THE CONOLUDED is exhibited Concluded. in- माशयन्ता घनध्वानं, सापयना वियोगिन:। पतन्त अशित: पादा, भासयम: चमातलम्। (Destroying the thick darkness and scorching the separated lovers, the beams of the moon fall-illuminating the earth.) The fourth line in this stanza, (viz. e HT) takes up again the sense already concluded. Failure of an in- q. FAILURE OF AN INTENDED CONNEOTION* is tended connection. exemplified in the following :- * Prof. Goldstücker speaks of this fault under three heads, viz. (a) " comecting syntactically words which have no logical relation to each other," (b) " discon- necting syntactically words which are logically connected," and (c) " erring in the mode of connection." The example, however, which he cites from the Kavya- prakas'a in illustration of the first sort, doeaot, in kind, differ, in the slightest degree, from the instance here given, which he quotes to illustrate his second sort. The following is the example in the Kavyar. akas'a :- येषाममासिद ्मेमदानसरित: पीता: प्रतापोष्भि- सौल्षापामभुवस नन्दनतवच्क्रायासु ये: कल्पिताः। येषां उशतयः कतामरपतिचोभा: चपाचारिया किम्तैस्लवरितोषकारि विहित किश्चित् प्रवादोचितम्। -which, retaining the fault, may be rendered in English thus :- "They, the fames of whose triumphant energy drank up those streams of liquid flowing from the templas of the divine elephants, who made the shades of Indra's garden the places of their mirthful carousals, whose-the night-prowlers -roarings troubled the prince of the gods, what have they done to thy satisfao- tion and in accordenge with the report of their prowess ?" (The printed Kavys, prakás'a resda AHT TUTE instead of aT-, no doubt, by mistake.) Now the Frofessor does not seem to have paid sufficient attention to the sense ofthe stan when hesos strangely romarks upon it that " there i no logioal relation petwsen the words in the relative and those in the correlative sentence,"

286 The Mirror of Composition. या जयती मेनोजसय बया जगदलकुमं। यामताधीं बिना प्राया बिफला मे कुंताऽय सा। (She who is the very-glory of Cupid's victory, who is an ornament of the world, without whom-the fawn-eyed-my existence is vain, alas ! where is she now ?) Here, since the three clauses marked by the relative 7 (who), are independent, or irrespective, of each other, the word wwrent (fawn-eyed) occurring in one of them cannot have & connection with the others, though meant so by the poet. If for the second verse of the above couplet we read- यां बिना मी टथा प्राप्ता एशाची सा कुता उद मे। -then the word vwret falling within the clause marked by the term HE (she), i. e. the correlative clause, can be related to all the foregoing clauses marked by the term a7, i. e. the relative clauses. r. Or we may take another example :- Another example. इससे यत् कठाचेण तदा धम्नी मनोभवः (As thou lookest with the corner of thy oye, then holds Cupid his bow.) Here the word an (as or since) can have no correlation with the word वदा (then.) The proper reading would be ईससे चेत् (if thou lookest.) 8. Or for example :-- च्यातत्राय: पय:पूरखारकाः कैरवाति य। Another example. राजति ब्योमकासारराजइंस: सुधाकरः॥ (The moon-light is the flood of water, the stars are the lilies,-the moon shines as a noble swan in the lake of ether.) Here the word aTeTT (lake) being reduced to a subordinate position in the compound, the object denoted by it cannot be connected with those meant by the other words, viz. TUITT &c., which, however, are intended to be connected therewith, as its essential and adjuncts. How "Nondiscri- t. In "Nondiscrimination of the Predicate, mination of the Pre- dicate, &c." differs the Apodotic or the Emphatic" (§ 574 m & n) from the above fault. that word or phrase only is faulty which, though it ought to be, is not, discriminated. Whilst, here, since the object 'WTEIT' (lake), chief as it is, is not so apprehended, all the other objects such as the, untu (watery flood) and the like are not understood as subordinate thereto, and hence the whole sentence conveys an incon- gruous meaning. This is the difference between the two faults.

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u. The following also, is, by some, considered an instance of the same fault :- Anether example " My sword, O Bhrigu's son, is ashamed in according to some. being resolved to cope with this battle-axe of thine that cut off the head of thy mother."* Here, in reproaching Paras'u Rama, it is not proper to ascribe to the AXE the agency in cutting offt the head of his mother. So say the ancients. But the moderns declare that it is this form of expres- sion that displays wit,t for the reproach against Paras'u Rama is more strongly felt, being reflected through the blaming of the axe. Syntactic Irregu- v. SYNTACTIC IRREGULARITY; aS -- larity. समय एव करोति बलाबलं प्रणिगदम् दूतीव शरोरियां। परदि इंसरवा: पयमीकवतखरमगर मयू रमषीयताम्।। ('Time it is that is the cause of power and weakness among crea- tures'-thus proclaiming, as it were, the cries of the swan in autumn, attained to a charmingness that made the peacock's voice harsh.) Here, the particle <fa (' thus') should be used just after the sentence. it refers to, not after प्रणिगद् मनः. Another example. w. Similarly- इयं गतं सम्प्ति शोचनोयतां समागमप्रार्थनया कपालिन:।S कला च सा कान्तिमती कलावतस् लमस्य लोकस्य व नेनकामुदी।। (Two have now mado themselves pitiable by wishing for an associ- ation with Him of the human skull (S'iva)-that lovely digit of the moon, and thou the moon-light to the eye of this world.) * In this stanza, instead of वइुस्पक Prof.Goldstuckor wrongly reads बद्ुस्पश, and makes the following not very intelligible remark upon the example :- "-the word YTW, although intended to express the reason, (?) has no logical connection with the blame uttered against Paras'u Rama." + Here instead of माल क पइछेद नकत्ेत्स्य, as read in Roer's edition, my MS. has simply which the commentator indeed explains by- रेदनकर्ळताख. t My MS. here leaves out the ns of Roer's edition. § The Calentta edition of the Kumara-sambhava, to which belongs this stanza, reads पिन्रकिक: instead of कंपाल्लिब:

288 The M trror of Composition

Here the (que) should come immediately after M ( thou.') An Unacceptable wAn UNACCEPTABLE SECOND SENSB; AS, second sense. 'Wounded in the heart by the irresistible arrow of that Cupid Rama,' &c. ($ 182, a.) Here the second sense suggestive of the Erotic Flavour is not acceptable, being opposed to the proper Relish of the piece, viz. the Heroic or Disgustful (see § 242.) The Omission of y. The OMISSION OF WHAT MUST BE SAID; a8- what must be said. "What particle of impropriety having seen in me, dost thou become angry, my fair-eyed lady ?" Here ufa ('even') is omitted, though it must necessarily be said, thus-' What particle EVEN' &C.

Difference between z. In the fault termed ' Deficiency of a word' this fault and ' Defi- ciency of a word.' (§ e.) the deficiency meant is that of & SIGNIFI- CANT word, whilst qfa, the word omitted in the present instance, is not such : this is what makes the difference between the two faults. So in other cases. aa. Or (if the above-mentioned distinction be not admitted) we may take another example :- Another example. चरणानतकान्तायास्न्वि कोपसथापि ते (Having thy lover fallen at thy feet, thou art still angry, slender one.) Here the proper expression would be owraatmisfs (Thou hast thy lover fallen at thy feet.) Violation of Uni- bb. VIOLATION OF UNIFORMITY, OR INCONGRUITY formity. OF EXPRESSION : For example रवमलो मन्त्रिमुख्े रावसः प्रत्यभाषत। (Thus spoken to by his chief counsellors, Ravana replied.) Prof. Goldettioker erplains HWyTru, or a sentence with the present fault,-" Having another sense (viz. one) which is at variance with (that of !) the subject-matter"-instead of saying "-with the principal meaning, of the sense connected with the subject." The stanza here cited is the 20th of the 11th canto of the Raghuvans'a, and the Professor is again wrong in remarking upon it- " The erotic character of which sentenee, as the Karyaprakis'a observes, is at variance with the chatabter of the poem where it occnra" Neither is the son- tence of anterotlohat be at wi nor would its character, if auppo ated to be erotio, aoter of the poem, nor-if it ter toere at would the effeumstance e fthe KAvyaprakas may O thi y tonte the fault in

narana's being apoken to ise eprossed co hip Toplying also should be expressed by the same Bhus, Cra are ira wonld be the proper reading. Nor in euch cane would there be the fault of Repetition of a word' (S 675) the case where something is mentioned and re-mentioned is beyond che sphere of such a fault, and here the speaking (or being spoken to) ond replying have respectively the characters of something that is mon tioned' and 'something thatis re-mentioned, or referentially mentioned. For instance, 'Red rises the sun and red it sets'-here if the same meaning of red were to be expressed by another word, then this distinct word, seeming as if it conveyed a distinet sense, would oba struct our apprehension of the meaning of the sentence. cc. " Or for example-

Another ezample. ने हिमालयमामन्ता पुनर प्रेच्य व पजिव। सिडचाल निवेदयार्थ तड़िएडा समध:। (Having taken leave of Himalaya, visited again the God with the trident, and announced to him that his object had been gained, they, dismissed by him, ascended the heavens.) Here what is first spoken of by the pronoun rn (worin the Dative) should be referred to by the'same word or by one of its equivalents रतद्, घढः, not by the word तद्. dd. Or to take another example :-- Another example. "The earth is bounded by the ocean and" this Lord of waters extonds a hundred yojanas." Here it would be proper to read -' The earth is measured by Lord of the waters and this Lord of the waters' &o. ce. Similarly- Another example. "Whether it be to acquire fame, or with a wish to obtain happiness, or even to transcend being counted among. mortals-be it for whatever purpose-whoever resort to patient appli- cation-Prosperity comes, as with eagerness, into their laps." Here instend of with a wish to obtain happiness' we should pro- perly read; obtain happiness.' My MS edition reads here-gn प्रतिबतनममि whigh can scarcely make gonse tinlogs we su tdafter , through a mistuke of the soril My trannlstion g to ehis correoted reading.

290 The Mirror of Composition.

ff. Among these eramples, in the first two we have Violation of Uniformity* in & Radical; in the third we have the fault occurring in a Synonym; and in the fourth, in an affix. Similarly of other cases than those illustrated here. Disregard of usage. gg. DISREGARD OF USAGE; as-"The dire croaking (a) of the clouds." The usage is to speak of the roaring of the clouds and this is here disregarded. To this effect has it been said :- "The sound of an anklet (weftt) or the like, it is the oustom to call 'tinkling' (rfwa); that of birds' voice, ' warbling ;' that in dalliance, muttering (लनित) or murmuring (भषित) ; and that of clands "roar- ing' (गज्नित) or the like." hh. MISPLACEMENT OF A WORD is exemplified in -. तीथें तदीये गजसेतुबन्धात् प्रतोपमामुत्तरतोडस्य मयी। Misplacement of a word. (" As he crossed the Ganges, that flowed westward from the bridg- ing of elephants along its ford, swans moving through the air with waving wings became his chowries-chowries brought about without the aid of art." Raghuvans'a, XVI. 33.) Here JFT should properly be read BEFORE the word aetat which refers to it. Another example. ii. Similarly-"Bad is that master who does not hear his friends (वितान् यः संघटपते)." Kiratarjuneya, I. 5. Here the collocation of the negative (at) should properly be imme- diately before the verb iuua.

" The Kavya-prakas'a reckons 'incongruity of order' also under gaaHT and oites the following example from Rhavabhuti's Viracharita :-

ववितथमदाआाते रोषान्नावभिधावति।

स्ुरनति रभसात् पाषि: पादोपसंग्रदणायच।। The following celebrated lines of Hamlet are an example of the same fault- "O, what a noble mind is here o'erthrown ! The conrtier'e, soldier's, scholar's eye, tongue, sword;" &o. + Mallinatha, however, removes the fault by interpreting wete by nd tmaking is refer to Vindhya, spoken of in the foregoing stanza.

The Mirror of Composition. 291

Why this is count. jj- The fault instanced in these two examples, ed a fault of a sen- is spokon of as a blemish of a sentence, sinee the tence. whole of the sentence is slow in conveying the intended meaning, though only one word is inserted in a wrong place. Similarly should it be understood of others of the faults here reckoned, that at first sight seem to be only blemishes of a word. This, according to kk. With respect to the just-mentioned exam- some, pertains only to a word significant ple, some say-'By the term ya (word) in the in itself. compound बस्थामस्थपद्ता (the designation of the fault in question) is meant an expression significant by itself, but the negative particle I (not) has not this character, as its incapability of conveying a sense independently of other words is undisputed; hence, as in the stanza beginning- aa (§ 575 w.) there is the fault of Syntactic Irregularity, so also is it here.' U. A COMPOUND OUT OF PLACE : For example- वद्यापि सनप्ेजदुर्गविषमे सोमन्मिमीमां हृदि A Compound out स्थातुं वाष्कति मान एष विगिति क्रोषादिवालोनितः। of place. प्रोद्यन* दूरतर प्रसारितकर: कर्षन्यसता नत्चशात् फज्तकेरवकोषनिःसरद्लिये शोछपाणं रभी ॥। " O fie ! Does this Pride yet wish to dwell in woman's heart in- accessibly fortified as it is with that mountain of her breast'-thus exclaiming, yon rising Moon, red with rage, stretching far his handà (or rays ar), in a moment draws his sword-the series of bees issuing out of the opening bud (or sheath-a1T) of 'ne water-lily." Here, long compounds are not used in the supposed speech of the angry Moon (-where they would have been appropriate as being sugges- tive of the ardour and vigour of the speaker-), but they are used in the words of the poet. Confusedness. mm. CONFUSEDNESS is the insertion into a sentence, of words belonging to a distinct sentence. As- "Forego the moon, fawn-eyed one, and behold thy pride in the celestial court. Properly here-'Behold the moon in the celestial court and forego thy pride.'

• The printed Sahitya-darpana and Kavya-prakds'a have both here atst, in composition with the next word. My MS. prehaps rightly reads i apart.

292 The Mirror of Composition.

Its difference from Obsourity nn. Obscurity' respects only one sentence, or a sentence independently of another, so it is distinct from the present fault. A Parenthesis. 00. A. PARENTHESIS is a distinct. sentence wholly inserted into a principal one. As- "Towards thy lover now humbly bending at thy feet, (I tell you, my fair friend, the truth), anger is by no means proper." pp. He now mentions the faults of the Sense :-

TEXT. The faults of Sense No. 576. Irrelevancy, Impropriety of Order, specified. Rusticity, Contradiction or Inconsistency, Inde- cency, Obscurity, Monotony or Want of Variety, Inconsequentiality, Repugnant Suggestion, Dubiousness, Tautology, Opposition to Noto- riety, Opposition to Science, Incompleteness, Dissimilitude of the Associated, Introduction into a Wrong Place, a Specification where there is no particularity, a Limitation where no restriction is required; Contraries of these, Impropriety of Predication, Impropriety of Attribution, and Resumption of the Concluded : These are declared to be the Faults of the Sense or Idea.

COMMENTARY. a. 'Contraries of these'-i. e. Non-specification where there is a Particularity and Non-limitation where there is a Restriction. Irrelevancy. b. Of these faults above enumerated, IRRELEVANOY consists in not being auxiliary to the principal sense. As- "Behold, my love, the moon in the expanded heaven, and give up thy anger." Here the notion conveyed by the word ' expanded,' i. e. the circum- stance of the heavens being spread out, does not in any way contribute towards the lady's quitting her indignation.

How, different from c. In the case of ' Redundancy of a word,' the Redundancy, of a blemish becomes evident simultaneously with the word.' apprehension of the connection among the mean- ings of the several words, whilst here it comes to be recognized afterwards. This makis the difference.

The Mirror of Composition. 293

Impropriety of or- "Give me a horse, O king, or a mighty ele- der. phant, majestically slow." Rusticity. e. RUSTICITY; as, "Do thou lie down by me" " My Lord, I am presently lying down." Here the idea is rustic, or coarse. Contradiction. f. When having at first declared the excellence or inferiority of an object, we speak otherwise aferwards, it is termed CONTRADICTION. For example- " The digit of the new moon and other such fair things charm not the heart of those young men who behold this slender-bodied lady, the moon-light to the eyes of the world." Here the lady is represented as the moon-light for her charming those very persons to whom the lunar digit is not a cause of delight. Indecency. g. INDECENCY; a- इन्ममेव प्रष्त्तस्य सव्धस्य विवरषिय: । यथाऽऽश जायते पाता न तथा पनरब्रतिः।

(That man rises not again so soon as he falls, who is ever rigidly bent on striking and is always seeking for holes, or the faults of others.) IIere the second sense is indecent, and suggested as it is by the prin- cipal MEANING of the sontence and not by the mere words, it is a fault of the SENSE, and is therefore distinguished from the same fault, occurring in a word, sentence or Sandhi (see § 574 b. and t. and § 575 m).

h. OBSOURITY; as- Obscurity. "It is the God of day, not the clouds, that rains pure water out of its rays. Verily is she (Yamuna) the daughter of the Sun who has swelled the floods of the Celestial Stream (Ganga). And is there the being who believes not in Vyasa's Word (the Puranas), or has no faith in the Scripture ? yet this deluded doe would see no water in the beams of the Glorious luminary." Here what is moant is this: ' Since the origin of the rain and the personified river Yamuna is the sun, their waters too are directly generated by the sun; henco it is proper that the sun's rays should cause the preception of water, yet the doe, deluded as she is, perceives no water in them.'This sense, which is not principally intended, is itseli hard to be understood, and the more difficult is it, through it, to

294 The Mirror of Comporition,

understand the principal sense" thus allegorically represented. So we have here the fault of Obscurity. i. "The sun always traverses the heavens, the wind always blows, Monotony. the serpent Vasuki always bears the earth, and the brave are always free from bragging." Here the invariability is not expressed in oach of the four cases by varied language. We admit the existence of this fault, Monotony, in this passage, inasmuch as no beauty is added to it by the mere removal of the repetition of 'always' by the use of equivalents. Thus it is distinguished from the fault termed Repetition of a word. (§ 575 f.). To convey a clear idea of this fault, we shall exemplify ita opposite, viz. Diversity of expression : "The Sun has yoked his horses once for all, the wind blowerdis Diversity of ex- and night, the Serpent ever bears the earth, #ad pression. such is also the duty of him (the king) who lives upon the produce of the sixth part of the land." j. " Farewell to thee, Weapon, since I too will quit thee-thou Inconsequentiality. weapon that wast abandoned, from grief for his ; son (falsely reported to be dead), not from timidity-even by him who bore thee, (improper though it was for a Brahman to bear arms), for fear of being overcome by his enemy Drupada,-by whose prowess none there was who has not been thy mark." Here the ,reason for the second laying aside of the weapon is not stated, so there is an instance of Inconsequentiality. Repugnant Inti -; k. "May thy son, O Lord of men, obtain mation. royalty." Here we have a Repugnant Intimation, t since the passage suggests the repugnant thought, 'Do thou die.' Obscurity. l. "Say, ye wise, whether mountains or women are to be resorted to." Here, there being nothing particular for the subject-matter, there is an absence of certainty as to which of the two characters the This, according to. the commentator, is the' unwillingness of a newly married coy lady to believe dlat she wonld obtain what nhe couid desire, in tho company of ber lord. tIta differende from Repugnant Suggestion [P. 674 b.], according to the nentetor, consista in the fact that the repugnant notion in the present taun a sggonted by the sense of the sentence, while that in the other is noggiated by the words.

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speaker may be, a quietist or a lover. There is, therefore, the fault of Obscurity. m. "Let not a man heedlessly do a deed : indiscretion is the Repetition. principal resting-place of evils. For merit-loving Prosperity, of her own 'acoord, chooses the man who acts with prudence." Here the second half of the stanza conveys contrariwise the same sense as the second line, and hence there is a Repetition. Opposition to notoriety ; e. g .- Opposition to no- n. "Then did Hari move in the battle, bear- toriety. ing a sharpened trident." Here the trident of Hari, which people do not know respecting this deity, he being always represented with a discus, is spoken of faultily. o. Or for example :- Another example. "The As'oka, by the stroke of thy feet, bristles with newly sprouted shoots." It is notorious, according to the fancy of the poets, that flowers, and not new shoots, are produced in the As'oka tree by the stroke of women's feet. There is here consequently an Opposition to the conven- tional usage of the poets. Opposition to Science. p. " The wound of the nail in the under-lip of the fawn-eyed lady." Here we have an Opposition to Science, tae wounding of the undor- lip by the nail being opposed to the erotic science. Incompleteness. g. " The breaking of [Is'a's] S'iva's bow, and the rise of a Kshattriya, and that gem-a fair woman-, how can Paras'u Rama bear these now?" Here the word 'to overlook' is wanting after ' that gem-a fair woman -. ' We have, therefore, the fault of Incompleteness. r. " A good man fallen into adversity, a woman with her breasts fallen, and a bad man respected in an assembly are to my heart's distress." Here a 'good man,' and a ' woman' are agreeable objects, and a 'bad man' associated with them is disagreeable ; hence there is in the passage the fault termed ' Dissimilarity of the associated.' 8, " His authority is familiar with the crest-gem of Indra;

a wrong place. Introduction into the scripture is to him a new eye, his de- votion is to the Lord of beings who bears

496 Tha Mirtor of Composition.

the Pinaka bow (S'iva); his habitation is Lanka the heavenly city; and his birth is in the family of Brahma. Such a bridegroom then is indeed not to be found, were it not that he is Ravana, and how can all excellences be expected everywhere?" Here the passage ought to be concluded at the word Ravana. Improper Specifi- t. "How may we describe the ocean, the cation. receptacle of diamonds ?" Here should be said in general 'the receptacle of gems.' u. "Thy navel is but an eddy, thine eyes are blue lotuses, the Improper limita- wrinkles in thy waist are the waves. Therefore tion. thou art a lake full of the water of loveliness.' Here the limitation implied in ' but an eddy' should not be made, Improper non-spe- v. "Ladies resorting to their lovers go in the cification. night covered with a blue wrapper," Here the night should be particularly specified thus-'in the dark nights.' Improper non-li- w. "What do not men do immersed in mitation. pleasure affording present gratification." Here there should be a limitation made thus-'affording but (va) present gratification. a. 'But,' somebody might object, in the fault termed ' Omission of what must be said' there is the absence, for instance, of ufq in such examples as, 'What particle of impropriety' &c. (§. 575. y), and here there is the absence of va, what then is their difference ? To this reply some : 'It is the omission of a limitation separately taken, that is the subject-matter of the present fault of non-limitation.' This is not the ! case, since, were it even so, i. e. if Non-limitation were really only a. species of Omission of what must be said, there would be no criterion for the two being reckoned respectively as the faults of a word and of sense. " Then what is to be our alternative ? how are we to escape from the dilemma?" Well, the difference is this, that in the line व्यतिजामलवं कें मे वीच् वामाि कुप्यि, for example, the fault

Oriterion of fanlt 'becomes manifest on the mere utterance of the of the word and that words, but here it is perceived after the apprehen- of tha sense. 'sion of the whole meaning. So that the two divi- sioas of faults of word and sense, though held by the ancients as fonaded apoa the circumstance of their bearing or not bearing an ex-

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change of words, terminate in this :- The fault that does not bear (i. e. disappears on) an exchange of the words is of course the fault of a word; but that too is the fault of a word which is perceived before the appre- hension of the logical connection of words. And that fault which is ap prehended after the sense is understood, pertains to the sense. Similarly is to be understood the distinction of Improper Limitation (§. 576, u), &c. from the Redundancy of a word &c. As to the fault named an. Unacceptable second sense, for instance in राममन्साथ इत्यादि (8.182, a), from the consideration of its pervading, of necessity, the whole sentence, it is held to be a fault of the whole sentence. But Indecency and others do not of necessity pervade the sentence. Impropriety of Pre- y. "He will kill his enemies, while he has dication. gladdened his friends." Here what is intended to be predicated is that having killed his enemies, he will gladden his friends. Impropriety of Attri- z. "Crest-ornament of the lord of Chandt bution. (or Durgá), O Moon, who dispellest the dark- ness of the world, and takest the life of the absent lover, torment me not in vain." Here in the speech of an absent lover, that which is denoted by the third quarter of the stanza, i. e. the fact of his taking the lives of separated lovers, should not be attributed to the subject, the moon, who is propitiatorily addressed. "That Sword, its whole length covered with blood.(or, her frame filled with the warmth of passion), which clung to the enemy's neck, which was seen by the enemy falling upon the elephants (or seen by others falling upon libidinous men),-attached to that Sword this man heeds not aught. Be it known to you, by him have I been given up to his retainers.'. Thus to speak, by Lakshmi's appoint- ment, as it were, his Fame has gone to Ocean (her father)." Here the sontence, though concluded by 'be it known to you,' is agnin taken up with ' by him' &c. He now states the fanlts of Flayour.

TEXT.

The Faults of E vour No. 577. The expression of Flavour (1) by specified, its own term, (2) as also that of a Permanent.

298 The Mirror of Comporition.

or (8) Concomitant (i. e. Accessory) Mood, the adr ssion of the elements of a conflicting Flavour such as an Excitant or the like belonging to it, Par-fetched Ensuant or Accessory, an Unseasonable Introduction, Unseasonable Interruption, or a Repeated Heightening of Flavour, Overlooking of a Princrpal Element, Celebration of an Unimportant Object, Excessive Expansion of a Subordinate Element, Perversion of Character, and improprieties of other kinds are held to be Faults per- taining to the Flavour.

COMMENTARY.

a. ' The expression of Flavour by its own term,' i. e. by the word Flavour or Relish (<#) or such words as Amorous Desire (TIT) and the like. For examples in their order :- 6. तामुदीक्य कुरद्राचीं रसो नः कोऽप्यजायत (Having beheld that fawn-eyed lady there was experienced by us an inexpressible relish.) i. चन्द्रमण्डलमालकच पूटदार मग्रमन्तरम्। (' Having seen the lunar orb, my heart was sunk in amorous desire.') c. The expression of a Permanent Mood by its own term, as- "Love (Tfa) was excited in her when thou wast before her eyes." d. The expression of an Accessory by its own term, as- "The coy lady was ashamed on being kissed by her lover." Here in the first quarter of the stanza, it would be proper to describe the shame through its Ensuans or effect (see § 162) and read thus, ' she closed her eyes.' Admission of Elements e. "Be not indignant, lady of the slender of a conflicting Flavour. frame, seeing that youth is not lasting." Here the announcement of the transitoriness of youth is an ele- ment of the Quietistie Flavour (see § 238) which is opposed to the Erotic (§ 210), and it is an Excitont (§ 61) of the same Quietistic Flavour alone, so that its, admission into the Erotic is improper. Far-ftched Ensuont f. "Behold the slender lady with smiling face, slightly castang n tide-glance, as the cool-rayed moon, delighting the eyes of the world, whitehs the carth."

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Here the Substantial and Enhancing Excitants (see § 62) of the Elavour termiuate in an Ensuant, bnt it is a forced Conception. Far-fetohed Excitant. g. "He shuns pleasure, loses all self-posses- sion, frequently falls down and rolls about; thus, alas, a hard fato violently overcomes his frame. How can we help it ?" Here, the shunning of pleasure &c., being also possible in the Pathetio or the like, such an Excitant as a woman is implied in a forced manner. h. An Unseasonable Introduction; as in the second act of the Venisanhara, the representation of Duryodhana's love towards his wife Bhanumati at a time when so many heroes were perishing in war. i.An Unseasonable Interruption ; as in the Vira Charita, the speech of Raina, viz. 'I am going to take off my bracelet,' when the fight between Rama and Parasu Rama was just about to begin. j. A Repeated Heightening; as, for instance, in the Kumara Sambhava, the too frequent heightening of pathos in Rati's lament. k. Overlooking of a Principal Object; as, in the fourth act of Ratná- vali, the forgetting of Sagarika on the arrival of Babhravya. l. Celebration of an Unimportant Object; as in tho Karpura- manjari, the praising of the bard's description ofathe spring, to the neglect of that by the king and the heroine themselves. m. An Excessive Expansion of a Subordinate Element; as in the Kirátárjuníya, the sports of the celestial nymphs. Perversion of Character. n. The characters are divine, human, and both human and divine; these are subdivided (§ 66) into 'high-spirited but temperate and firm,' 'firm and hanghty,' 'gay and thonghtful yet firm,' and ' firm and mild;' and these again are further subdivided into the 'best,' 'middling,' and 'lowest.' The representation of any of these, not in accordance with what they are, is the fault termed the ' Perversion of Character.' As for example, Rama's killing Balin, by artifice, like a 'firm and haughty' character, though he was 'high spirited, but temperate and firm.' Or as in the Kumara Sambhava, the dascription of the amorous enjoymenta of the supreme divinities Siva and Parvati. They (i. e., the author of the Kavya- prakasa) romark nyon it that this, like the description of the enjoy- ment of our parents; is infinitely improper. Other improprieties are representationt of time or place or the like otherwise than as they

300 The Mirror of Composition.

are; for in such cases there is an imnossibility of teaching those that are to be taught (see § 2), from the poems seeming untrue. TEXT. No. 578. Apart from these there is no possibility of Faults of Ornament. COMMENTART a. 'From thesedi. e., from the said faults. Such a blemish, for instance, in the ornament of Simile, as a dissimilarity, or impossibility, or an inferiority, or superiority of the comparison, as to genus or size, and such a fault in the arnament termed Transition as the confirmation of a poetically fancied fact, are no other than that spoken of af tho blemish of a word and sentence under the title of Improper Signification (§§ 574, 575). For examples in their order : Dissimilarity in Simile, b. "I wreathe a poetical moon with the ex- tended strings or rays («fzy) of sense." Impossibility in Simile. c. "Thy arrows fall like a burning shower of rain." Inferiority in Simile. d. "Like an outcast that king has exceeding bravery in war." "The lunar orb Shines like a lump of camphor." Superiority in Simile. "Like S'iva this peacock shines with an azure throat."

: Confirmation of a poe- e. "Who (Himalaya) protents from the tically fancied fact, & sun darkness, like an owl, lying hidden in the fault. mountain caves : great indeed is the tenderness of those of lofty souls (lit. elevated heads) even to a low person who has resorted to them for refuge." In such cases as the abore, the matter mentioned being no real fact, its proper character consists in its merely appearing to be so; its confirmation therefore is improper. Incomplete Rhyme. f. The fault of a Rhyme occurring only in three lines of a stanza is that termed Unemployedness (§ 574d). For example :- सघ साउसिनने झिग्घे सरसा कुममन्दिरम्। रते रकनी नाये सडसा याति सुन्दी। (On a sudden, as the moon rose, that beautiful one, with her affectionate Itionds, goes but, smiling, to the grove-house")

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g. In the Ornament of Poetical Fancy, the word yur has the fault of Inexpressiveness (§ 574 jj.), when used to imply a fancy. For example :-

एष मूनी यथा धर्म: चितिपो रचति चितिम्। ('This monarch preserves the earth, as if he were Justice, embodi- ed in a material form.') h. So in the case of the ornamont of Alliteration (site), when it is opposed to the proper style, i. e., the peculiar literal style agreeable to the flavour of the piece, it has the fault named Repugnance of hetters (see $ 575d.). As for instance in चोवट्ट उटुर सभो &c. ('She rolls over and turns on the bed,' &c.) i. And in a Simile, when there is a redundancy or deficiency in the common attribute, there is the fault termed Redundancy of a Word or Deficiency of a Word (see § 575. d. e.). For examples in their order :- "S'iva with a radiance white from Vibhúti

Simile. Redundanoy in a (the sacred ashes that smear his body), shines with the splendour of his eyes, as an autummal cloud with the lightning flash, bearing a fragment of blue. cloud (नोलवारिदयछछटुक)." Here the Holy One not being represented as having an azure throat, the fourth quarter of the stanza is redundant. Deficienoy in the same. "Embraced by Lakshmi and charming with a necklace of radiant pearls, the foe of Mura (Vishnu) shines like a blue cloud adorned with lightning." Here that which Vishnu is compared to, viz., the ' blue cloud,' should be represented as attended wit icranes, in correspondence to the circumstance of the deity's being ornamented with a pearl necklace. Incongruity in Simite j. In the same ornament, the difference be- tween the thing compared and that to which it is compared, as to gender and number, as also that as to tense, person, predication or the like, come under the fault termed Incongruity of Expression (see § 576 bb.) For examples in their order :- (1). guy frawuep ('The moon pure as ambrosia.") (2). योत्तरा कपिता कोर्ति: ('Fame white as mooubeams.' (3). " Inespressible was the lustre of the two, as they were travelling.

802 The Mirror of Composition.

dressed in pure garments, like the splendour of the moon and Chitra (the star) at the conjunction, when they are freed from mist." Here the fact is not that the splendour of Chitra and the moon so cireumstanced wAs only in past time, but that it also Is constantly taking place. (4). खतेव राजसे तन्ि (Like a creeper shinest thou, O tender lady.') Here the verb TTOTE ('shinest') used for wn ('thou') cannot be, as it is meant to be, construed with aT ('a creeper') which should take the third personal verb tioa (' shines'), an ellipsis of the same being here inadmissible. (5). चिरं जोततु ते स्रमुर्मकण्डेयमुनि यथा। ('Long live thy son as the saint Markandeya.') The saint Markandeya lives and this fact ought not here to be prodicated of him by the verb of the benedictive mood sntag ('may live') which is syntactically to be construed with Markandeya. k. In the present case, however, vis., that of the ornamont of Simile, where the expression denoting the common property, in spite of the difference of gender or number in the object to which the comparison is made, is not incongruous, there is no fault. For examples in their order :- (1). "The face shines as the moon."

दधने सपा परां शेभां तदीया विश्मा द्ब॥ ('Unlike that of other women, her dress, laden with sweetness, exhibited the highest splendour, as her blandishments.") In the former examples, sing the expression of the common proper- ty comes to be logically connected with only one of the two objects compared together, the intended sense is evidently not properly conveyed. % Irrelevant Allitera- l. Similarly when the alliteration is useless tion. 1or does not minister to the heightoning of the sentiment, it has the fanlt of Irrelevancy. For instance+

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('Thy ramble, crimson-footed lady, excites but in vain fancies of love, as thy girdle of gems sharply sounds, and icontinuously tinkles thy musical anklet.') This, according to the commentator, is a speech of disaffection, and the musical assonance of soft consonants employed in the couplet is of . no use and therefore irrelevant in this place, being favourable only to the Erotic Flarour. m. Similarly the Modal Metaphor (UHrerfm) has the fault of Tauto- logy, when the second object (i. e., the object to which the comparison is made), is expressed, though understood by the force of the attri- bntes equally applicable to both objects of comparison; and the Indirect Description (sier) has the same fault when the principal sense thongh apprehended by suggestion is verbally mention- ed. For examples in their order :- (1). चनुरागवममपि लोचनयोदंधनं यपुः सुखमतापकरं

('Thongh he was in love [or red], gave no pain [or heat], and bore a form pleasant, or not dazzling, to the eyes, that courtesan, the Western Quarter, as his wealth was exhausted [or as he was shorn of his rays], drove the Sun out of the mansion of ether.') Here by the expression ' Western Quarter' alone the character of a courtesan would be understood in respect of it, the addition therefore of the term ' courtesan' is tautological. (2). 'The musquito, coming forward when the wanderers of the heavens are invited, is not prevented ; amber dwelling in the midst or in the front of the gems takes their lead; even the glow-worm trembles not to intrude among luminties: Fie to the common pro- perty that, like a senseless master, recognises not the difference of things.' Here the actual mention of 'a senseless master' is improper. n. So in the Embellishment named Alliteration 5T4 (see 633) the absence of notoriety has the character of the fault ' Opposition to Notoriety.' cAs :*

804 The Mirror of Composition.

(The Wielder of the Discus bestowed upon this monarch the domi- nion of an emperor, the Render of the Mountains the lofty umbrella, and He with the bull on his banner endued him with holiness.') 0. The said faults are sometimes no faults, and sometimes positive merits. So he declares :-

TEXT.

Harshness, when a No. 579. When the speaker is enraged, or merit. . the theme lofty, Unmelodiousness becomes a merit, but it is absolutely so, when the Flavour is the Furious or the like.

COMMENTARY. . The designation of 'merit' or 'excellence' (see Chapter VIII) given to these quaMties,-Unmelodiousness and the like,-is only secondary, being applied to them only because of their ministering to the heightening of the chief excellence, (i. e. the merit properly so called) which consists in a particular species of poetical Relish (see § 33.) The following are the respective examples of the three cases of Unmelodiousness assuming the nature of a merit, mentioned in the text.

Harshness, when the (1.) नद्िच्छेदक्तमख्य कण्ठलुठितप्राशख मे निर्दयं speaker is enraged. क्रूरः पखचमरः शररतिभितर्भिन्दन् मनो निर्भरम्।

ज्वालाजालकरालित: पुनरसी नासां समसालना। b. ('That cruel deity of the five shafts who mercilessly and incessantly pierces my heart with the kcenest shafts, emaciated as I am by separation from my beloved, and while my spirit trembles in my throat,-O may the tyrant's whole self be annihilated, consumed again by the fierce flames of the eye of S'ambhu, as his mind is subdued by compassion for his creatures.') Here in the Erotic Flavour an angry person is the speaker. Harshness, when the (2.) मूधव्याधूयमानध्यनद्मरधुनीसोलषकलोलजालो- theme is lofty. अर्ध्व न्यस्ा कपब्रिद् खभ्रमिभवर भमोका्रभखत्प्रबेभ- भान्तत्रझ्माखसखं प्रवितरतु भिच भाभवं ताण्डवं वः।

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('May the awful dance of S'ambhu bestow felicity upon thee; that dance which impetuously hurls up to the heavens myriads of stars in the disguise of those particles of water that are sent up by the tumultuons waves of the river of the gods, roaring in agitation on Ilis head; that dance in which the upper portion of the universe is whirled by the wind rising in fierce whirlwind from the revolution of His mighty feet which he tosses up.') Here the theme is lofty, being the terrific dance of Mahadeva. The two preceding stanzas are mine. c. In such a Flavour as the Furious and the like, Unmelodious- ness is a merit in a far higher degree than in the two instances above. For example, take the verses beginning उत्कत्यास्कृत्य क्वत्तिमित्यादि (3) ('Having first torn and stripped off the skin,' &c., see § 236. a.) the Flavour of which is the Disgustful. TEXT. Indecency, when a merit. No. 580. Indecency again is such in an erotic gossip, &c. COMMENTARY. a. Again is such; i. e., is a merit ; e. g. करिइसेन संबाधे प्रविश्यान्तविल्तोड़िते। उपसर्पन् ध्वज: पुंसः साधनान्तविराजने।। "The elephants having entered and agitated the arrays with their trunks, the banner of the hero shines in the midst of the army." Here in the amatory colloquy there is followed a rule of the erotic art-" One should intimate a secret purpose by equivocal words." b. By the words ' &c.' the same is to be understood with regard to a discourse on quietism or the like. TEXT. No. 581. Obsoleteness (see 571. i. i.) and Unemployedness (see Obsoleteness and Unom- 571. r. r.) are no faults in a Paronomasia ployedness, when not faulty. (see 705) and the like. COMMENTARY. a. For example :- पर्वतमेदि पविचं जैवं मरकस्य बञमतं गदनं। ह्रिमिय परिमिय परिमिय सुरसरिदभ्भः पतब्रमत ॥ "Worship ye the adored waters of the Divine River (Ganga) as they fall-the waters that are hard to be approached, that divide

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mountains, that are holy and vanquish Naraka (Hell)-thus resembling Hari (Indra) and Hari (Vishnu, the destroyer of the demon Naraka) and Hari (the lion which destroys elephants). Here the word ufay (pavitra) has an obsolete sense when used for Indra. In the case of a lion, the word naw is Unemployed in the sense of मान ङ (elephant). TEXT.

Unintelligibility when & No. 582. Unintelligibility is a Merit merit. when the speaker and the person spoken to are wise.

For example : "They declare Thee Nature that energises for the sake of the Soul, and thee they know to be the soul-the passionless Spectator of Nature."

TEXT.

The same when again a 583. Or when one thinks by him- merit. self.

COMMENTARY. Unintelligibility is a merit-so much is to be supplied in the text. E. g. युक्नः कलाभिस्तमसां विद्टध्ये धोएस ताभि: चतयेय एषाम्। शुद्धं निरालम्बपदाबलम्वम् तमात्रचन्द्रं परिशीलयामि। "I meditate upon that pure moon, the Soul, that rests in the Unsus- tained, who when associated with the attributes of Nature (aT)* sustains this Universal Darkness (i. e., mundane illusion)-who, when devoid of those attributes, dispels it." TEXT. No. 584. A repetition (again is a Merit) when (1). something Repetition, when a me- predicated is referred to; as also (2) in rit. grief; (3) in surprise; (4) in anger; (5) कलाmneans the digit of the moon also. मिरालम्मपढ means the सहसारपडं or the lotus uf a thousand petals supposed to exist in the brain by the Hindu Aecetios (Yogis).

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in misery; (6) in the Látánuprása (7) in mercy, (8) in propitia- tion; (9) when the expressed meaning is transferred to another; (10) in joy ; (11) and in decision. COMMENTARY. (a.) Supply in the text "is a Merit." E. g. " Red rises the sun and red it sets." Here the epithet "red" which was predicated is referred to. (b.) 'Alas ! alas! My love has gone and come not back in the spring l' Here we have grief exemplified. (c.) "O wonder ! O wonder ! How fair-faced lady there is here the moon without a firmament!" Here we have " wonder." (d.) "Lady with the charming eyes, turn thy eyes, &c." Here there is the Latanuprasa. (e.) "His eyes indeed are eyes &c." Here the second "eyes" is used suggestively with its expressed or literal sense passing into another. So of the other cases. TEXT.

Dabiousness when a merit. 585. So is Dubiousness (§ 576), if it terminates in the ornament named Artful Praise (vyája-stuti, § 707). COMMENTARY. Supply "is a Merit" e. g. पृथुकानतसरपानं &c. (8 643. e.) TEXT. No. 586. Obscurity and Unmelodiousness are so, when a great When obscurity and un- grammarian is addressed or is himself the melodiousness are merits. speaker. COMMENTARY. (a.) They aro Merits. E. g. दीधी वेबीसमः कविद्ग पष्टद्येारभाजनं। किप प्रत्ययनिभ: कषिद् यज सव्रिहितेन त।। "There at thy presence, some fared like the roots 'Didhi' and 'Vevi,' bearing neither n4* (metit) nor Efs* (excellence) and somie rcsembled the affix ' kwip,' that disappears entirely. * Tochnical terms for grammaticul augments.

308 The Mirror of Composition.

Here the sense is obscure and a grammarian is the speaker. So also in the case of his being addressed. TEXT.

Rusticity, when a merit. 587. So is Rusticity in the words of a low man. COMMENTARY. It is a Merit. For example take my verses :- "Yonder orb of the moon looks like a lump of butter, and these troops of horses flying all around appear like streams of milk." This is the speech of the fिदू षक (Fool). TEXT. .

When Inconsequentiality, No. 588. Inconsequentiality does not or an absence of reason, is attain to the nature of a fault when the no fault. notion expressed is established. COMMENTARY. a. For example. "Now the time of evening separates the couples of herons." TEXT.

When ' Opposition to no- No. 589. In a well known convention toriety' is a merit. of the poets 'Opposition to Notoriety' is a Merit. COMMENTARY. a. The following are established by the convention of the poets: TEXT. No. 590. The sky and sin are described as black; fame, laughter

Poetical conventions. and renown as white; anger and love as red. Red and blue lotuses are spoken of as growing even in rivers and seas, and birds such as the duck and others invariably haunt all receptacles of water. The Chakwas drink the moonlight; and in the rainy season the ducks emigrate to the Manasa lake (Manassarovara). The Asoka flowers from the stroke of fair women's feet and so does the Vaknla from the wine of thejr mouths. The necklaces on the breast of youthful lovers along with their hearts burst from the flames of separation. The God of Love bears a flowery bow furnished with flowery shafts and strung with a string of bees. His arrows pierce the heart of the young and so does the glance of a woman. The lotus blooms in the day and the lily

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during the night; there is always the moonlight in the white fortnight. The peacocks dance at the grumbling of clouds and the Asoka does not bear fruit. The Jati blooms not in the spring and fragrant trees neither flower nor fructify, and so forth. Other poetical conventions are to bo found out in the compositions of good poets. COMMENTARY. a. Illustrations of these are clear in the poems .* TEXT. No. 591. In such expressions as wr (the bowstring of a bow) Pleonasm, when allow- and the like, the words ya: &c. are to able. denote that the bow is strung, &c. COMMENTARY. For example. "Heaven and Earth were filled with the clangour arising from the twanging of the bowstring (wdt)." Here though the word T (bowstring) suffices to convey the meaning, the pleonastic use of the word #: (bow) is intended to signify the tension of the bowstring upon the bow. The words "and the like" refer to such expressions as कर्णावतंस &c., in such examples as भाति कणावतंससे (the earring in thy ear shines); where the word ar (ear) is employed to denote that the earring is worn in the au. Similarly श्रवणकुण्डल, (the carring in the ear) शिरश्रेखर (the crest gem of the head) &c. In like manner though the term HIT (garland) without an antecedent qualification denotes a wreath of flowers, the word you (flower) in the example पृष्पमाला विभाति ते (thy flower garland shines') is intended to imply excellent flowers. So in the example HMIT (a necklace of pearls) the word wat (pearl) signifies its being unmingled with other gems. TEXT. No. 592. These may be employed when already existent. COMMENTARY. Such expressions as wa dr (the bowstring of a bow), warranted by usage in good poetry may be used in poetical composition ; not such * Tar mines or original sources from which these rules of composition were derived.

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a8 जधुनकाचो (girdle of the loins) करकइृण (bracelet of the arm) which are not so justified. TEXT.

Verbal Deficiency, when No. 593. Verbal Deficiency would be a a Merit. Merit in the speech of one immersed in Joy or other Emotion. COMMENTARY. For example.

सान्द्रस्ेहर सातिरेकविगलच्क्रीमब्वित म्बाम्बरा। मा मा मानद माति मामलमिति चामाचरोलापिनी सुप्ना किं नु मता नु किं मनसि मे लीना विलीना नु किं"॥ (Was she asleep or was she dead, melted in my soul or dissolved away, when, with breasts dwarfed by my close embrace, with horri- pilation excited, the vesture of her beauteous loins slipping off from the excess of passionate love, she breathed out feebly in broken ac- cents-"Nay, nay, my lord, me-not too much, enough.") Here there is a deficiency of the word utsu (press).

TEXT.

Sometimes neither a me- No. 594. Sometimes it is neither an rit nor a fault. excellence nor a blemish.

COMMENTARY. 'It' i. e. verbal deficiency ; for example : तिष्ठेत् कोपवद्ात् प्रभावपिद्चिता दीघे न सा कुप्यति। सर्गायोत्पतिता भवेन्म्वि पुनर्भावार्ड्रमस्या मनः। तां इर्नु विबुधद्धिषाऽपि न च मे पक्राः पुरोवर्ततिनीं। सा चान्यन्तमगाचरं नयनधोयातेति कोडयं विधि:। (Perhaps she may be staying in anger, concealed by her super- human power-she is not angry long; perhaps she has flown away to paradise-her mind is tender in affection. Not the enemies of the gods themselves could ravish her in my presence; yet she is altogether passed from before my eyes : What can this be!) In this example the words ' It cannot be so, because' are defi- ciont after the words " concealed by her superhuman power" and "has

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flown away." In the deficiency of these words there is no excellence, because it does not heighten the Accessory Mood designated Debate, (see text 202) which is suggested by the above example. On the other hand, the repugnance of the fact implied by the words ' may be staying' to the fact implied by the sentence 'she is not angry long' is clearly apparent, and therefore there is no blemish. TEXT.

Verbal Redundancy, somc- No. 595. Sometimes a redundant word times a merit. is a Merit.

COMMENTARY. For example : "That an evil man, all on a sudden, does things never even to be imagined, it is not that I do not know-I know ; Yet my heart feels no unkindness." Here by the clauso " it is not that I do not know" there is the exclusion of negation. In the second phrase " I know," there is a especially striking point viz., ' I know and I only,' through the exclusion of the attribution of knowledge in regard to others .*

TEXT.

Resumption of the Con- No. 596. Resumption of the Concluded cluded, somotimes neither (§ 575 p) is sometimes neither an excel- merit nor demerit. lence nor a blemish.

COMMENTARY. For example-चन्यासताग पार त्ंत्यादि (Other are those lands which pro- duce such gems, &c., see § 575. i.) Here though the sentence is completed by the former half of the stanza, yet in the latter it is resumed. Thus, it is to be understood that there is the fault of the Resumption of the Concluded when only a qnalification is resumed, that is to say, takes up again the sense already completed ; but such is not the case when a distinct sentence or clause is added. TEXT. A Parenthesis, scmetimes No. 597. The Use of a Parenthesis (§ a merit. 575) is sometimes an Excellence.

• This farfetohed explanation can hardly be admitted as correct, as the repetition is evidoutly and naturally for the addition of force.

312 The Mirror of Composition.

COMMENTARY. a. For example. "The Earth is conquered, whose four bounds are divided by the Elephants of the Quarters ? Conquered-lo! even while we say it, our hairs stand on end-it is bestowed upon a Brahmana (Kasyapa) ! What more ? Glory to that Rama from whom arose this wondrous tale and in whom again it set." Here the clause " even while we say it," parenthetically inserted in the pregnant sentence, displays an excess of brilliance. TEXT.

Excellence falling off, No. 598. Likewise Excellence falling sometimes a morit. off. (See § 575. g.) COMMENTARY. a. 'Likewise' i. e., it is sometimes a merit. For Example :- चस्द्भुजभमतचण्डगदाभिर्धात- ससूर्मितारयुगलस्य सुयोधनस्य।

वन्तंसयिष्यति कचांस्षव देवि भीम:। Here, in the 4th verse, the avoidance of grandeur of language on account of the softness of the sense is an Excellence. TEXT. No. 599. Sometimes the mention of an Accessory by its pro- Naming of an Acoessory, per name (see § 577 a, b, c,) is not a ble- sometimes no blemish. mish where the composition is not proper to be elaborated by Excitant and Ensuant.

COMMENTARY. a. Where there is not a distinct apprehension in setting forth the object matter by means of the Excitant and Ensuant, and where the absence of the elaboration effected by them is favourable to the composition, there is no blemish in the mention of the Accessory by its own name. b. For example : "Sbe who, at the first union, had made haste in her eagerness, but was turning aside from native modesty, who, on being made to turn towards her husband again, by the repeated urgings of her fair

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friends, seeing him before her, was seized again with timid emotion, was embraced by smiling Siva and was thrilled-may that Gauri be for your felicity !" c. In this Example, if the Accessory Mood, viz. Eagerness, instead of being actually mentioned, had been represented, or left to be understood, by means of the Ensuant "haste," the sense would not have been readily understood. For "haste" may also be occa- sioned by fear and the like. 'Turning aside', here, the Ensuant of bashfulness, may also result from anger or other emotion. While tho development of fear and the comic sentiment by means of the Ac- cessories would be almost unfavourable to the present Flavour: So it is legitimate to mention all these sentiments by their pro- per titles (instead of leaving them to be suggested). TEXT. No. 600. The mention of a conflicting Accessory or the like A conflicting Accessory, in such a manner that it may be sublated, how to be admitted. is an Excellence.

COMMENTARY.

a. " O! a bad action and the offspring of the moon, how incon- sistent" &c. (see § 249 d.) In this example, the obscuration or sublation of Debate, Resolve, Apprehension, Equanimity, which are subsidiary to Quietism, by Recollection, Depression, and Painful Reflection-subsidiaries of Desire-terminates in giving rise to an Excess of Relish in which Painful Reflection predominates. TEXT. No. 601. There is no incongruity where a conflicting flavour is Conflicting Flavours, how (1) recalled or (2) described under a com- to be admitted. parison or (3) where two or more flavours stand in the relation of principal and subordinate. COMMENTARY. a. For examples in their order :- "This is that hand that drew my girdle" &c., (§ 266 3) Here the exciting canse, vis, tho husband ofsa lamenting widow, being destreyed, Love is no longer a Relish, and its subsidiaries being recalled to heighten Sorrow, harmonize with the Pathetic.

314 The Mirror of Composition.

b. सरामया मुतधमवनवायया कराषतिर्ध्यामतश्यूब पीठया।

वषा कपा: प्रियतमयेव भेजिरे। (There was the burning passion, there was the profuse flow of the heat-drops, there was the resonance of the massy thighs struck with the hand, there was the biting of the lips with the teeth, ever and anon : thus the princes were served by Wrath as by their beloved.) In this example, the sentiment of "love in union" is suggested under a similitude to the Ensuant of Anger which is. an Accessory of the Heroic Flavour here represented. c. "May the three eyes of S'ambhu protect you-eyes showing different emotions during abstract contemplation-one closed like a bud in meditation ; the second, languid with love, fixed on the lotus- face and swelling breast of Parvati; the other kindled with a ftame of wrath against Kama who had drawn afar his bow." Here Love for the Deity is intensified by the Quietistic, Erotic and Furious Flavours. d. Or for example : "May the fire of Sambhu's arrows consume your sins-that fire which resembled a lover that has recently offended, for, as it touched the hand, it was cast away; as it caught the hem of their garments, was with force repelled; as it seized their hair, was tossed away; as it fell at their feet, in their flurry was not looked at; as it clasped them around, was thrown off by the ladies of Tripura, their lotus eyes suffused with tears." In this example, Love, conceived by the poet towards the Deity predominates. This is developed by the Divine Energy in the destruction of Tripura, and the Pathetic is ancillary to this Energy, which not being fully developed has not attained the rank of Flavour Proper, but is only an Incomplete Flavour. To this Pathetic again the Erotic is ancillary, being suggested by the force of the similitude 'resembling a lover.' Thus, inasmuch as the Pathetic is not the ultimate sentiment, it is merely subordinate. The two Flavours, therefore, viz. the Erotic and the Pathetic, do not conflict with one auother, as they both elevate the Relish consisting in the sentiment of Divine Love, developed by the Energy of the Deity,

Tho Mirror of Composition. 315

and as they exist simultaneously as ancillary to them. 'How can an An Objection as to the incongruity,' it may be asked, ' be suspected incongrnity of Flavours. between two Flavours which both consist in the fulness of unintermitted Joy composed of the three-fold emotional apparatus, viz, the Exitants, the Ensuants, and the Accessories, since they could not thwart each other-not being manifested simul. taneously in the same sentence. Nor is there the relation of the

Name of Concomitant Principal and the Subordinate, since they Flavour given to the so- are both absolute and complete in them- called incongruous Fla- vours in a composition. selves.' True, we reply; hence to such Flavours as are other than the principal, there is customarily applied by the Ancients the name of Concomitant Flavour, inasmuch as they cannot terminate absolutely in themselves and are distinct from a fully developed Flavour and a mere undevelop- ed sentiment. And my grandfather's younger brother-himself a keading poet and a scholar-the Venerable Chandidasa gives the name of Partial Flavour. Thus he says: "If in the midst of a Flavour there is another as (1) ancillary or The same named by some (2) as one to be sublated or (3) as & Con- Partial Flavour. comitant Flavour-which is not relished n its integrity-this is called a Partial Flavour." e. It may be objected : How can the Heroic and the Erotic which are incongruous according to the rule formerly laid down, viz. 'The Erotie is incompatible with the Pathetic, the Disgustful, the Furious, the Heroic, and the Fearful (§ 242)' be employed in the same place as in the Stanza : " Repeatedly beholding the lotus face of Janaki thrilled and throb- bing with smiling love, and the cheeks which stole the splendour of the tusks of the young elephant-and hearing the confused clamour of the Demon Army, the Prince of the Raghus binds fast the knot of his matted hair." f. We answer: There may be congruity or incongruity among Congruity and incongrui. Flavours in three ways; in some cases by ty of Flavours determined. reason of the identity of the Exciting cause ; in others by reason of the identity of the subject of the Emotion; and in others by reason of immediacy of succession. The Erotic and the Heroic are incompatible, if the Exciting Cause is supposed

316 The Mirror of Composition.

to be the same; so also 'Love in union' is incompatible with the Comic, the Furious, and the Disgustful; and ' Love in sepa- ration' is incompatible with the Heroic, the Pathetic, the Furious, &c. if the samo object be supposed to excite these sentiments. There is an incongruity between the Heroic and the Fearful where the Exciting cause or the Feeling subject is the same. The Quictistic and the Erotic are rendered incompatible by immediacy or identity of the Excitants. The Heroic is compatible, in each of the three modes, with the Marvellous as well as with the Furious; the Erotic, with the Marvellous ; the Fearful, with the Disgustful. In the above example, therefore, there is no incompatibility between the Heroic and the Erotic, because the Exciting causes are different. In like manner where the Heroic exists in the hero and the Fearful in the rival hero of the composition, there is no incompatibility, since the Subjects of the Emotions differ. As respects the Love displayed towards Malayavati by Jimutavahana though a subject of Quietism, in the Nagananda, since the Marvellous in the words 'How she sings and how she plays' is introduced intermediately, there is no immediacy of succession, and hence there is no incompatibility between the two Flavours. In like manner other places are to be understood. In the example 'The pale and emaciated countenance' &c., paleness &c., are ancillary to 'love in separation' as well as to the Pathetic; hence there is no incompatibility. TEXT. No fault is fault in imita- No. 602. All Faults cease to be such tion, where there is imitation.

COMMENTARY. a. 'All' i. c., Unmelodiousness and others. b. For example-

एष दुखावनं नामीत्यादि जल्पति कचन। (A certain one babbles. Lo! I bow down before Dus'chyavana, &c.) Here the word Dus'chyavana (Indra) is Unemployed (§ 574 d.)

TEXT. No. 603. Similarly it is to be determined, according to propriety, Faalts, generally so called, by the critics, that the other Blemishes also

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are sometimes no faults and are sometimes blemishes, sometimes posi- sometimes merits. tive merits, and sometimes neither, as the case mav be .*

COMMENTARY. a. 'Neither' means neither blemishes nor positive merits. b. So much for the Declaration of Blemishes, the seventh chapter of the Mirror of Composition.

• In Roer's Sahitya, read वदोषताथगणता instead of अदोषतापगुएता.

318: Th Mirror of Comporition.

CHAPTER VIIL

The Declaration of Merits, or Excellonces. He states the Excellences.

TEXT. No. 604. Excellences are to the Flavour, the essence of Poetry, Excellence defined. what heroism and the like are to the Soul.

COMMENTARY. a. As heroism and the like are designated by the term Merit, inasmuch as they cause the exaltation of the soul viewed essentially, so in like manner are Sweetness and the like which are the qualities, or particular modes, of Flavour, the essence of poetry. It is these attributes of Flavour that constitute the claim to the designation of Poetry, of a composition communicating its essence, viz. relish. It has already been shown that they are attributes of the Flavour only.

TEXT.

Its three varieties. No. 605. These are of three kinds- Sweetness, Energy and Perspicuity.

• COMMENTARY. a. ' These' means the Excellences. Of these-

TEXT. No. 606. Joy consisting in the melting of the heart is called Sweetness defined, Sweetness, or Tenderness.

COMMENTARY ..

a. As for the assertion of some (the author of Kavyaprakasa)

Sweetness, or softness, in that Sweetness is the cAUsE of melting, it Poetry, is not the caune of, is not so; for the melang being identical but the sarde with the inelt. ing of the Ronrt with the joy consisting of the Relish of poetry, cannot be its effeet. Melting is

Tha Mirror of Comporitian. 819

then, the softening, as it were, of the heart of a man of sensibility, by absence of hardness or a natural unimpassionedness, of the inflammation produced by resentment, anger and the like, and of agitation caused by surprise, mirth and so forth,-and by the, excite- ment of joy impregnated with the emotions of love, &c. This again- TEXT.

Sentiments in which it is No. 607. Is snccessively higher in Love successively developedyin a in Union, the Pathetic, Love in Separation ligher degree. and the Quietistic.

COMMENTARY. &. Love in Union and the other terms are used in a general sense. It is to be understood therefore that Sweetness may reside also in Semblances of Love in Union, &c. TEXT. No. 608. ₹ (r) and (n) short, and such letters, excepting the What manifest Sweet- cerebrals ( 3 ), as are preceded by the ness. last of the series, i. e. the dentals, cause the manifestation of Sweetness, as also an absence or a paucity of com- pounds and a melodious style .* COMMENTARY. . a. For example .- Sweetness in short com- घनङमत्लभुवसद्पाजस्य भङ्य:। pounds, exemplified. जनर्यान्ति मुज्र्यूंनाभम्स्स्रन्तापसन्ततिम्। (Her beautiful side-glances, Love's auspicious abode, ever and anon beget in the heart of youths a series of pangs.) b. Or, for example, my own verses :- लमाकुश्जं गुभ्नमादवद्लिपुअ्जं चपलयन् Another of समालिऋव्वत्ं इुततरमनन प्रबलयम्। Sweetness. example सवब्ान्दवान्दं दलितमरविन्दं तरलयन् रजोदन्दं विन्दन् किरति मवरन्दं दिभि दिगनि ।

• For instance, the verses of Gitagovinda which are net wanting in large componnda and art yet exquisitely sweet, from an absence of harsh letters. According to the commentator, 'melodious style' means a composition soft both as to sound and cense, for notwithstanding the presence of smooth words, wo perceive no weetnis, whore the sentiment is not delicate or tender.

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(Agitating the bower of creepers resonant with the hum of joyous bees; embracing the body and quiokly awakening love; gently shaking the blooming lotus and wafting the pollen, the wind scatters abroad the nectareous dew.) TEXT. No. 609. The state of being fired or, in other words, an expansion

Energy defined. of the mind is what is termed Energy : Of this there is a successively higher develop- ment in the Heroic, the Disgustful and the Furious." COMMENTARY. a. 'Of this' means ' of Energy.' Here also the terms Heroic, kc. are used in a comprehensive sense, and so it may reside in the Semb- lance of the Heroic and the like. TEXT. No. 610. The first and the third letters joined with the second Causes of its manifest- and fourth of any series, that is to say, with ation. any of the aspirates, such letters as are combined with r (x) preceding or following or both, the cerebrals () even though uncombined with another consonant, and the hard sibilants W and w serve to manifest this Energy; as also an ample use of compounds and an exalted stylet of composition. COMMENTARY. a. For example: चचङ्जत्यादि (see $598 a). TEXT. No. 611. Perspicuity is that, which existing in all the Flavours

Perspicnity defined. and the four styles of composition, pervades the heart, as fire spreads itself through dry fuel.

• Our commentator gives the following different view, which we ourselves should prefer, of Chandidasa who taking that of the anthor of Dhwani-siddhanta- sangraha observes: In the Heroic and the Farious, Energy is unopposed; in the Disgustfal, it is slightly impregnated with sweetness, or softness ; while in tho Comic, Marvellons and Fearful there is an admission of both. Acoording to this opinion, there ie greater energy in the Furious and the Heroio than in the Disgnetful," f E ted atyle saya the scholiast, means lofty as to sentiment.

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COMMENTARY. a. 'Pervades' means 'excites its sensibility.'

TEXT.

Perspiouity how mani- No. 612. Words conveying their mean- fested. ing as soon as they are heard serve to manifest it.

COMMENTARY. a. For example :- सूचीमुखेन सकदेव लतव्रशस्वं Perspionity exemplified. मुक्ाकलाप लुवसि सनयो: प्रियाया:। वाण: सरस्य एतशे विनिक्लत्तमसमा सन्नेऽीि तों कथमईं न विलोकयामि। (Thou necklace of pearls, though pierced but once by the needle's point, rollest in the bosom of my beloved ; I, cut to the quick a hundred times by Love's arrows, see her not so much as in my dreams.) TEXT.

Excellence figuratively No. 613. It is by a trope that these attributed to words. Excellences are spoken of by the learned* as belonging to the words. COMMENTARY. a. Add ' As heroism and other qualities are tropically attributed to the body.' TEXT.

Morits of words, recog- No. 614. As for the Merits, declared by nised by the ancients, dis- the ancients, Consonance(s'lesha), Har- čussed. mony (samádhi), Sprightliness (audárya) and Brilliance (prasada),t these are included in Energy. COMMENTARY. a. 'In Energy' i. e. in attributes of word or meaning TROPICALLY designated by the term ' energy,' (which PROPERLY means an expansion of mind). " 'By Vamana and others,' explains the scholiast. t These four and the following five, vis., Simplicity (madhurya), Lucidness (artha-vyakti), Elegance (kanti), Softness (sukumárata) and Evenness (samata) were recognised by Vamana and others as merits of word.

822 The Mirror of Composition.

Consonance. b. Among these, Consonance consists in the sounding of many words as one; for example :-

उष्यो: पर्ष्पतकन्दरोट्रभुयः कुर्ष्पन् प्रतिध्वानिनीः। छणतपरति ध्वनि: त्ुतिपथोन्साथी यथाऽयन्तथा प्रायः प्रेद्ृदसह्ाणद्धवला वेलेयमुद्गकति॥ (As there arises on high a sound excited by the continuous and furious lashing of the mighty sea-elephants emerging from the deep, which fills with echoes all the hollow grottos of the mountain, distract- ing the passage of the ear; so rises yonder wave white with unnumbered shells rolling incessantly .* ) This is no other than Energy, consisting, as it does, in the rough- ness of the composition. c. Harmony consists in alternate rising and falling. Rising and falling mean elevation and declension, i. e. Harmony. an increase and decrease of sonorousness ; tho alternation of these is their arrangement in a manner not marring the relish. As, चच्ङ्जेत्यादि (see $598. a). Here in the first three verses, there is a gradual increase of sonorous- ness in the composition; in the fourth line, a decrease, though this too is forcible, inasmuch as it is pronounced with strong effort.

Sprightliness. d. Sprightliness is briskness of style. It consists in what may be called a dancing movement of the words; e. g. सचरण विनिविष्टे नूप रेनसंकीनां। भणिति रशितमासीत्तय चिच्र कलस॥ (There was the varied and melodious jingling of the anklets which the dancing girls wore on their feet.) Here also, according to the teaching of the ancients, without a reference to the Relish, there is Energy resulting from the liveliness o the expression. e. Brilliance consists of simplicity, Brilliance. mingled with energy ; for example :-

• The scholiast reads rastry for yry :- and interprets it 'rolling from being dead,' which is evidently a mistake, for shells living or dead must roll with the rolling waves.

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यो यः अकां विमर्ति समजगुवमदात् पाणवीनां चमूमां यो यः पाचालगवे मिशरधिकवया गर्भशय्यां गतो बा। यो यसत्कामसाची चरति सयि रणे यस यथ प्रतीप: क्ोधान्धस्तस्य तस्य स्यमिह जगतामन्तकस्यान्सकोऽहम्। (Whoever holds a weapon, &c. see §368, a). TEXT. No. 615. In declaring that Sweetness is manifested by an absence

Simplicity. of compounds, we have already admitted the 'Simplicity' of the ancients defined to be 'a separateness of words.' . COMMENTARY. a. For example :- मासानमसति भूतले विलवतत लवम्मार्गमालाकते दीघें रोदिति वितिपत्यत इतः चाभां भजावजरीं। किश प्राणासमान काडचितवती खप्ेपि ते सङमं मिद्रां वाञ्कति न प्रयष्तत पुनदग्धो विधिस्तामपि। (She pours forth sighs &c., see §147, a). TEXT. No. 616. Lucidness is included under the merit named by us

Lucidness. Perspicuity, for lucidness of words is no other than their conveying the meaning immediately.

COMMENTARY. a. Exampies are obvious. TEXT. No. 617. Elegance and Softness (are admitted by us) in the nega-

Elegance and Softness. tion of Vulgarism (§574, e.) and Unmelo- diousness (§574, ») respectively. COMMENTARY. a. Supply ' are admitted by us' to complete the sentence. b. Elegance is refinement. It consists in brilliancy of language, contradistinguished from familiar speech and opposed to expressions used by rustics and others. Softness is the absence of harshness. d. Examples of these are obvious.

324 The Mirror of Composition.

TEXT. No. 618. Asfor Evenness which consists in an uniformity of style,

Evenness. it is sometimes a blemish. In other cases it is to be included, according to propriety, under the Merits specified. COMMENTARY. a. Uniformity of style is the completion of a composition in the

Uniformity of style. soft or harsh style in which it is begun. This is in certain cases a fault, which we shall illustrate by an example of its contrary :- पययूढाङ्मरूढपाणिजठ राभा गद्य विश्रद्धपु: पौरीन्द्र शिशुरेष पाणिपटके सम्मातु किस्तावता।

(It matters not that this young lion, in whose frame the limbs are undeveloped, the fulness of whose paws and belly is unformed, can be contained in the hand; for the fire of universal dissolution is small in comparison with it, when its fury dries up the powerfully streaming flood of exusion of a hundred elephants, the odour rising from which is intolerable.) Here the dropping of the soft style in the third and fourth lines where the subject-matter is exalted, is a merit. When the case is different from the above, i. e. where the sentiments in a single piece of poetry do not vary as to magnificence or mildness, a consistency of style would be included under Sweetness or Energy, as the composition is smooth or rough. As लवाकुश्जं गु्दित्यादि (see g608, a).

TEXT. No. 619. Force or Vigour (ojas), Perspicuity (prashda), Beauty

Merits of sense recog- (mádhurya), Mildness (saukumárya), and nised by the ancients, dis- Elegance (udarata),* recognisedby the ancients cussed. as merits of the sense, have been admitted by us, inasmuch as their contraries have been noticed as blemishes. * These and the five disoussed next, viz. Manifestation of nature (artha-vyakti), Loveliness (kanti), Ingenious Collocation (slesha), Consistency (samata), and Imagination (samashiy were the merits admitted by Vamana and others as belonging to the sense or sentiment.

The Mirror of Composition. 325

COMMENTARY. a. Force consists in pregnancy of meaning; Perspicuity is clear- ness of sense; Beauty is diversity of expression; Mildness is an ab- sence of harshness; Elegance is freedom from rusticity. These five excellences of sense are admitted by merely rejecting respectively the faults, Irrelevancy (§575, a.), Redundancy of a word (§576, d), Monotony (§576, i.), Indecency of inauspiciousness (§576, h.) and Rusticity (§576, e.). Illustrations are obvious. TEXT. No. 620. Manifestation of Nature (has also been admitted) under Manifestation of Nature the ornament of Natural Deseription (§750), and Loveliness. and the Merit named Loveliness, under Suggestive Poetry and Poetry of Subordinate Suggestion. COMMENTARY. a. The words 'has been admitted,' complete the construction. Manifestation of nature is fidelity of representation. Loveliness is fulness of Flavour. Examples are obvious. TEXT. No. 621. Ingenious Collocation is merely strikingness of descrip- Ingenious Collocation and tion; and Consistency again is only the Consistency. absence of a blemish, or a negative merit. COMMENTARY. a. Ingenious Collocation is a composition consisting of a combina- tion of krama (a succession of acts), kautilya (cunningness), anulva- natwa (absence of extravagance) and upapatti (probability). Of these, krama is a series of actions; kautilya, ingenious behaviour ; anulvanatwa, an absence of far-fetched representation; upapatti, an adjustment of reasonable circumstances conducive to probability. A combination, or commixturo, of these four elements forming what is termed s'lesha produces only a striking effect, and it cannot be admitted as a particular excellence of poetry, for it does not serve to heighten the Flavour in a manner not common to other innumerable circumstances that may be imagined by the poet. For example: 'Seeing his two dearest ones' &c. (§107). Here the actions are ' seeing' and so forth ; the cunningness is the paying attention to both; an absence of extravagance eonsists here in the natural behaviour; the circumstances conducive to probability are

326 The Mirror of Composition.

expressed in the words 'seated together,' 'having approached from behind,' 'having closed the eyes,' and 'gently turning his neck.' In- asmuch as in this combination, the reader's attention is engrossed in apprehending the probable circumstances mentioned, the tasting of the flavour is postponed in some measure, and consequently there is no positive merit. b. Consistency is an absence of incongruity in the meaning of the whole, by non-violation of uniformity in respect of the gram- matical radicals and suffixes employed, and this is a mere absence of the fault termed Violation of Uniformity (§575. bb.) Exemplifica- tion is superfluous. TEXT.

Imagination. No. 622. Nor is Imagination (samádhi) a Merit.

COMMENTARY. a. Imagination consists in the conceiving of a new thought (ayon- yartha) or of a thought based upon that of another poct (anyachchhayá- yonyartha). An original thought is exemplified in 'The orange vieing with the chin of a drunken barbarian (huna) just shaven.' A thought based upon that of another is illustrated in the following couplet: 'The fair gatherer of flowers oft deceived by the reflection of .her own eyes in the water, hesitates to extend her hand even to the real blue lotus.' In this example, the trite comparison of eyes to the blue lotus is ex- pressed by a peculiarly striking circumstance. This twofold Imagination, inasmuch as it gives rise to no peculiar beauty, is no Merit, but simply serves to sustain the poetical character* of the composition. b. In some cases, where a single object, for instance, the moon is

Periphrasis and Concise. to be spoken of, it is represented peri- ness, Amplification and phrastically as 'the light which sprang Condensation, defined. from Atri's eyes.' In other instances where the meaning of a whole sentence is to be expressed, as ' a lady whose tender limbs are cool in summer and warm in winter,' it is conveyed by a single term vara-varnini. In other cases, where the * Lit. composee the mere body of the poetry, viz. words and sense, relish being the soul.

The Mirror of Composition. 327

meaning of a single sentence is enounced in several sentences by inserting qualifications, there is Amplification (vyasa) ; where the meaning of several sentences is expressed by a singltsentence, there is Condensation (samasa) .* Theset and other excellences mentioned by other authors are not properly speaking merits, but merely minis- ter to striking effect.

TEXT. No. 623. Therefore the Merits of sense are not distinct. COMMENTARY. a. 'Therefore,' for the reasons above mentioned. ' Merits of sense,' i. e. Forceand the rest, discussed above (§ 619). So much for the ' Discussion of Merits' the cighth chapter of the MIRROR OF COMPOSITION.

• Amplification and Condensation are exemplified by the scholiast in the following two stanzas respectively : कसा नानाकारो भवति सुखदुःसूर्यातकर: सुखं वा दुःखं वा भवति न भवत्येव च ततः। पुनसस्म्राटू्धं भवति सुखदुःखं किर्मपपि तत् पुनस्स्म्ादूद्ध भवति नच दुःखं न च सुखम्॥

सूयतां धम्मेसव्वंखं सुता चाप्यवधार्य्यताम्। चातनः प्रतिकूलानि परेषां न समाचरेत्। (Mahabharata.) These latter verses I insert here the more, as they show that the Indian law- givers had not a distant perception, as Prof. Max Müller supposes, of the truth of the maxim ' Do to others as ye would that others should do to you,' but that they were aware that it forms the essence, the sum-total, the sarvaswa of all our duties to our neighbours. t These four peculiarities of expression, says the commentator, were recog- nised by the ancients under the title ojas (force or vigour) which was one of the merits of sense (see § 619).

328 The Mirror of Composition.

CHAPTER IX.

The Discrimination of Style.

a. "Here the author, postponing the description of Ornaments which come next in the order of enumeration (see § 5), as requiring a detailed treatment, proceeds to deacribe Style. TEXT.

Style defined. No. 624. Style is an arrangement of words, auxiliary to Flavour, &c., as the conformation of the body is to the soul. COMMENTARY. a. 'To Flavour dc.' which are the soul of poetry, while the words and the meaning are its body. TEXT. No. 625. Of this, there are four varieties, viz. the Vaidarbhi, tho

• Its four varieties. Gaudí, the Panchálí, and the Látí, preva- lent respectively in Vidarbha, Gauda, Pan- chála and Láta. COMMENTARY. a. 'Of this' i. e. of Style. Among these varieties :- TEXT.

The Vaidarbhi style de- No. 626. A dulcet composition with let- fined. ters manifesting Sweetness (§ 606), with few or no compounds, is designated the Vaidarbhi style. COMMENTARY. a. For example-चनक्मअलभव इन्यादि (see g608 a.) b. But Rudrata says: 'The Vaidarbhi contains no compounds or but few, has the ten Merits, abounds in the second letter of each series in the alphabet (viz. w), consists of letters pronounced with little effort; and is of easy construction.' Here the ten Merits are those enumerated in his system, &'lesha (compactness) and the rest .*

These are probably the same with those mentioned by Dandin in bis Kiwvádhra'a, Chap. L sloka, 41.

The Mirror of Composition. 329

TEXT.

The Gaudi style defined, No. 627. The Gaudi is & grand style, composed of letters manifesting energy, and abounding in compounds.

COMMENTARY. a. For example; चषङ्वजेत्यादि (Bee g 598 a.) b. But Purushottama says: 'A style comprising numerous com- pounds and consisting of letters pronounced with vigorous effort is termed the Gaudi; as also a composition of languid sentences,* dependent upon a profusion of alliteration.'

TEXT. No. 628. A composition, comprising other letters than those of The Panchali style de- the two (foregoing) styles, and containing fined. compounds of five or six words, is held the Páncháliká.

• The original has वन प्रासमद्िमपरतन्त्रा सोभवाक्या which Premachandra in his commentary on the Kavyadarsa, reads- raT, overlooking this* second peculiarity of the Gaudi style. My translation is according to the interpretation of Ramachandra the commentator of the present work. He cites the authority of the Kávyadarsa itself-

शिथिलं मालतीमाजा लोलालिकलिला यथा। "The compact style is one untouched by languidness; a languid style being composed of syllables pronounced with little effort ;" as, (to give Pope's ex. ample, though harsh enough, judged by the Sanskrit standard)- 'The line too labours and the words move slow.' Or, 'That like a wounded snake drags its slow length along.' . Premachandra makes fafue the epithet of fere and construes the example to be one of the compact or firm style. This forced explanation is undoubtedly a mistake as is still more clear from sloka 69th of the same work. It may not be out of place to remark here that Acharya Dandin entirely concurs in the precept of Pope- 'And praise the easy vigour (sllesha) of a line, Where Denham's strength and Waller's sweetness join.' -and that it is not too much to suspect that many of the songs of Jayadeva, a Gauda, would sound languid.in his ear. Indeed, Dandin is sometimes unfair. ly opposed to the Gauda style of composition, though he rigatty condemns its principal faults.

830 .The Mirror of Composition.

COMMENTARY.

. a. 'Of the two' i. e. of the Vaidarbhi and the Gaudi. b. For example:

. मधुकराङनया मुजरुनादध्वनिद्टता निभ्टताक्षर सुज्नगे।। (The sweet female bee, with joyous melody, softly hummed ever and anon,-her sensibility expanded by the exuberant nectar of the Madhaví creeper blooming in spring.) c. But Bhoja says: A sweet and soft style characterised by force (ojas) and elegance (kánti), containing compounds of five'or six words, the learned designate the Panchali ?

TEXT.

The Láți style defined. No. 629. The Láți is a style interme- diate between the Vaidarbhi and the Pán- ch .lí.

COMMENTARY.

a. For examp'e :- चयमद्यति मद्राभञ्जन: पद्मिनीना- मुद्यगिरियनालीबालमन्दारपृष्पम्।

(Yonder rises the cause of the expansion of the lotuses; the new- blown Mandara flower in the extended forest of the Eastern mountain; the friend of the separated couple of ruddy geese sorrowing in separa- tion; dispelling the gloom and glowing like the middle of an angry quadruman's cheek.) b. A certain authority has said: 'The Lați is a style agreeable from the simplicity of its compounds, not superabundant in conjnnet letters, and describing' things by a number of appropriate epithets.' Others have said: ' The Gaudi is a grand composition ; the Vaidarbhi aweet, tke Pancháli mixed, whilst the Láti is composed of simple #ordm'

The Mirror of Composition. 331

TEXT.

The modification of style. No. 630. Sometimes the style &e. should be modified or adjusted for the sake of appropriateness as to the speaker and the rest.

COMMENTARY.

a. 'The speaker and the rest:' 'The rest' refers to the subject- matter and the particular species of poetical composition. ' Style &c.'-the et cetera includes the use of compound words and the harsh or soft letters. b. Of these several cases, a modification for appropriateness as to "the speaker is exemplified in मन्यायस्तारणवान् इत्यादि. Here though the subject-matter, the sound of a kettle-drum, does not manifest anger or the like, the style &c., are lofty, the haughty Bhimasena being the speaker. c. For appropriateness as to the subject-matter, as in the verses already cited-मदव्याधयमान &c. d. An adjustment of diction suitable to the species of Composition ; as, in the drama, compound words, for instance, are not used even where the sentiment is lofty as In the Furious Flavour, for they are unfavourable to acting, being hard to articulate as well as to under-

मन्यायस्तारण वाभ:अतकुद्दर चलनान्दरध्वानधीर: कोसावानेषु गज्जत् प्रबलषनघटान्योन्यसघटचपड: ।

केनाअत्सिंडनाट् प्रतिरसितरवो दुन्दुभिसताड़ितोऽयम्। Vent Sanhara The reader will observe that our author rather hastily thinks that the style of these verses corresponds to the haughtiness of the speaker rather than to the loftiness of the thought. The following is a translation : Who is it that thus beats the kettledrum, the sound whereof is so akin to the resonance of my own leonine roar ;- which seems as if it were an ominous whirlwind foreboding the destruction of the hundred Kauravas and the harbinger of the wrath of Draupadi ;- which, at these violent strokes, imitates the fierce rattle of heavy thunder-clouds clashing against each other, and is grave again like the sound emitted by the Mandara mountain whirled in the churning of the ocean, as its waters rashed into its hollow cavos.

332 The Mirror of Composition.

atand. Similarly, in the Akhyáyika (§ 568) smooth letters, for instance, are not to be profusely introduced even where the Flavour is Erotic, and in the Katha (§ 567) they ought not to be too rough even when the Flavour is Furious. Thus other particulars are to be understood. So much for the ' Discrimination of Style,' the ninth chapter of the Mirror of Composition.

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CHAPTER X.

The Declaration of Ornaments.

He now declares the Ornaments, the occasion for treating of them having arrived, after the discourse on Faults, Excellences and_Styles, the other accompaniments of Poetry.

TEXT. No. 361. Those non-permanent attributes of a word and its sense,

Ornament defined. . that add to their beauty and aid the flavour or the like,* are styled Ornaments, being like bracelets and the like, that adorn the human form.

COMMENTARY. a As bracelets and the like, by promoting the beauty of the person, advantage the man, so Alliteration, Simile and other figures, which, by adding to the beauty of word and sense, serve to aid the flavour or the like, are termed Ornaments. b. 'Non-permanent'-i. e. their (the ornaments') presence is not necessary like that of the excellencies, or the merits of Sweetness, Energy, and Perspicuity (see Chapter VIII). c. Since of a word and its sense, the word becomes first the ob jet of apprehension and then the sense, it is proper to speak first of the ornaments of word; and the semblance of Tautology, though an orna- ment of word and sense, being by the ancients defined among ornaments of word, he declares first.

TEXT. No. 632. What at first sight appears to be the repetition of a sense,

Semblance of Tautology. is called the Semblance of Tautology,t and this consists in the use of different words of the sams apparent import.

• 'The like' sums up all those sentiments that excite poetical delight, though they are not fully developed, from the want of some of its requisites into Flavonr or Relish properly so called. See pp. 39 and 132. t Or Paronomaaia of Synonyma.

334 The Mirror of Composition.

COMMENTARY. a. This is an example :- भजज्रकुण्डली व्यत्भभ्रिशवांशभीतगः। जगन््यपि सदापायादव्याश्चेतोपर: शिव:॥ (He who has a serpent for his earring, on whose head is manifest the moon with the camphor-white rays, may the heart-ravishing S'iva ever preserve the worlds !) Here the compounded words HTT-Ft for example, seeming How it belongs to both at first sight both to mean a serpent, bear word and sense. the appearance of being tautological,"but afterwards they come to convey a distinct sense, viz., 'one who wears a serpent for an earring.' In पायादव्यात् the ornament consists in the seeming tautology of an action, for the seeming verb yrara terminates in being recognized as uTaTa the having coalesced in sandhi, or combination, with the T of UZT. Of the words yorr-en the former only admits of being exchanged for a synonym ; of इर: शिव: the latter only, and both of अमिशुभांभ. In the sentence भाति सदा Sनत्या sग: '(A mountain shines by never bowing),' neither of the seeming words T and RITa: can be exchangod. Thus the figure in question is an ornament both of word and sense, inasmuch as it can partially endure an exchange of words.

TEXT.

Alliteration. No. 633. A similarity of sounds, not- withstanding a difference in the vowels, is what is called Anuprasa, or Alliteration.

COMMENTARY. a. A similarity in mere vowels, not being striking, is not counted an embellishment. b. Anuprása (anu + pra + ása from as to throw) means etymologi- cally, a throwing or sotting together of words in an excellent manner favourably to favour.

Wrongly divided in Roer's edition-भाति सदा न त्याग:

The Mirror of Composition. 335

TLXT.

Single Alliteration. No. 634 The Chheka, or Single Alli- teration, is a similarity occurring once and in more than one way among a collection of consonants. COMMENTARY. a. The Chheka-i. e. the Chhekánuprása. b. 'In more then one way'-i. e. both in the nature of the sound and in the order of their succession. The similarity, for instance, in Te: ET: with a difference of order is not the subject of this ornament. c. This is an example of my revered father's :- चादाय वकुलगन्धानन्वीकुष्पन् पदे पदे समरान्। . चयमेति मन्दमन्दं कावेरीवारिपावनः पवन:॥ (Wafting the perfumes of the Vakula,* intoxicating the bees at every step, here blows softly and slowly the purifying breeze from the holy waters of the Káverí). There is here the recurrence of two combined consonants in ament of two separate in बेरी-बारि, and of many, in पावन: पवनः d. 'Chheka' means skilful, and as being used by them, this figure is called the Chhekanuprasa, or the ' Alliteration of the skilful.' TEXT. No. 635. Similarity among a number of consononts in one way

Harmonious Alliteration. or that occurring more than once (which distinguishes it from the above ornament) and in more than one way, or the same single consonant recurring even once is termed Vrittyanuprasa, or Harmonious Alliteration. COMMENTARY. a. 'In one way'-i. e. in nature only and not in order too. 'In more than one way'-i. c. in order as well as in nature. In the ex- pression ' even once' by the word ' even' is implied ' also more than once if possible.' b. The following is an example :- पन्तोस नंघुगन्धलव्यम भुपव्याधूतचताङ्कर- क्रोड़स्फो किलकाकलीक लक लैवड्गो पकर्फ उपराः । भीयम्मे पथिक: कँथं कथमपि ध्यानावधानकण-

Mimusops Elongi. Wilson.

386 The Mirror of Composition.

(Hardly and with difficulty are passed these days by the wander- ing lovers, enjoying the fancied bliss of the company of their sweet- hearts obtained but in the transient momente of mediative vision- these vernal days when the ear is tormented with the sweet confusiou of the warbles of kokilas sporting on the mango sprays, which are shaken by bees allured by the scent of the overflowing honey). In this example the two () and () are similar in one way only, their order not being the same. In the second line of the stanza the consonants a and recur more than once and in the same order; in the first line the letter a recurs once and'y more than once. c. An arrangement of letters ministering to the heightening of flavour is termed ' vritti' (i e. style adapted to the sentiment) and the present ornament is called ' Vrittyanuprasa' since it consists in an excellent disposition of words in conformity with that arrangement. TEXT. No. 636. When there is a similarity among consonants alone, as

Melodious Alliteration. being pronounced by the same organ of speech ouch as the palate, the teeth or the like, this is styled S'rutyanuprasa. or Melodious Alliteration. COMMENTARY. a. For example :- दश द्ग्धं मनसिजं जीवयन्ति दशैव या:। विरूपाचस्य जयिनी साःसमो वामलोचनाः। (Them who with a look recall to, life the mind-born god who was burnt by a look-we glorify the fair-eyed women the conquerors of the fierce-eyed divinity Siva). Here, in the words जोवयन्ति या: and जयिनो: the consonants ज and & being uttered from the same part of the mouth, viz., the palate, are similar. Similarly might it be exemplified of the gutturals, dentals, &c. And this is named S rutyanuprasa because of its being extremely delightful to the ear (s'ruti) of the man of taste. TEXT. No. 637. If a consonant, its predicament unaltered, together with Fitat Alliteration or the foregoing vowel, is repeated at the end Rhyme.+ of words or lines, it is termed Antyanu- prasa, or Final Alliteration.

The Mirror of Composition. 337

. COMMENTARY. a. 'Its predicament unaltered'-i. e. joined, as the case may be, with an anuswara, visarga, vowel or another consonant. b. And this figure is generally to be used at the end of verses or of words. Coming at the end of verses, this is illustrated in the following stanza of mine :- केशः कापसवकविकास: कायः प्रकठितकरभविलास:। पचुदग्वराटककल्पं त्यजति न चेत: काममनस्म्। (The hair bears the appearance of a bunch of the Kasa grass :* the body, bent down and hunch-backed, displays the beauty of a young camel's frame : the eyes are facsimiles of a burnt cowri: yet the heart quits not its exorbitant desires.) c. Coming at the end of words, this figure is instanced in wut इसन्तः पुलकं वहन्त इत्यादि. (Sweetly smiling, with their hairs erect with joy, &c.) TEXT. No. 638. A repetition of sound and sense when there is a differ- Láțánuprása. ence in the mere purport, is spoken of as the Láțánuprása. COMNENTARY. a. For example :- सेरराजोवमयने नयने किं निमीलिते। पशय नि्ष्जितकन्दर्प कन्दर्पवशगं प्रियं।। (Why hast thou closed thine eyes, fair lady with eyes like the smiling lotus ? Behold thy love who surpasses Cupid, by Cupid brought to subjection.) Here though the meanings of the case-endings of the repeated words are different, yet the more important ideas of the concrete objects, conveyed by their crude portions, are the same, hence there is *here a case of the Látánuprása. b. In the example-" His eyes are eyes indeed in whose pre- sence will be this fair-faced one," the second ' eyes' diffems in meaning simply in being designed to imply a possession of such attributes as good fortune or the like. This, then, is also an instance of the Saccharum spontaneum. Wilson.

338 The Mirror of Composition.

same ornament though assuming here the character of what, in Greek Rhetoric, is designated PLOKE, ThOKn. c. Or to take another example :- यस्य न सविधे दयिता दवद्दनसच्तिनदीधितिस्तस्य। यस्य च सविधे दयिता दवदद्नसुच्दिनदीधितिस्तस्य।। (To him who has not his love by him, the cool-beamed moon is a conflagration, and to him who has his love by him a confla- gration is the cool-beamed moon.) In this example we have a repetition of many words. d. This figure is termed Látánuprása from its being generally liked by the people of the country Láta .* TEXT. No. 639. Anuprása (Alliteration) then is fivefold.

COMMENTARY. a. The text is clear. TEXT. No. 640. The repetition, in the same order, of a collection of The Yamaka. vowels and consonants, the sense, where there is one, being different, is styled Yamaka, or Rhyme. COMMENTARY. a. In this ornament both the sounds repeated are sometimes significant and sometimes meaningless; sometimes one of them has a meaning and the other, none: hence is the clause 'where there is one' inserted in the text. 'In the same order'-this implies that such repetitions as AT aIZ have no connection with the present figure. b. And this figure, consisting of the repetition of a word, a line, a half stanza and a stanza is abundantly divisable, because of the numerous ways in which the repetition of a word &c., may be made. o. A part only is exemplified as follows :- नयपसामपलाशवमं पुर: स्फुटप रागपरामतपढ्डजं। भ दुमताम्स्ताम्ममलोकयत् स सुरभिं सुरर्भि सुमनोभर:। The npper part of the Dekhin, Lar or Larice. Wilson.

The Mirror of Composition. 339 (He saw before him the spring, fragrant with an exuberance of flowers, under whose influence the Palas'a* forest had assumed a fresh foliage, the lotus was filled with manifest pollen and the ten- der ends of plants were fading). Here we have the repetition of words. In YeTw veT as also in सुरभिं सुरमिं both the sounds repeated are significant, in लतान्त लतान्त the former is meaningless; in पराग पराम the latter bears no sense. Similarly might the othcases be exemplified. d. According to the rule, vis., "and , a and , and are to be held the same letter in the Rhyme or the like," there is no violation of this figure in this verse of Kalidusa भुज्धलतां जड़तामबला- जनः ।

TEXT. No. 641. When one construes a speech of another in a sense dif- Crooked Speech. ferent from what is intended, by a Paronomasia or a change of voice, it is termed Vakrokti or the Crooked Speech, and is twofold according as it is founded on the one or the other. COMMENTARY. a. 'Twofold' as being Paronomastic Crooked Speech and Accen- tual Crooked Speech. b. For examples of these two kinds in their order :- 'के यूयं'-'स्थल एव सम्प्रतिवयं'-'प्रश्नो विभेषात्रयः' 'किं जूते विहगः सवा फणिपति यनासि सुप्नो हरिः'। 'वामा यूथ'-'मड्डो विडम्बरसिक: कीटक सरो वर्चते येनाआसु विवेकशन्यमनस: पंखेव योषिट्धमः॥ "Who are you ?'-playing upon the word ar which means water also, the addressees reply-' Forsooth, we are on the ground just now.' 'Nay my question is touching the particularity (vis'esha of your caste or country.' 'What says the bird (vi) or the lord of the serpents (s'esha) on whom Vishnu is sleeping ?'-' You are perverse *(vamá)-'Aha, how fond is cupid of deluding people-this man, robbed of all discrimination, mistakes us men for women (vama) !" Here in the word vis'esha there is a ' Paronomasia with division,' as vis'esha, divided into vi and s'esha comes to be connected with the * Butea frondosa. Wilson.

340 The Mirfor of Composition.

two meanings of ' bird' and 'serpent.' In the other instances there is that ' without division.' " In the season noisy with the Kokila's warbles and delightful with the blooming mango plants, her heart grieves not (na duyate) to have abandoned her offending lover." .Here the negative (na) used in the sense of denial by one of the fair friends of the lady, is by another constructed into an affirmative signification through an interrog we change of voice, thus- ' Grieves not her heart ?- it DOES.'

TEXT. No. 642. When a sentence is formed of words which are the same Linguistic Same- in a variety of tongues, it is named Bháshasama, ness. or Linguistic Sameness.

COMMENTARY. a. For instance this stanza of mine :- मधुलमणिमऔजीरे कलगभीरे विहारसरसीतौरे। विरसासि केलिकीरे किमालि धीरे व गन्सारसमोरे। (Dost thou, fair friend, take no delight now in the charming anklet of gems sounding with deep melody, in the border of the pleasure- lake, in thy fondled parrot, or in the gentle breeze wafting the per- fume of sandal?) This stanza is the same in the Sanskrit, Prákrit, S'auraseni, Prá- chí, Avanti, Nagara, and Apabhrans'a, tongues. b. In such a sentence, however, as "Sarasam kaiņa kavvam" (Sweet is the poem of the poet), though the word sarasam is the same in Sanskrit and Prakrit, it is no ornament, for the sameness does not pervade the whole sentence and is therefore not striking. TexT. No. 643. When more than one sense is conveyed by distinct Paronomasia or words coalescing into identity, it is termedi Coalescende. Paronomasia or Coalescence (S'lesha.) And this is eightfold according to the coalescence of Letters, Affixes, Genders, Verbal Bases, Inflected Words, Inflections, Numbers and Tongues.

The Mirror of Composition. 341

COMMENTARY. a. For examples in their order :- प्रतिकूस तामुपगते द्ि विषा विफन्त्वमेति बञ्साधनता। सवलम्बनाय दिनभर्सुरभूव्न पतिष्यत: करसहसमपि।। [When Fate (or the moon) stands in opposition, an abundance of resources becumes fruitless: the Lord of day while falling, could not be held up by a thousand rays.] Here in vidhau there is a coafescence of the LETTERS i and u of the words vidhi (fate) and vidhu (moon), these letters being changed into au in the locative. i. किरणा हरिणाङ्कय्य दच्िणास समीरण:। कान्तात्स पजुषां नूनं सर्व एव सुषाकिर:॥ (The beams of the moon, the breeze of the Southern quarter-all shed ambrosia to those who are seated in the lap of their beloved.) We have here the coalescence of the kwip and ka AFFIXES* in su- dhakirah (ambrosia-shedding), kirah as plural being formed by the addition of the former to the verbl root kri, and, as singular, by that of the latter. Besides, there is also here a coalescence of NUMBERS from the singular and plural numbers assuming the same form in sarvat and sudhakirah. c. विवासन्नेनमीलाजे तथा तन्वाः खनइयी। सय दभां सदा मोदं लसतरलचारिणी॥ (Those charmingly bright and tremulous eyes of the slender- bodied lady that shine like blue lotuses; and those breasts with the bright and tremulous necklace-may they ever be a source of delight to thee !) Here we have a coalescence of the neuter and feminine genders in the epithet lasat-tarala-hárint which, as neuter dual, applies to vika- san-netra-nilabje (eyes shining like blue lotuses); and, as feminine singular, to stanadwayt (couple of breasts). There is also a coales- cence of numbers in the said word and dattam, which latter in the "Parasmai-pada" is the dual imperative of da (to give), and, in the "Atmane-pada" the singular imperative of the same verb. * Both of these form participal adjectives. t Sarve (plnral) and sarvah (singular) coalesce into sarva before eva, ao. cording to the rales of ' Sandhi'.

342 The Mirtor of Composition.

d. चयं स्वाणि शास्त्राणि ददि भेषु च वच्यति। साम्थ्यंकदमिनाणां मियाणाच उपाताज:।। (This prince will carry all scriptures in his heart and expound them to the wise, will give strength to his friends and destroy the power of his foes.) Here we have a coalescence of the BASES vah (tosout) and vach (to tell or expound) in vakshyati, and of krit (to cut) and kri (to do) in samarthyakrit (creator, or destroyer of strength.) 6. पृथुकानतखरपानं भूषितनिःशेषपरिजनं देव। विलसस्करेणगहनं सम्प्रति समभावयो: सदनम्॥ (Our houses, O king, are now literally alike-mine filled with the distressful cries of children, thine with vessels of massive gold : mine with the whole family lying on the ground, thine with unnumbered attendants decorated ; mine with holes filled with heaps of dust, thine thronged with majestic elephants.) Here there is a coalescence of INFLECTED WORDS (pada), not of mere bases, for when the compounds are analysed in relation to either of the two meanings, the inflections and composition (samasa) in each compound are, in the case of one sense, different from those in the case of the other : that is to say, not only do different bases coalesce into iden- tity but different case-endings and different varieties of Composition .* f. And.so- नीतानामाकुलीभावं लुन्येभूरिशिलीमुख:। सटशे वनदानं कमलानां तदीकषणे। [Her eyes are like lotuses full grown in water, agitated by greedy swarms of bees; or (as the same words import) they are like the eyes of wild deer, overwhelmed with a multitude of arrows shot by the eager hunters.] Here, although there is a coalescence in the words lubdha (greedy or hunter) and s'ilimukha (bee or arrow), there is admitted the coales- cence of BASES only, because of the sameness of the inflections in either of the coalescent words. Otherwise, i. e. if we do not recognize a coalesance of bases in such cases as this, we should have to hold a coalescence of inflected words in every case. Por instance, the Bahuvrihi and Tatpurusha in prithukartaswarapatram.

The Mirror of Composition. 343

g. सवखं दर सवस्य तं भवचेदतत्पर:। नयोपकारसाममुष्यमा यासि समुवर्तनम्। [O Hara (S'iva) thou art my all, and busy art thou in liberating all creatures from this miserable mundane existence; and thou mani- festest thyself in a corporeal form, the very presence of virtue and beneficence .* ]. Here in the case of one sense, ' Hara' is an address of S'iva and the inflection is nominal; in the other case it is formed from the root. hri (to plunder) by a verbal inflection. So there is here a coalescence of INFLECTIONS ; similarly in bhava &c. And this sort, though in- cluded under the coalescence of AFFIXES, is separately mentioned from its peculiar strikingness, arising from the circumstance of its belong- ing to inflected forms of nouns and verbs which cannot be obtained by the addition of other affixes than those that take the name of in- flection. h. मछदे सुरसन्धमो तमव समासङ्मागमारणे। हर बडसरयं तं चित्तमोहभवसर खमे सहसा॥ (O thou Light-bestowing Uma, foster in me that fondness for the acquirement of knowledge, wished for even by the gods, and destroy that mental delusion that, on every occasion, creeps through many an object.) As Maharashtri this is turned into Sanskrit thus :-

महं देषि रसं धर्म्मे तमोवशामाशां संसाराडर नः। हरवधु शरएं वं चित्तमोच्ोऽपसरतु मे सहसा।। (Give me, O consort of S'iva, a love of virtue and destroy our fond- ness for the world that is born of ignorance. Thou art my refuge, O goddess! May my mental darkness be at once removed !) Here there is a coalescence of the two distinct tongues, Sanskrit and Maháráshtrí.

• For men are thus enabled to purify themselves by contemplating thee, who in thy true spiritual nature art beyond human conception. The follow- ing amiable advice of a demon to his son is the other import of the stanza !- " Plunder thon the whole . property of all, let murder be thy chief business, drive off benevolence from thy presence and carry on a trade of perpetual persecution."

344 The Mirror of Comporition.

Texr. No. 644. This (Paronomasia), again, is threefold vix., (1) that The three sorts ' with division,' (2) ' without division' and (3) of Paronomasia. consisting of both these sorts combined. COMMENTARY. a. These three divisions are to be recognized, according to pro- pricty, under the said eight varieties. Or we may exemplify the first two sorts in the following stanza :- येन ध्वयममोभवेम बलिजित्काय: पुरालीक्कतो

यस्याऊः शमिमच्छरो पर इति सत्यं च मामामरा पायात् स खयमन्धक चयकरदलां सवेदोसाधव:।। (May the Lord of Uma ever preserve theeHe who destroyed the demon Andhaka and the deity of love, who of old made a wea- pon of Vishuu's body, who wears huge serpents for his necklace and bracelets, who bore on his head Ganga descending from the heavens, whose head the deities declare ornamented with the moon and whose adorable name they celebrate as ' Hara.')* Here there is a ' coalescence with division' in yena dhwastamanobha- pena (which, in the case of the other sense, is to be differently divi- ded thus-yena dhwastam anah abhavena) ; and one ' without division' in Andhaka-kshaya-karah. The third variety consisting of those 'with division' and ' without division'-for these may be combined in the same instance-is not separately exemplified, for fear of swell- ing the work. b. Here some say-"the only case of the Paronemasia of words is the ' Paronomasia with division' wherein two words that are distinct, as being pronounced by distinct efforts through a difference of accent in the shape of the acute or the like, coalesce in analogy to the lac and wood. Whilst that 'without division' is no other than a Paro- nomasia of Sense. In this the meanings coalesce, or are bound together, analogously to a couple of fruits supported by the same footstalk; for the word, in relation to both the senses, is one and the same, as being pronounced by one and the same effort from the * A emilar reprogentation of Vishnu is the other import, which need not be rendeređ hers*

The Mirror of Composition. 345

identity of the accent. And our opinion that these two kinds, with and without division, are Paronomasic respectively of word and sonsg is reasonable indeed, for an ornament is the ornament of what it is set or founded on : the ornamented and the ornament being recog- .nized, as in every. day life, as the place and what is placed." c. This others do not admit. For here, in the province of postical oriticism, the division. of Suggestion, Subordinate Suggestion (see Chap. IV), Faults, Excellences and Ornaments as belonging to a word or sense- is regulated by their conformity with the word or sense in. their presence and absence, or, in other words, by the circumstance of their appearing and disappearing with the word or sense. Nor is the word Andhaka, for instance, in Andhaka-kshayar karah* identical in conveying the two meanings of the demon so called and the Yadava family, for it is a maxim that a word differs from a difference of sense. Besides, since in the case of a ' Paronomasia without division' it is the word that is suggested by the poet's genius as the principal means of producing a striking effect, it is no other- than an ornament of word. And this strikingness is wanting. in a composition of two dissimilar words, and it is the strikingness that is reckoned as an embellishment. If the figure in question be held an or- nament of sense because of its having an eye to the sense, then even such ornaments as Alliteration and the like would have to be ranked as ornaments of senso, for they too, as being intended for the heightening of the flavour, look to the sense. If you count it an ornament of sense, from the word's being pronounced by one and the same effort, then in such a case as 'pratikulatamupagate hi vidhau' (see §. 643 a) you would be forced to admit an ornament of sense notwithstanding the difference of words. Hence both the cases of Paronomasia, with and without division, must be classed as ornaments of word. d. Where, however, the Paronomasia is not destroyed even by an exchange of words, there it is a case of Paronomasia of sense; as- "From a slight cause they rise and from a slight cause they fall : O how exactly similar are the conditions of the wicked and the extremity of a balance." * See the foregoing tzample.

346 The Mirror of Composition.

e. It is the opinion of some that since this figure (Paronomasia) cannot have a subject distinct from that of other ornaments, and since the ornaments co-existing with it, mentioned as they are by the sage afterwards, frustrate or nullify it, it is to be recognized as the means of the perception of those ornaments. The point is thus discussed by them : In such an ornament as the Modal Metaphor (see § 703) or Indirect Description (see § 706), the second sense not being intended to be expressed but to be suggested, there is not even a shadow of Paronomasia. Even in such a Paronomastic Metaphor as that in the expression Vidvanmanasa-hansa (Thou swan of that Manasa lake-the mind of the learned) though the word manasa bears the meanings both of mind and the lake so named, the Paronomasia is nullified by the Metaphor, for the sense of the lake being what the word manasa ultimately terminates in is the principal signification: and in Paronomasia both the meanings have an equal prominence. In such a Semblance of Contradiction as that in " Sannihita-bálán- dhakara bhasvanmurtih" (She of the radiant form accompanied with the darkness of the hair; or, she of the solar form accompanied with new-born darkness) there is no Paronomasia, for the incongruous sense which is just perceived is not fully developed. So in the Semblance of Tantology (§ 632). Now the above ornamonts being dismissed as not properly co-existent with Paronomasia, we arrive at certain others which do co-exist with it. For example: The figure Equal Pairing* (see § 695) does exist in " Yena dhavastamanobhavena" &c. (§ 644. a) and " Nitánám," &c. (§ 643, f.), as with the same facts (viz. 'preserving thee' and 'resembling the eyes,' respectively) are associated two distinct representations both connected with the subject-matter in the one case, and both unconnected with the subject- matter in the other. खेछेपजातविषयोऽपि म याति वस् देदीति मार्गणशतेय ददाति दुःखं। मोहात् समत्थिपति जीवनमप्यकाखे कटं प्रसूनविशिषः प्रभुरत्यमुद्धि:।। This and some other renderings of names of Indian fgures of speech I have adopted from Mr. Griffith's paper on "the Figures of Indian Poetical Rhetorid ar dlnstrated in the Bhatti Kavya" appended to his ' Specimens of ad Indian Poetry.'

The Mirror of Composition. 847

" The God of the flowery shafts and the master with a little mind are egually troublesome. The one, while he himself has made & person the object of desire, goes not to him to speak in behalf of the party inflamed by him, nay torments him with hundreds of arrows, perhaps in envy. of his body-himself having none, nor stops hore, but distracts him and untimely wrests his life. The other, while his will can command all wealth, is never disposed to say 'give,' and gives only pain on a hundred importunities, and under a mental delusion or groundless suspicion violently deprives men of their lives." · Here we have the ornament called Illuminator (see § 696), since two persons, one (Kama) not connected with the subject-matter, the other (a little-minded master) connected with it, are associated with attributes verbally the same. In such an example as " Sakalakalam purametajjátam samprati sudhans'u-vimbam" (The city with its tumul- tuous noise,-or as the same words import-full in all its digits, has now become the lunar orb) there exists the ornament of Simile. Now as Paronomasia cannot possibly exist apart from one of these figures and as these may exist apart from Paronomasia, and since the latter co-existing as it does with some of these figures, is felt to have & stronger strikingness, such cases properly go under the designation of Paronomasia, otherwise the designation would be altogether abol- ished. f. To this we say: It is not true that Paronomasia has not a province distinct from that of other ornaments. .For in " Yena dhvasta" &c. (§ 644 a.) it HAs a distinct subject, the figure of Equal Pairing ($ 695) in which BOTH the senses are not, as a rule, intended to be expressed, having no place in it. Now, for the sake of including the Equal Pairing in the present example, if it be determined that of the two deities represented, Madhava and Umadhava, only one is intended to be actually mentioned, the other would needs have to be held as hinted at, and thus it would no longer be a case of Paronoma- sia." Moreover in the Equal Pairing a single attribute only is apprehended as connected with more than one subject, whilst here more than one subject is apprehended as associated with distinct

. An equal prominenee of the two meanings being ita condition.

348 The Mirror of Composition.

attributes. Nor in such a case as "Sakala &c." (§ o.) is the Paro- nomasia the source of the apprehension of the simile, for on this sup- position, the Complete Simile (§ 648) would be without asubject. Should you say there is such a subject of the Complete Simile as 'this face is charming like the lotus,' I would reply-no, for if in ' Sakala &c.' there is,no real simile because there is a Paronomasia of words, what fault has the Paronomasia of sense committedinsnch an expression as 'charming'* so as not to preclude, in this case too, a recognition of the simile. The truth is that a verbal resemblance as well as one of quality or action may be the basis of a simile according to the direction of Rudrata: 'The Simile and the Conjunction (see § 739) are both clearly ornaments of sense but they may also be founded on a mere verbal resemblance.' g. 'But then,' our opponent might further object, 'a sameness of quality or action alone is the proper basis of a simile, the resem- blance in such a case being real; whilst a verbal sameness is not & reasonable support for the ornament, the resemblace here being unreal. Consequently the sameness of quality or action alone, not a verbal resemblance as in " Sakala &c.," is the proper subject of the Com- plete Simile, the Paronomasia of sense being set aside from such cases and virtually from all cases, seeing that otherwise there would be no room for the Complete Simile.' h. I would again reply : No; for the unqualified definition of a Similitude that it is a community of attribute or circumstance is not exclusive of verbal sameness. And if in a case of verbal sameness the commnnity, not being real, does not produce a Simile, then how in such an expression as " Vidvanmánasa" (§ e.), does the attribu- tion of the nature of a lake to the mind (figured as a place) founded merely on the verbal identity of "manasa" (mind) and " manasa" (the lake Manasa), become the occasion for the metaphor in the shape of ascribing the nature of a swan to the king? Moreover if the simile is to be admitted only in the case of a real resemblance, then why do you too recognize a Frustrated Simile in such a case as

• The reader must note a nice distinction here, before he can understand the passage. The charmingness of the face and that of the lotus are not one, nor even pxeutly similar, but are identified, by a Paronomasia of sense, into a poiutior rewemblance, in the comparison of the two objects.

The Mirror of Composition. 849

Sakala &e.' (§ e) ? Further it is the Paronomasia that sustains the similitude, not that the similitude sustains the Paronomasia, for the similitude is impossible prior to the Paronomastic composition. So it is proper that the ornament recognized or marked out in such cases be.the simile, which is the principal,-according to the maxim that designations are made after what is chief. i. 'But,' it might be further objected, 'in the province of the ornaments of word there is not admitted the Commixture (see § 757) of figures as principal and sub-ordinate, how then is it here main- tained in respect of the Paronomasia and Simile ?' I would reply- no, that non-admission respects only such figures as the Alliteration or the like, where a reference to the sense is wanting. Similarly is. it to be understood of such ornaments as the Illuminator (§ 696) and the like, when founded upon a verbal similitude, that it is these that are the principal, the Paronomasia being subservient thereto. j. To anticipate an error : सत्पचा मधुरगिर: प्रसाधिताश मदोडतारभा:। निपनन्ति धार्नराङ्ट्रा: कालवशानेदिनीषृठठे॥ ("The well-winged, sweet-voiced swans (hañsa), under the in- fluence of the season, are now descending upon the plains, ornament- ing the quarters, and uttering loud cries of joy." Or "The sons of Dhartarashtra, of agreeable discourse and of proudly valiant under- takings, who are assisted by noble partisans, who have won all the quarters of the earth, now by fate's command fall dead upon the ground.") Here the words ' dhartarashtrah &c.' being restricted to the signi- fication of 'swan' &c. by the description of the autumn which is in hand, the sense of ' Duryodhana' &c. is a suggestion of matter, originating in the power of the words (see chap. VI, § 257). And here since the second representation resulting from the present com- position is meant only to be hinted as the subject-matter of the drama, a comparison is not intended, and so there is neither the suggestion of a Simile nor a Paronomasia. Thus our present subject is all clear now. TEXT. No. 645. When the letters, under a particular disposition, induce

350 The Mirror of Composition ..

The Fanoy Ornament. the shape of the lotus &c., it is termed the Fancy Ornament (Chitra).

COMMENTARY. a. By the ' &c.' are implied a sword, a drum, a wheel, the Gomu- trika* and others. b. The letters, though striking through that particular disposition of them in writing, being tropically identified with the vocal letters striking by means of that partioular succession in which they come in contact with the ether of the ear, it is reckoned an ornament of word. c. Among its many varieties, the composition of the lotus is instanced in this couplet of mine :-

मारमासुषमा चाववचा मारवघत्तमा । मानघूर्चतमायामा सा बामा मेसु मा रभा। (May that lovely lady be mine, who equals Káma's mother- Lakshmi, in beauty, who in fair radiance, excels his consort-I care not for Fortune, no I never care for that goddess, who takes her dwelling with the vilest rogues.) This Composition of an octopetalous lotus has its letters, or rather syllables, in the primary quarters coalescent by exit and en- trance, but not so in the secondary quarters, the syllable of the pericarp, which is repeated eight times, being of course coalescent.t Similarly may the composition of the sword &c. be inferred.

According to the Sarasvati-kanthabharana (another Rhetorical work) the undulating flow of a cow's urine is what is meant here. t This requires explanation. First draw a lotus of eight petals pointing respectively to the eight quarters. Begin with reading and writing the first syllable HT (ma) in the seed-vessel, go out into the eastern petal with the next two syllables THT (ra-ma), then enter, at its point, the south-eastern petal, with the next two syllables Ew (su-sha), then come back to HT (md) in the seed-vessel, make your exit by the southern petal, with IT (cha-ru) return the same way, with TT (ru-cha), to HT (md), and so on reading two syllables in each petal, but repeating them inversely in the four primary ones till yon maka your fhal entrance into the seed-vessel throngh the same petal (the eastern) that you first started from,

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TEXT. No. 646. The Enigma (Prahelika), which, being opposed to Enigma. flavour, is no ornament in poetry, being use- less and ugly as a hump on the human body, is not dwelt upon here. It consists merely in a turn of words, in the shape of the want and addition of a syllable, &c.

COMMENTARY. a. The expression ' in the shape of the want and addition of a syllable' implies three varieties of the enigma, viz. (1) with a syllable wanting, (2) with a syllable added, and (3) with a syllable wanting and a syllable added. For example :- कूर्जान्त कोकिला: साले यावने फुलमम्बुजं। किं करोतु कुरआाची बदनेन निपीड़िता॥ (The kokils warble on the mango tree, the lotus blooms in the water: what may the fawn-eyed lady do, oppressed as she is by love ?* ) Here ' sale' being said for ' rasale,' the syllable 'ra' is wanting; 'yau' is added in ' yauvane' which is read instead of ' vane,' ' ma' is omitted and ' va' added in vadanena used in place of ' madanena.' b. By the '&c.' (in the text) is meant the concealment of a verb, a case or the like. Of these the concealment of a verb, as :- पाण्डवानां सभामध्ये डुय्याधन उपागतः । सस्पे गाव दिरसथ सव्वाप्याभरणानि च। (In the midst of the assembly of the Pandavas, came Duryodhana : to him land and gold and all ornaments.) Here the verb ' aduh' (they gave) is concealed in 'duryodhanak' which is to be analysed into ' aduh yah adhanah;' the enigma boing explainod-Any pauper that entered the assembly of the Pundavas, they gave him land go. So in the other varieties. o. Now the occasion having arrived for treating of the ornaments of sense, and those that are founded on similitude, as being the

Rendered according te the riddle it would read thus: "The kokils warble on the Sal tree, the lotus blooms in youth: what may the fawn-eyed lady do, distressed ae rhe le by the faca."

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principal, having to be defined first, he begins with stating the or- nament of Simile, which, even of these, forms the essence. TEXT. 'No. 647. A resemblance between two things, EXPRESSED by a Simile. SINGLE sentence, and unaccompanied with a contrast or difference, is termed Simile. COMMENTARY. a. In the Metaphor (rupaka -- § 669) and the like the resemblance is suggested; in the Dissimilitude or Contrast (§ 700) the difference too is expressed; in the Reciprocal Simile (see § 667) there ara employed two sentences; and in the Comparison Absolute (§ -666) there is only one object compared, i, e.' compared to itself. Thus we see the difference of the present Ornament. TEXT. No. 648. That is Complete, in which the common attribute, the Simile Complete. words implying comparison, the object com- pared and that compared to, are all expressed. COMMENTARY. a. 'That'-i. e. the Simile. The 'common attribute,' i. e., the quality or action of two objects which occasions their similitude, such as charmingness or the like .- ' Words implying comparison' such as 'iva' (as) or the like,-' The object compared, i. e. a face, for instance. 'The object compared to'-for example, the moon. TEXT. No. 649. That again is Direct (s'rauti) in which the comparison is Direct, and Indireot Si. expressed by such words as 'yatha,' "iva,' rle. 'va' (all answering to the English as) or by the affix '-vat' as equivalent to 'iva;' Indirect (arthi) when such words as ' tulya' (equal) 'samana' (like) &c., are employed, or the affix '-vat' in the sense of 'equal.'

COMMENTARY. a. Though the particles ' yatha,' 'iva,' 'va,' &o., or the English 'as' are eaivalent to the terms 'tulya' (like) &c. used in the other sort of Similes yet since they at the very hearing convey the notion of the re- Iation of similarity between the objects compared together, their employ-

hakes a Simlle direot So in the employment of ndt when affs locatively or pomowrinely in the sense of iva (s) according to i'e rulo Tatra Caryeua (V. 1, 116)2 The terms (liks &c., on the other hand, rest with the object com pared, as in "The face is like the lotus; or with the object to whict the comparison is made, as in The lotus is the like of the face;ol with both, as in 'The lotus and the face are alike :' so it is throush our looking after their implied sense that these words come to expre. a comparison and consequently their use makes a Simile indirect, virtual (artht) *So in the case of the employment of nat in the sense of Wike' according to the rule " Tena tulya" &c., (Panini V, 1, 115).

TEXT. No. 640.t The two kinds are possible in a nominal atix (taddhita) in a compound, and in a sentence or phrase. a. 'The two kinde'-i. e. the Direct and the Indirect. b. For example: गरभमचोषहवयेपत् कृमभाविवसना पीनो। हदय सदपति वदनं तब मरदिन्दर्यया पाले (The fragrance of thy mouth is as-the-odour-of-the lotus, thy breastà are plump as-jare, and thy countenance, O girl, claddens the heart as the autamnal moon.) Here, " ambhoruha rat' kumbhaviva, and aradinduryathaC respective inatances of the three varieties of the direct Strila.

सहभी चपले व लोचमे सखया:।

• The parciole. in the abstract wua do, implying, as they do, nothing else but resemblane 'equal,' &c E erpress a comparison. While the, words ternis do nos direotly convey the abatract notton resemblance has to be apt tn up the idea of samathing resembling, hic ith what they are pus in appomition (vis,, any ond partd toghther or both), betore the corapar can be percets t Thia na Ke repested in Dr. Boer'n original,

Micror of Couipositian. (Sweet like-ambrosia is her under-lip, soft like-the tender-leaf is her hand, and her eyes are tremulous like those of the frightened deer.) Here the Indirect Simile, in its three kinds, is respectively ex- emplified in "sudha-vat,' ' pallava-tulyah' and chakita-mrigalochana- bhyan sadris'(.' TEXT.

Three-fold subdivision of No. 650. Thus the complete Simile is Direct and Indirect Simile. sixfold.

COMMENTARY. a. The text is clear. TEXT. No. 651. It is Elliptical when one, two, or three of the four Simile Elliptical and its beginning with the ' common attribute' (see wo divisions into Direct § 648) are omitted, and this also, like the nd Indirect former (the Complete Simile) is Direct or Indirect. COMMENTARY. This'-the Elliptical .- He states its varieties. TEXT. No. 652. This, in the omission of the attribute, is like the com- plete, save that the Direct is not possible in a nominal affix. COMMENTARY. a. This'-the Elliptical Simile-, 'in the omiseion of the attri- bnte'-i. e. of the common quality or action, 'is like the complete,' that is to say, it is sixfold in the aforesaid manner, but the Direct not being possible in a nominal affix, it is, in fact, fivefold. b, For example: मुयसिन्द्येथा पाशि पढबेज समा प्रिये। बाच: सधा रबोडसे विम्वतुक मनोडमावतू। (Thy face, iy love, is as the moon, thy hand is equal to the tender- lenf, thy worde are as-nectar. thy lips are like the-vimba-fiuit, but None-like is thy heart.)

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TEXT No. 653. This again may be five-fold, being possible in the two Simile Ellipticel, omitting the sorts of the affix ' kyach' respectively ap- common attribute, is five fold. plied in the sense of position and object, in the affia kyan,'* and in the adverbial affia ' namul' added in an active or passive sense.

COMMENTARY. a. 'The Elliptical Simile, in the omission of the common attri- bute'-these words are to be supplied in the present text from the foregoing one. b. The kyach, kyan, and namul are named yin, nayi, and nam in the technicality of the Kalapa grammar. c. For examples in theirorder :- चन्नःपुरीयसि रणेष, सुतीर्धास लं पारं जनं, तव सदा रमसीयते त्री।

सचारमन र्भव ससरसि चितीम॥ [In the battle-field thou actest as if thou wert in thy Zenana, and :hou treatest the people of thy city as if they were thy sons; For- tune behaves as a wife towards thee, and looked upon by thy beloved ladies as the Nectar-beamed moon, thou walkest upon the earth, O monarch, like the Royal God (Indra) himself.] Here the points of resemblance are omitted, viz. the circumttance of being a place for pleasant sports, in the phrase ' antahpuriyasi,' and (the king's) being full of loving-kindness. Similarly in the other expressions of comparison. And in these varieties, because of the absence of the words yath &c., and tulya &e,, we have not to consider such specialities as that of being of the Direct sort or the like. Some instancehese as cases of the omission of the affin '-vat' expressive of comparison. This is not right, for the afixes keyan &o., also, being added in the sense of oat imply comparipon. Nor should it be said that the aftres kyan &o., cannot well imply comparison,

• These two ufixen are for forming verbs from nouns, to imply comparison The words thus forued anawer to such expressions in English as out herod- ing,' hectoring

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because, as being affixes, they are not independently expressive, and such words of comparison as 'iva' &c., are not employed in these cases. For the same might be said of the affix kalpap' and others which are illowed to be expressive of comparison. Nor will it apail to argue that the ' kalpap' &c., as being equivalent to iva' &c., are expressive of comparison and that the" kyan' &c. are only suggestive of it, for it is not certain that even 'iva' &c., are expressive. Or granting that the kalpap' &c., are expressive, there can be no difference between the affixes of the '-vat' class and those of the 'kyan' class, according to either of the two opinions touching affixes, viz. (1) 'The inflected word in its integrity is expressive,' and (2) 'The base and the affix have each its own signification.' As to the assertion of some that the affixes of the class of '-vat' are directed by Panini to be employed in the sense of 'iva' and the like, whilst 'kyan' &c. are, in the meaning of 'behaviour'-this too is wrong, for "kyan' &c., do not simply imply behaviour, but similar behaviour. So the Elliptical is thus tenfold, when the attribute is omitted.

T&XT.

Simile Elliptical, twofold, No. 654. It is twofold, in the omission * when the comparison is of the object compared to,-being possible omitted. in a phrase and a compound.

COMMENTARY.

a. For example : " Naught exists equal to her face in charmingness, or like-to-her- eyes," Here, objects answering to the face and eyes being hinted at, but, of course, as inferior to them in charmingness, we have an instance of the object compared to being omitted. b. And in this very stanza, on our reading sukhan yathedam' instead of ' mukhena sadrisam,' and drigiva' instead of nayana- tulyam,' we should have the direct sort: thus though, the two divi- sions of the present variety being subdivisible into the direct and the indirect, we obtin four sorts, yet after the manuer of the ancients we have spoken of it as of two sorts only.

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TEXT.

It is two-fold, when the No. 655. In the omission of the word likeness is not distinctly or affix expressive of comparison, it is two- expressed. fold, being possible in a compound or the ' kwip' affix .*

COMMENTARY. a. For examples in their order :- "He acts the ass (gardabhati), loudly and hoarsely screaming be- fore the great." Here ' kwip' expressive of comparison is omitted in ' gardabhati." It should not, however, be supposed that the object of comparison too is omitted here, inasmuch as it is indicated by the expression screaming.' "The face of the fawn-eyed one is moon-enchanting."

TEXT.

It is ten-fold when the No. 656. It is twofold, in the omission common aftribute and the of the common attribute and the object comparison are omitted. compared to,-being possible in a compound and a phrase.

COMMENTARY. a. We shall have examples of these two carieties bes our reading 'in the world' in place of ' in charmingness' in the sentence beginning 'Naught exists' (see §654. a).

TEXT.

It is two-fold, when the No. 657. In the omission of the attri- attribute and the word of bute and the word of comparison, it is comparison are omitted. twofold, according as it occurs in the ' kwip' afix, or a compound.

• The difforence between this and the affix 'kyan' ($ 653), which also ia added to an oblect of comparidon in the nominative case, lies in the ciroum- stance of the former leaving no sign of itself in the verb formed by ite addition; as gerdabhati he asses.' English hectoring. This still moro corresponds to the

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COMMENTARY. a. For example :- "Her lotus-face shines like the moon' (vidha -. vati).". Here in ' vidhavati' there is the grammatical rejection of the "kwip' affix signifying comparison and of the point of resemblance, viz. "oharmingness.' But some, recognizing a distinct division of the Elliptical Simile arising from the omission of an affix, instance the present example as an illustration of the same. 'Lotus-face' is an example of the present variety residing in a compound.

TEXT.

It is single, when the ob- No. 658 In the omission of what ject of comparison is omit- is compared; it is single, occurring in the ted. ' kyach' affix.

COMMENTARY. a. For example :- " With eyes flashing at the sight of the foeman's valonr, and with his rod-like hand bristling with the sword, he behaves (sahepráyudhi- yati) in the battlefield as if he wielded a thousand weapons." Here the object compared, viz. 'himself,' is omitted, for the expression 'sahasrayudhiyati' is to be interpreted ' behaves HIMSELF like one with a thousand arms.' For the reasons already stated (§653 e) there is no omission here of the term of comparison. Here some say, the word 'sahasrayudhiyati' being derived from sahasrayudha, or one associated with a thousand arms, and interpreted 'he acts like such a one,' we have here the omission of the object compared, not in the shape of 'himself,' but of the particular action of the hero which is not literally mentioned, but simply figured by the expression 'sahasróyudhiyati.' This view of the case cannot endure a discussion, since the employment of 'kyach' with the nominal base signifying an agent is opposed to the rule of Panini.

TEXT.

Bimile omitting the attri. No. 659. We have another sort in the buteand the object compar omission of the attribute and the object ed. compared.

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For example :- COMMENTARY.

"As thy fame is diffused, all the seas act the ocean of milk 'kshirodiyanti)." Here the nominal verb ' whirodiyanti' being explained ' they behave :hemselves like the milky ocean,' we have the omission of 'them- elves' the thing compared, and of ' whiteness' the common attribute. TEXT.

Simile omitting three of No. 660. When three of the four essen- ihe ingredients of com- tials of comparison (§648) are omitted, it rison. (the Elliptical) is possible in a compound. COMMENTARY. a. As-"The stag-eyed one shines." Here the compound ' stag- wyed' being explained-'She whose eyes are tremulous like those of stag,' there is an omission of the word expressive of comparison, he common attribute, and the object compared to. TEXT.

Thus Simile is of 27 kinde. No .* 661. Thus the divisions of the Simile amount to twenty-seven. COMMENTARY. a. The sixfold Complete and the twenty-one sorts of the Ellip- tical, combined, make up twenty-seven kinds of the Simile. b. Among these divisions of the Simile, he now a plains a pecu- iarity of those in which the common attribute is not omitted. TEXT. No. 662. The common attribute, or point of resemblance, is

Simile of the Type and sometimes (generically) one and the same the Antitype. in both the objects of comparison, and sometimes distinct. When the points of resemblance are distinct, they correspond to each other as the type and the antitype, or they may be merely verbally different. COMMENTARY. d. Among these cases, that where the point of resemblance is the same, has already been illustrated in the stanza beginning with 'Sweet like ambrosia is her underlip (§649 b)."

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6. The case of the Type and the Antitype is instanced in the following stanza of the Raghu-vans'a: "He covered the earth with their (the Persians') bearded heads, severed by the lance, as with honey-combs teeming with bees." Here the epithet ' bearded' is ropresented by 'teeming with bees,' analogonsly to the ornament of Exemplification (Drishtanta §698). c. When thie difference lies merely in words, we have the follow- ing example :- "The slender-bodied lady, as her eyes expanded upon me like a full-blown blue lotus, told me the whole of the secret purpose that lay in her heart." Here the 'expansion' and the 'full-blowing' though identical; are expressed by a difference of words, as is the case in the Typical Comparison (Prativastúpamá-§ 697). TEXT.

Partial Simile. No. 663. Partial Simile (okades'a-vivar- tin upamá) is when the resemblance is kexpressed and implied. COMMENTARY. a.' As- "Lake-beauties, at every step, shine with blue lotuses as with eyes, with water-lilies as with faces, and with Brahmany ducks as with breasts." Here the resemblance of the eyes &c., to the blue lotus &c., is expressed, and that of lake-beauties, or beautiful lakes, to tir women is implied. TEXT. No. 664. If an object of comparison is turned, further and fur-

Girdle of Similes. ther, into what is compared to, it is termed the Girdle of Similes.

COMMENTARY. As in the following description of Autumn- "The swan, in its white lustre, resembles the moon; lovely women, in their charming gait, resemble the swan; the waters, in their delightfal touch, reeemble lovely women; and the heavens, in their clearness, resomblthe waters."

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TEXT.

String of Similes. No. 665. The Garland, or String of Similes is, when we have several compari- sons of the same object.

COMMENTARY. a. For example :- " As a lake with the lotus is pleasant; as night is delightful with the moon; as a fair woman, ornamented with youth, is charming ; so Fortune attended with Virtue ravishes the heart." b. We sometimes find both the objects of comparison connected with the subject-matter as in the succeeding stanza: "On the arrival of Antumn, the swan shines bright like the Moon, the waters are as clear as the heavens, and the stars glitter pure like the water-lilies." c. "Princely treasures, by princes presented, shine in the house of this monarch, as (those) born of the Celestial Tree, in Indra's palace." Here we have a case of the Simile of Intimation (ákshepopama), since by the ' treasures,' which are the object of comparison, are intimated the treasures compared to,-through the expression 'as (those) born of the Celestial Tree.' In this very example, since the sense of 'in the house' is repeated by 'in (Indra's) palace,' we have also the Simile of Repetition. These and such others have not been regularly defined here, for a thousand such varieties might be made out.

TEXT. No. 666. When the same object is in the predicament of what

Comparison Absolute. is compared and what is compared to, that

it is Comparison Absolute. is to say when a thing is compared to itself,

COMMENTARY. a. The comparison, as we gather from the context, is to be expressed by a single sentence. For example: "When Autumn had begun to manifest itself, the lotus blushed

362 The Mirror of Composition.

like the lotus, the waters shone like themselves, and now resembling none but herself, beamed forth the unslumbering Moon. Here the self-comparison of the lotus, &c., is figuratively intended to intimate that they have not their like. The province of this ornament is distinct from the Latanuprasa (§ 638), since, in this, we may, without ropeating the word expressive of the objeot of self-compari- son, preserve the figure in the above stanza by the words-' rajivamiva pathojam,' &c. (the lotus is like the water-born). The employment, however, of the same word is better, as being suitable for letting one readily understand the identity of the object. As has been said : 'In the Comparison Absolute, a sameness of terms used from its expediency, is only accidental, whilst in the Látánuprása it is essen- tially necessary.'

TEXT.

Reciprocal Comparison, No. 667. This when alternated between two things is held Reciprocal Comparison .* COMMENTARY. a. 'This' i. e. ' the predicament of what is compared and what is compared to,'-supplied from the foregoing text. b. This interchange of comparisons must of course be expressed by : a couple of sentences. c. This is an example :- "Ever, O king, shines thy intellect like thy fortune and thy fortune like thy intellect, thy beauty like thy frame andsthy frame like thy beanty, thy firmness like the earth thou rulest, and this again like thy firmness itself." Here what is purported is that there is nothing ELSE equal to the progperity, &c., of the king. TEXT. No. 668. A recollection of an object, arising from the percep-

Reminiscence. tion of something like to it, is termed Re- miniscence. * The commentator adds, as a condition, the sameness of the point of resem- blanre in each of the two comparisons involved in this figure. The following, for instance, i no;erample of it :- पजयमियावणं करतस करसल्मिय कोमर्स् पक्नम्।

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COMMENTARY. a. As :- "Seeing this lotus beautiful with the sporting wagtail, I recollect that fair face of her with the tremulous eyes." b. This is not the ornament in the stanza beginning 'O how well I recollect that ever-smiling face of the lotus-eyed one' (§ 190 a.), the recollection, here, being raised without the cognizance of resem- blance. c. Raghavananda, the great minister, however, would have the figure of Reminiscence, even where the recollection arises from dissi- milarity or contrast. Here follows his own example of the same :- "Whenever Sita, tender like the s'irisha flower, on the mountains experienced hundreds of hardships, Rama shedding tears, called to mind the unnumbered felicities she enjoyed at home." TExT. No. 669. The Metaphor consists in the superimposition of a

Metaphor. fancied character upon an object unconceal- ed or uncovered by negation. COMMENTARY. a. By the qualification 'fancied,' the present ornament is distin- guished from the figure of Commutation (see § 679). This point we will discuss when we come to speak of that ornament .- " Unconceal- ed," this is for distinguishing it from the ornament of Concealment (see § 683 and 684). TEXT.

Its three varieties. No. 670. This is threofold, according as it is Consequential, Entire, or Deficient.

COMMENTARY. . a. 'This' i. e. the Metaphor. b. Of these divisions: TEXT. No. 671. The Consequential is when a superimposition, undeter-

phor, four-fold. The Consequential Meta- mined by a resemblance, is the cause of another, and (1) rests, or (2) does not rest, upon & Parononiasia. It is fourfold as each of the two cases occurs singly or serielly.

364 The Mirror df Composition.

COMMENTARY. a. Of these the Single Consequential resting npon a Parono- masia, as :-- "Blessing to thy arm, great monarch Nrisinha, mighty controller of the world-arm that, in war, is the Monster of Darkness (Rahu*) to that full moon-the entire assemblage of princes hostile to thee (Rája-mandala)." Here the superimposition, viz. that of the nature of the lunar orb upon the assemblage of princes, by the paronomastic expression rája- mandala,t is the occasion of ascribing the character of Rahu to the arm of the king. b. The Serial Consequential resting upon a Paronomasia, as :- "Unique thou art, O king, upon the earth-the Lord of day in causing the expansion of the lotus (with which by means of the punt is identified 'the acquirement of fortune')-the God of wind in constantly stirring (in being the resort of the good)-the thunder- bolt of Indra in cleaving the mountains (the hostile princes)." Here the acquirement of fortune is intended to be understood in identity with the blooming of the lotus, the attendance of the good with perpetual stirring, the princes with the mountains. Thus this series of fancied superimpositions or attributions of characters are the occasion of the ascribing of the nature of the sun &c., to the king. c. The Single Consequential not resting upon a Paronomasia ; as :- "May the four cloud-dark hands of Hari, rough by the stroke of the string of his horny bow, preserve you,-hands that are the pil- lars to the Dome of the Triple World." Here the attribution of the character of a dome to the triple world is the occasion of ascribing the nature of a pillar to the hands of Vishņu. d. The Serial; as :-- "That white umbrella of the royal Deity of Love, or the ornamental * The demon of the ascending node that, by endeavouring to devour the sun and moon, causec their eclipse :-- t kajan means both a king and the moon.' t Padmodaya being separable both into padma udaya and padmá-udaya and nadms meaning ' lotus' and padma, fortune.' So fer the other puus.

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mark of sandal in fair Firmament's forehead, or the white lotus of the Celestial lake,-the orb of the Moon-shines bright like a large lump of camphor." Here the ascribing of royalty, &c., to Cupid &c., is the occasion of superimposing the character or nature of an umbrella &c., upon the lunar orb. e. With respect to these four examples of the Consequential Meta- phor, it is the opinion of some (-the reverse of mine-) that the speaking of the arm of the king, &c., undler the character of Rahu, &c., is the occasion of investing the assembladge of princes, &c., with the nature of the lunar orb, &c. · TEXT. No. 672. If a principal object is metaphorically figured or The Entire Metaphor and represented, together with those subordi- its two divisions. nate, it is Entire Metaphor (see § 670), and either (1) dwells in all of the objects, or (2) resides in a part. COMMENTARY. a. Of these two sorts :- TEXT. The Entire Metaphor com- No. 673. The First is held to be when plete. all the constituent metaphors* are expressed. COMMENTARY. a. 'The First'-i. e. what dwells in all of the objects. For example :- "That benign dark cloud-Krishna disappeared, having thus rained the nectarine water of his words upon the deities-the corn withered by the drought of Ravana's destructive tyranny." Here the nature of a cloud being attributed to Krishna, his words &c., are represented under the metaphor of nectarine water, &c. TEXT. The Entire Metaphor, re- siding in a part. No. 674. It (see § 672) is said to 're- side in a part' when any is understood. COMMENTARY. a. ' Any'-i. e, any of the constituent metaphors .- The following is an example :- * In the original 'aropya' (what is to be superimposed).

366 The Mirror of Compoattion.

" What clusters of bees-eyes of people-would not drink of that blooming face of her, richly filled with beauty's honey ?" Here the attribution of the nature of honey &c. to beauty &c. is expressed, and that of the nature of a lotus to the face is implied. The present is no case of the Partial Simile (see § 663), as the attribute of bloomingness chiefly, or literally, resides in a lotus the nature of which is superimposed upon the face, whilst to the latter it belongs only metaphorically. TEXT.

Deficient Metaphor its two- No. 675. If a principal object (see fold division into Serial and Single. § 675) is ALONE figured, it is Deficient Metaphor, which too is twofold, being (1) Serial, or (2) Single. COMMENTARY. a. Of these two species, the Deficient Metaphor Serial is instanced thus :- "She of the lotus eyes is the very skill of the Divine Maker in creating, the Moon-shine to the world's eyes, the pleasure-house of the incorporeal one (Káma) !" b. Single, as :- "When a servant commits offence, the master's kicking him is but proper, so it is not for that I grieve, my fair lady, but that thy tender foot is pricked by the points of those thorns-the hard shoots of my hairs that stand erect at the thrilling touch, this is my sore distress." TEXT.

Thus Metaphor is eight- No. 676. Thus of the Metaphor there fold. are eight kinds- COMMENTARY.

a. Conclude the text by the words-' spoken of by the ancients.' b. Sometimes the Consequential Metaphor (§ 671) too dwells in a part ; as :- "That Guard (sauvidalla) of Earth-the sword of that Indra of men, triumphs in war." Here the implied attribution of the nature of a queen to the earth is the occasion of ascribing the nature of tguard to the sword. An instauce of this sort occurring serially also like the former sorts is to be searched out by the reader for himself.

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TEXT

The Entire Metaphor found- No. 677. We sometimes gee even in ed sometimes on Parono- the Entire Metaphor that the images masia. are founded upon a Paronomasia.

COMMENTARY. a. Of the new sorts thus obtained I shall exemplify ' that dwelling in a part' (§ 674) resting on a Paronomasia, by the following stanza of mine :- "Lo! the Nectar-beamed moon having laid his hands (or rays- kara) on the breast of the Eastern Mountain from which the vesture of thick darkness has fallen off, kisses the face (mukha) of Indra's Quarter with sparkling lily-eyes." b. 'That dwelling in all the objects' (§ 673) would be exemplified by reading in this very stanza ' chuchumbe haridabala-mukhamindu- nayakena' instead of ' vichumbati, &c.' or by our adding in the English the words ' the lover' and ' that lady' before ' the Nectar-beamed Moon, and ' Indra's Quarter' respectively. c. The present is not a case ofsthe Paronomastic Consequential (§ 671), for in that figure e. g. ' Bhubhridavalidambholi' (the thunder- bolt to the mountains-the princes) without speaking of the princes under the punning figure of mountains, the representation of the monarch in question under the character of the thunder-bolt would be, from the absence of resemblance, altogether absurd. ' How then would you admit the Consequontial in such an expression as Padmo- daya-dinadhis'a, when a comparison between the king and the sun is possible, founded upon the common attribute of glory ?'-Say not so, for the resemblance of the king to the sun as arising from glory is indeed manifest but not intended in the example, padmodaya (or the Paronomastic identity of the acquirement of fortune and the blooming of the lotus,) being what is meant as the common attribute of the two. Whilst here in the example under the text, the propor- tionate similarity of the mountain, for instance, to the female breast, in bulkiness and height, being clearly evident, it is no case of the Paronomastie Consequenstral. d. Sometimes the Metaphor is found WITHOUT A COMPOUND. For instance "Thy face, O deer-eyed, is lotus, not otherwise."

368 The Mirror of Composition.

e. Sometimes it is used WITHOUT NAPPOSITION ; as, " The Creator formed here a line of bees under (the shape of) the eye-brow (bhrú- lataya)." f. Sometimes, UNDER A NEGATION OF THE ATTRIBUTE FIGURED; as :- "They who inspired with foolish hopes, have served the princes of this Iron Age-the sandy desert for the water of goodness, the aerial wall for the ornamental pictures of noble deeds, the fourteenth night of the dark fortnight 'for the moon-shine of merit, the very elegance of the dog's tail in respect of rectitude,-for these hard but vain toilers, how much ability would there be required to serve the God of the trident (S'iva) who is to be obtained by faith alone?" g. The stanza is mine .- Among the metaphors exemplified under the foregoing texts, though some are founded upon a Paronomasia of words, they are counted as ornaments of sense, as being species of the Metaphor. Thus is it to be understood with respect to ornaments to be spoken of. TEXT.

Metaphor Extraordinary. No. #678. A Metaphor in which the excellence rises to an excessive or extra- ordinary degree is termed even so.

COMMENTARY. a. 'Even so,' i. e. is named Metaphor of Extraordinary Excellence. For example, the following stanza of mine. "This face is the moon herself without the spot; the under lip is a vimba fruit ripened in a long time, the receptacle of nectar, these eyes are lotuses blooming day and night with a superior beauty ; and the body is a sea of charms exceedingly delightful to one whe immerses himself into it." Here the excellence is extraordinary from the circumstances of being devoid of spot, &c.

TEXT. No. 679. When what is superimposed is identified with the sub- Commutation; Apposi. ject of superimposition and serves the pur- tional or Non-appositional. pose in hand, it is Commutation (parináma) and is twofold as being Appositional or Non-appositional.

The Mirror of Composition. 360

COMMENTARY. a. This figure is termed Commutation, as the object superimposed is commuted into the nature of the subject of superimposition .- For" example :- " Of a smile she made a present to me who had arrived from a distance, and an embrace with the pressure of the breast was the wager laid by her in gaming." In other, or ordinary, cases, a present and a wager are in the shape. of clothes, ornaments or the like, whilst in the present case of enter- taining a lover and gaming with him, they take the shapes of. a smile and an embrace. Here in the first half of the stanza the figure is. used without an apposition, and in the second with an apposition. b. In the Metaphor, as for instance in the sentence ' I sce the moon-face;' the superimposed moon serves only to embellish the ex- pression, but has no subserviency to the aot of seeing which is in question. Whilst here in Commutation, the present, for instance, is identical with the subject of superimposition, viz. the lady's smile, and is subservient to her, showing regard to her lover which forins. the theme of the first half. Hence #t is that in the Metaphor what is superimposed is to be construed as merely characterizing, or distin, guishing the subject, and in the present figure, as being identical: with it. c. In the stanza beginning with "When a servant: commita. offonce" (§675 b.) the ornament. is Metaphor not Commutation, as the act of piercing the foot, done by the thorn, is not in question, for such. an act could never be intended towards the consummation of a pro- posed object or effect. d. This ornament too, like the Metaphor, is found with the ex- cellence heightened. to an extraordinary degree (see §678) ; as :-- "Where (in the Himalaya) the herbs luminous at night, shooting their rays into the intorior of cavern-houses, become (or act as) hymenean lamps, unfed br oil, to the foresters enjoying the company of their consorts." Here the lamps in the shape of the herbs are subaervient to the removal of darkness, which removal is favourable to enjoyment, and is the principal matter in hand. Because of their being unfed by oil, they have an exeellonte heightened to an extraordinary degree.i.

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TEXT No. 680. When an object nnder description is poetically suspected

Doubt; its three varieties. to be something else it is called a Doubt. It is threefold, as being (1) Pure, or (2) Containing a certainty, or (3) Ending in a certainty. COMMENTARY. a. It is Pure when it terminates in doubt; as :- " Is this a new Sprout, that from an exuberance of juice has burst forth from the tree of youthfulness, or is this a Wave of the Sea of charms overflowing its banks, or is this the Chastising Rod of the Deity of love, eager to expound his doctrines to men agitated by fancy." b. The sort ' containing a certainty' results when there is a doubt at the beginning and another at the end, but certainty in the middle; as :-- "'Is this the God of day ?- he rises in a chariot with seven horses. Is this Fire ? Certainly, it does not traverse in all directions at once. Is this Yama himself ? He, again, rides on a buffalo,'-thus do thy foemen entertain donbts, secing thee, O monarch, in battle." Here in the middle there is the certainty of its not being the sun &c., that are exerting their destructive power. Were there the certain- ty of the royal hero, there would not arise a second or third suspicion. c. When there is a doubt at the beginning but a certainty at the end, it is the sort called 'ending in a certainty.' For example :- "'Is this a lotus shining nigh in the lake ?- or the face of a youthful lady ?'-thus did somcbody, after doubting for a moment, attain certainty, by means of those gestures of loving indifference unknown to the companions of the crane (i. e. lotuses which are produced in a lake, the border of which is frequented by the bird.) d. If such a doubt be not raiced by a poetical fancy, as in tho question ' Is it a post or a man ?' it does not produce the ornament in question. e. "To whose mind does not the doubt suggest itself-' does it exist or does it not 2'-with respect to that waist of thine, lady of the lotus eyes, oppressed with the weight of thy breasts ?" The ornmneht bere is the Hyperbole (atisayokti), the proper subject. of the present ornament being a suspecting of an object of comparison Lo bo what it is intended to be compared to.

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TEXT. No. 681. The Mistaker is the thinking, from resemblance, of an

The Mistaker, object to be what it is not-suggested by poetical fancy.

COMMENTARY. a. For example :- "The simple cowherd, under an illusion of milk, places his jars be- neath the cows; fair ones put the blue lotus to their ear, for ornament, mistaking it for the white water-lily; the mon tain girl pluoks the jujube fruit, fancying it to be a custard apple: who is there in whose mind the profnse beams of the moon do not cause a delusion ?" b. An illusion caused by the nature of things is not the subiect of the present ornament, such as the illusion of silver in the mother- o'-pearl, nor an illusion not arising from resemblance, as in the follow- ing example :- "In a choice between her association and separation, hor separation is to be preferred to her association. In union thore is but she alone, but in separation the triple world is full of her."

TEXT. No. 682. The description of one, under a variety of characters, Representation; its two arising (1) from a difference of perceivers kinds. or (2) from a difference of peculiarities, is termed Representation. COMMENTARY. a. For examples in their order :- "The Deity was apprehended as their beloved by the cowherdesses, as a child by the old, as their lord by the gods, as Narayana (the Universal Soul) by the devotees, as the Absolute by those who prac- tised abstract devotion." Here the taste &o. of the cowherdesses and others are the respec- tive occasions of the manifold representation of the same Deity as associated with the several attributes. As they have said: The coguizance of ons and the same object, determined, as it is, by a consideration of any of its particular attributes, differs according to the taste, the purpose, or the habit of the perceiver'

372 The Mirror of Composition. b. In the present example, the state or nature of being beloved dc., ascribed to the Deity (Krishna), being renl, and the perceivers being different, the ornament is not that of the Garland of Metaphors (§ 675 a), nor the Mistaker (§ 681), nor a Hyperbole consistingin making a distinction where there is none (§ 694 ). In the last ornament, as in the example " Strange indeed is the beauty of her body" (§ 694'e), the objects of description viz., beauty, &c., are falsoly represented as distinct, but here the state of being beloved &c., are not falsely ascribed to the Deity by the cowherdesses &c., inasmnch as the character of being beloved, for instance, did belong to him at the time. c. Some say that this figure invariably derives its strikingness from another ornament, and that in the said example there is a Hyperbole, inasmuch as Krishna, though really ofe and the same, is represented as distinct, with respect to the several beholdere, under the character of one beloved or the like, which is intended to be exclu- sive of those of a child &c. But notwithstanding the presence of this ornament (Hyperbole), the peculiar strikingness resulting in a distinction of perception, from a difference of the perceivers, con- stitutes the distinct figure named Representation. d. The passage in the description of the country called S'ri- kantha-" It was fancied to be an adamantine frame by those that had gone to it for refuge, the ethereal void by the chatakas &e.,"'is an instance of the present ornament, distinct from Hyperbole, it being here asso- ciated with the figure of Metaphor. Strictly, however, in the clause beginning with 'Ethereal void' they would have the ornament Mistaker not Metaphor, for the superimposition of a character, only when preceded by an apprehension of its distinction from what it is imposed upon, constitutes the Metaphor or the like, founded, as it is, upon the Qualitative Indication (see § 18). As the venerable Váchas- pati Mis'ra, in his gloss on the commentary of the S'áriraka Mimánsa, says A word implying something to be compared to is used to signily or describe something else (i. e. the object of comparison) with reference to some implied attribute common to the significations of both he words.When, in such an employment of a word, the speaker and hearer here the right apprehension, i. .. the understanding of resem-' Blance, it ie qualitative, or founded upon a oommon quality, and is

The Mirror of Composition! 378 (preceded by a conception of the distinction of the two objeots." Now here in the description of the country Srikantha, the im- position wpon it of the nature of the ethereal void on the part of the chatakas is occasioned by mistake. In the same passage, further on-" a sacred grove by the ascetics, a place of amours by the courtezans," we have an instance of the association of the figure of Commutation (§ 679). e In thy deep solemnity (gambhirya) thou art the ocean, in thy gravity a mountain"-in such an example as this, the distinction of the OBJECTS viz. the qualities of solemnity &c., is the occasion of the manifold representation of the same man, the former sort resting upon a SUBJECTIVE distinction, the distinction of the cognising persons not of attributes cognised. f. "He is grave (or Brihaspati-guru) in speech, broad (prithu) of breast and white (or Arjuna) in fame"-this is a case of this sort, distinct from the Metaphor, Hyperbole founded upon a Paronomasia being the ornament connected here.

TEXT. No. 683. The denial of the real nature of a thing and the ascrip- Concealment. tion of an alien, or imaginary, character, constitute the figure of Concealment.

COMMENTARY. a. This is twofold, the superimposition, or the attribution of a fan- cied character, being sometimes preceded by the denial of the real na- ture, and sometimes the denial being preceded by the superimposition. For examples of the two sorts in their order :- "This is not the sphere of ether but the ocean; these are not stars but fragments of fresh foam ; this is not the moon, but the Royal Serpent (S'esha) coiled; and that is not a black spot but the Foe of Mura (Vishnu) reclining." "Lo! the orb of the cool-rayed luminary, shining like a lnmp of foam, kiasen the crest of the Western Mountain, bearing the smoke, under the disguise of the manifest black spot, of the fire of love kindled during the night."

374 The Mirror of Composition.

This stanza is mine .- Similarly a negation of the real character is to be understood under such a form as the following :- "The ocean shines in the shape of the heavens, and the stars are the foam thereof."

TEXT. No. 684. If having somehow given expression to some secret Another variety of Con- object, one should construe his words differ- cealment. ently, either by a Paronomasia or other- wise, it too is Concealment.

COMMENTARY. a. By a Paronomasia, as :- "'In the season of clouds it is really impossible to remain.with- out a husband (or without falling-apatitaya).' " ' Art thou troubled, fickle woman ?'-' No, no, dear friend, the way is slippery.'" Here the woman, having at first said ' without a husband' in the expression Cpatitaya, canstrues it otherwise than was her real meaning into 'without falling.' b. Without a Paronomasia ; as :- "What creeper is this here before me that clings not close to the tree, with its body agitated by the wind?' 'Dost thou, fair friend, call to mind thy festive dalliance with thy lover?' 'No, no, I just described a feature of the rainy season.'" c. In the Crooked Speech (§ 641), a different construction is given to another's speech, and here to one's own ; so it is distinct too from that Ornament. It is distinct too from the Dissembler (see §749), for the secrecy is first expressed by the person who afterwards conceals it. TEXT, No. 685. Certainty, again, is the establishing of the real, hav-

Certainty. ing denied the foreign, or fancied, charac- ter. COMMENTARY. a. 'Certainty' is the name of the present ornament,-The foreign, i. e. what is superiposed .- For example, my own couplet : "It is a face, not the lake-born flower (red lotus), these are eyes, not blue lotuiges , rove not, honey-maker, fruitlessly here by the side of the tairafed lady."

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b. Or, for example :- "It is a garland of lotus-stalks on my breast not the Chief of serpents; it is a string of blue lotus-leaves round my neck not that sheen of poison ; it is not ashes but the cooling dust of sandal that besinears my body, separated as I am from my love. Strike me not, Bodiless Deity (Kama) mistaking me for S'iva thy foe-where- fore rushest thou at me with anger?" c. This is not ' Doubt ending in certainty' (§ 680 c) since in that figure, the suspicion and the certainty successively reside in the same subject. Here the suspicion belongs to the black bee, for instance, and the certainty to the lover. Nay the black bee has no suspicion, inasmuch as the bee's approaching so near would be possible, only when its cognition has not more than one alternative, that is, when it does not waver between two thoughts, but is single-minded and certain. Well then let it be the Mistaker (§ 681).' Granting that the bee &c., was under a mistake, it is felt by the man of taste that it innot the mis- take that causes surprise in the present examples, but the peculiar man- ner in which the lover &c. express themselves. Besides even if it be not really meant that the bee or the like did fly towards the face of the fair woman or was under any mistake, such a sort of speech would-be quite possible, simply as a compliment to one beloved &c. Nor is the figure in our present examples a metaphor implied, inasmach as the face for instance, is not cognised under the character of a lotus, that character being expressly denied. Nor is it Concealment (§ 683), the real nature of the thing under description not being denied. Thus, in renlity, this ornament is distinct from those spoken of by the ancients. This figure does not belong to such a speech as 'This is mother-o'-pearl not silver' addressed to somebody bending towards a pearl oyster under the notion of its being silver, such a speech being wanting in strikingness, the essence of an embellishment. TEXT. No. 686. The Poetical Fancy is the imagining of an object under

Poetical Fancy, thirty-two the character of another. As being Ex- fold. pressed or Underetood, this is first held twofold. The Expressed is when the particle ' iva' (as) &c. are employed, the other, when they are not used. Since in cach of these sorts, a Genus, a Quality, an Action, or. a

876 The Mirror of Composition.

Substance may be fancied, the figure becomes eightfold, In each of these eight sorts again, the fancy being (1) Positive or (2) Nega- tive, and the occasion of the fanoy being in the shape of (3) a Quality or (4) an Action, they become thirty-two fold.

COMMENTARY. . Of these, the Expressed Poetical Fancy is partially exemplified as follows :- "The thigh of the fawn-eyed one with the skirt of her raiment fluttering upon it, shines as if it were Cupid's triumphal column of gold, bearing his banner." As the term ' triumphal column' denotes many objects, or is a gonerio appellation, we have here the Pootical Fancy of a Gonus. b. "Knowledge attended with sober silence, or with an abstinence from pedantic speech, power accompanied with forgiveness, and libera- lity associated with the reverse of vaunting-his- virtues, occasion- ing, as they did, other virtues, were, as it were, gencrative." Here we have a Quality, viz. generativeness, fanoied. c. "The sound of thy march, O Sultan," bathes, as it were, in Ganga's water,-guilty of causing the abortion of thy foemen's wives." Here we have an Action-'bathes.' d. " The face of the deer-eyed one shines as if it were another fall moon." The word ' moon,' signifying, as it does, an individnal, is denotative of a substance or a concrete object. So here we have the Poetical Fancy of a Substance. e. These examples are when the Fancy is Positive (see Text). We have the following example when it is Negative :- "Alas, the cheeks of this lady, so fair, have attained to this thinness, as if not seeing each other." Here in ' not seeing' we have the negation of an action. So in other cases. fThe Occasion, as being in the shape of a quality or an action (see Text,) is exemplified in 'The sound of thy march &o.' where the ghality of Leing guilty is the occasion of the Fancy, or in ' Alas,

In the original suratrana, which the soholiast so interprets.

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the cheeks of this lady, &c.' where the occasion is an action, viz., attaining to thinness. So in other cases. g. The Implied Poetical Fancy, as :- "The breasts of the slender-bodied lady show not their faces (or nipples, which are of a dark colour and therefore as it were concealed) from shame that they gave no room (so plump and so close they are) to the excellent (or stringed-guni*) pearl necklace." Here we have Poetical Fancy implied, from the absence of ' as' or the like in connection with 'shame,' thus 'as if from shame, &o.' Similarly in other cases. h. !But then,' somebody might object, ' on the occasion of discus- sing Suggestion, you declared the capability of all the Figures being snggested, why again do you assert particularly here of Poetical Fancy that it may be implied. I answer,-in such a case of Sug- gested Poetical Fancy as the following :- "O fortunate youth, she, not obtaining a place in thy Neart filled with a thousand fair women, emaciates, day by day, her frame, making that her only business." The sentence is logically cemplete even apart from the Fancyt; whilst hore in the present erample the sentence is complete as to its sense only under a Fancy, that is, when 'as if' is understood, thus ' as if from the shame,' inasmuch as tho breasts could not be really ashamed. Thus the Suggested, and the Implied Poetical Mancy are distinct. i. Among these kinds of Poetical Fancy, he mentions some pecu- liarities among the sixteen sorts of the Expressed Poetical Fancy:

TEXT.

No. 687. Of these the Expressed sorts again are with the ex- Sub-divisions of Express- ception of that of Substance (§ 686), each ed Poetical Fanoy. threefold, as pertaining to (1) a Nature, (2) an Effect, and (3) a Cause. COMMENTARY. a. 'Of these' i e. among the said divisions of the Expressed, and Implied Poetioal Fancy. Of the sixteen sorts of the Expressed * Guna means hoth a string and a good quality. t Which is, that the lady grows thin as if to got room in the heart of the youth.

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Poetical Fancy, the twelve belonging to the three subjects-Genus, Quality, Action (§ 686), being each threefold as respecting a Nature, & Fruit, or a Purpose, and a Cause, we have thirty-six sub-divisions. These, combined with the four kinds pertaining to a Substance, which can be fancied only in itself,* make up forty sub-divisions. b. Of these the Poetical Fancy of a Nature; e. g. those of the nature of a genus and a quality are respectively instanced in '-as if it were Cupid's triumphal column' (§ 686 a) and '-as it were gener- ative' (§ 686 b) in the foregoing examples. c. The Poetical Fancy of a Fruit, or Purpose, as :-- "The swift-going arrow shot by Rama, having pierced the, heart of Rávana, entered the earth as if to tell the agreeable tidings to the Serpents dwelling in the infernal regions." Here by the expression ' to tell,' a fruit, in the shape of an action, has been figured, of the arrow's entering the earth. d. The Poetical Fancy of a Cause, as: "This is the spot where, searching for thee, I saw an anklet fallen on the ground, holding deep silence, as if from the sorrow of separ- ation from thy lotus-foot " Here the quality, or attribute, of sorrow is fancied as a cause. TEXT. No. 688. Of these, the sorts pertaining to a Nature are again Further sub-divisions of twofold, according as the Occasion of the the above. fancy is mentioned or not mentioned.

COMMENTARY. a. Among these forty sorts, the sixteen pertaining to a nature are sub-divided into thirty-two, according to the mentioning or not men- tioning of the occasion of the Fancy. So there are altogether fifty- six sorts of Expressed Poetical Fancy. Of these we have the sort MENTIONING the occasion, in the foregoing example '-bathes as it were' (§ 686 c.) where the occasion of the Fancy-the boing guilty, is mentioned, When it is NOT MENTIONED we have the example 'as

f For, says the gholiast, a substance or rather an objoet denoted by a proper name, does pot give rise to poetical purprise, if fencied as tho fruit or cause of a certam evcnt.

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if it were another moon' (§ 686 d.) where the excess of the peculiar beauty or the like is not mentioned. b. In the Fancy of a Cause or of a Fruit, the Occasion must, as a matter of course, be mentioned .* For if the Occasion, viz., 'holding silence,' of the fancy-' as if from the sorrow of separation,' and ' enter- ing the earth' of ' as if to tell, &c.,' be not mentioned, the sentences would be unconnected or absurd. o. He states the peculiarities of the sixteen sorts of the Implied.

THXT.

Sub-divisions of Implied No. 689. The divisions of the Implied Poetical Fancy. Poetical Fancy may each pertain to a fruit or a cause.

COMMENTARY. a. As, in the preceding oxample "The breasts of the slender- bodiod lady" &c. (§ 686 g.) we have a cause fancied in ' as if from shame.' b. In this (Implied Poetical Fancy) too it is impossible that the occasion should not be mentioned, since if the particle ' as' &c. imply- ing a fancy We not employed and the occasion not mentioned, it would be impossible for the reader to recognize the Fancy. c. Nor is the fancy of Nature (i. e. irrespective Nature § 687) pos- sible in the presen variety. For in the fancy of a nature which consists in the identification of another concrete object with the subject of de- scription, if ' as' &c. be not used and an epithet be added to the character fancied, we should call it a Hyperbole; as " This king is another Indra." And if no epithet be added, we should have a Metaphor, as 'The king is Indra.' So the Implied Poetical Fancy is thus thirty. two-fold. TEXT.

Other two aspects of Poe- tical Fancy. No. 690. These, again, are each twofold, according as the subject of the fancg is men-" tioned or not.

• In the fancy of & Cause, cbserves the commentator, the Occasion is the fruit or consequence of what is fancied, and in the Fancy of a Fruit, the Ocoa- sion is the caue or renson of what ie fancied.

380 The Mirror of: Composition.

COMMENTARY. a. 'These' i. e. the said varieties of Poetical Fancy. When the subject is mentioned, take the example " The thigh of the fawn-eyed one &c." (§ 686 a.) When it is not mentioned, take the following words of Pradyumna in my drama Prabhavatí : "Now the thick darkness, covering over every region of space, has sunk the world, as it were, in a sea of black collyrium ;* has filled it, as it were, with particles of musk ; has overspread it, as it were, with Tamala trees; has invested it, as it were, with black wrappers." Here the subject, vis. the being pervaded, of the Fancy of being sunk in collyrium is not mentioned. Or, for example, " Darkness besmears, as it were, our bodies; the heavens, as it were, rain collyrinm." Here the subject pervasion, of the fancy of darkness besmearing our bodies is not mentioned, as also the falling of darkness, the subject of the raining of collyrium. The Occasions of the two cases of Poctical Fancy in the present example, are respectively the excess and the pouring down of darkness.t Some, however, say " The subject is darkness itself which is not an agent of the act of besmearing; the fancy is its being such an agent ; and the occasion is the pervasion. Similarly are the heavens, as the supposed agent of the act of raining, the subject of the Fancy." TEXT.

Poetical Fancy founded No. 691. This (Poetical Fancy) when npon another ornament. arising from another ornament, is more striking. COMMENTARY. a. Among such cases, Poetical Fancy founded upon Concealment is exemplified in the following stanza of mine :- "The flood of beauty of the fair-eyed one, incapable of being contained in her body, falls overflowing, under the disguise of tears, as her eyes are pained by the smoke of the fire kindled by the oblation of ghee." . IAterally has associated the world, as it were, with large quantities of colifriuma t Thie esplenation, says the annotator, is according to those who hold that darknens is a substance.

The Mirror of Composition. 381

b. Poetical Fanoy based upon a Paronomastic (§ 643) Occasion;

"The pearls, we believe, that issued from the narrow womb of the oyster, have attained this their fair quality (or string-guna) from dwelling on the charming conch-like neck of this lotus-eyed damsel." Here the Paronomasia in the word guna (which means both a string and good quality) is the occasion of the Fancy of a Cause (§ 687 d.) contained in the clause '(adif) from dwelling on the conch-like neek.' Here ' we believe' is the expression denotative of the Fancy. Sini- larly- . TEXT. No. 692. ' Methinks,' ' I suspect,' ' of a certainty,' 'perhaps,' 'surely' and such other expressions are used. COMMENTARY. a. Sometimes we have a Poetical Fancy beginning with a Simile, as :-- "The Foe of Mure (Vishpu) saw, on the other side of the sea, series of woods abounding with dark-green Palas'a trees, which looked like conferva thrown every moment upon the shore by thousands of surges." Here since the word abha* implies a comparison, there is a simile in the beginning, but in the end there is Poetical Fancy, inasmuch as the existence of conferva on the sea-shore is imagined as probable, notwithstanding its impossibility. Similarly is it to be understood in the description of the emaciation of certain love-lorn ladies, ' Their bracelets were turned into armlets ;' as also in such an instance as 'The side-glance of her with eyes large like those of a deer acts the part of a blooming blue lotus in hor ear.' (In these two examples the ornament begins with seeming to be a Simile, but terminates with being recognized as a Poetical Fancy, inasmuch as the bracelet and the side-glance are not compared to an armlet and a blue lotus re- spectively, but are fancied as if they were actually so.)

• The word means tappearance' but it is used in comparative compounds to denote *liko appearance.'

382 The Mirror of Composition,

b. In the figure of the Mistaker, as in "The simple cowherds &c." (§ 681 a.) the deluded cowherds have no consciousness of the moon-light, the subject of their mistaken* notion of milk, for it is this supposed fact that the poet founds his description upon. But in the present ornament, the person who entertains the fancy has a cognition of the subject of his fancy, i. e., of the distinctive nature of what he invests with an imaginary character. This is what makes their dif- ference. In the Doubt (§ 680), both the alternatives are cognized as equally prominent, whilst here one of the alternatives is more power- ful and is in the shape of a (fancied) probability, or an undetermined cognition. In the Hyperbole (§ 693) the unreality of the character fancied is apprehended AFTER the sense of the sentence is understood, and here, at the very time of the sense being understood. c. "Has darkness coloured black the various trees and hills, or has it brought down the heavens, or has it screened them over ? Has it levelled the earth in its uneven portions, or has it fastened togethert all the regions of space?" Some recognize here the ornament of Doubt, inasmuch as the treos pervaded by darkness are suspected to be coloured, and so on. This opinion is not right, for the Doubt consists in the cognizance of the same object under more than one alternative equally prominent ; whilst here the pervasion of the trees, hills, &c., by darkness, is not one and the same pervasion, but is conceived as distinct and various pervasions as distinguished and individualised by the several objects with each of which it comes, as it were, in separate contact ; and besides, the 'pervasion' or the like is swallowed up by the idea of ' colouring' &c., which alone are prominent. Others say that the present is a distinct kind of the ornament of Doubt, though having one of the alternatives more prominent, because it has the beauty of uncertainty. This too is not right. Since the apprehension of a thing, (the real natnre of which is, as it were, swallowed up ) under an identity with

The Figures termed Doubt and Mistaker respectively are suficiently ox- plained by their designation. It will help the reader in undorstanding the distinctive nature of the present figure (Poetical Fancy) to say that it simil. arly nuswors te probapility. The name might, indeed, be rendored Probability, or Poetical Piobalilfty. The commontator reads here sanhritah ' destroyed' instead of sanhatah.

The Mirror of Composition. 383

something else is what is styled Fancy; and as this evidently exists in the present case, being implied by the particle nu as well as by iva, the ornament ought to be the Poetical Fancy. Enough of inventing distinct species of the Doubt that are no where to be found. d. "This that in the midst of the moon spreads the charms of a flake of cloud-people call a hare : to me it appears not so. I be- lieve the moon to be marked by the black scars of the wound caused by the darting meteor-glances of the young women distressed by the separation from thy foemen, their lords." Here, since notwithstanding the use of the expression ' Methinks' ('manye' implying a fancy) (§ 692), we do not recognize a fancy as defined before, we have a mere conjecture, not a Poetical Fancy attended with Concealment (§ 683).

TEXT.

Hspesbole. No. 693. When the Introsusception is complete, it is styled Hyperbole.

COMMENTARY. a. When a subjective fancy, having swallowed up, or altogether taken in, the object, is apprehended as identical with it, it is Intro- susception. This introsusception is incomplete* in the Poetical Fancy, where the subjective notion is expressed with uncertainty. Whilst in the present ornament it being conceived with certainty, the intro- susception is complete. b. In the Poetical Fancy, the swallowing up of the object (vis- haya)+ is by simply reducing it to a subordinate condition, and so may it be also here, as in -- ' The face is a second moon.' As has been said, "Be the object mentioned or not, if it is simply reduced to a subor- dinate condition, the learned declare it to be swallowed."

Sddhya -- ' to be completed.' + This word was rendered 'subject' or 'subject of the fancy,' under the foregoing text, bnt it seems better here to adhere to its strict philosophical significution of ' pbject' as contradistinguished from ' vishayin' (subject). Sce the beginning of S'ankark's commentary on the Vedanta Sutras.

384 The Mirror of Composition.

TEXT. No. 694. This is five-fold, as there is a denial of distinction Five varieties of Hyper. where there is a distinction in reality, a bole. negation of connection where there is a connection; and vice versd ; and as the sequence in a causation is inverted.

COMMENTARY.

a. Vice versd i. e. implying a distinction where there is identity and a connection where there is none .- 'This' i. e. the Hyperbole. b. Of these Divisions, an Identification where there is a Distinc- tion is exemplified in the following stanza of mine :- "How is it that the peacock's tail shines above ; and bencath it, the lunar digit of the eighth night; next to it a tremulous couple of blue lotuses; below it the Tila flower, and still lower a tender leaf?" Here we have the introsusception of the tresses of a beloved woman in the peacock's tail with which they are identified. c. Or, for instance, " Holding deep silence as if from the sorrow of separation"-(§ 687 d.) The silence belonging to a sentient crea- ture is one thing, and the stillness pertaining to an object unthinking is another. The two states, though distinct, are identified here. d. Similarly in the line " In her yonth, her lover is flushed (-with love, raga-bhak) together with the soft petal of her under-lip"-the rága of the under-lip is its redness and the rága of the lover is his love : these two conditions are identified. e. A Distinction where there is an Identity ; as- "Strange* indeed is the beauty of her body, strange are the riches of the fragrance breathed by her : the charmingness of her with cyes like the lotus-petal is altogether extraordinary." f. A Denial of connection where there is a connection, as- Was it the moon, the source of lovely radiance, that was the Creator in forming her; or was it Káma himself ever devoted to love; or was it the Season of Flowers (Spring) ? How indeed could the Ancient Saint: (Brahma), cold by studying the Veda, with his mind turned away from objects of sense, create this heart-ravishing form?"

Literally-' other.

The Mirror of Composition. 385

Hefe, although the Creator, the Ancient of days, is connected with the formation of the lady, there is a denial of His connection. g. A Connection implied where there is really none ; as- "If, on the orb of the moon, were fixed a couple of blue lotuses, then indeed might her face with the fair eyes be compared." Here a connection, unreal, is fancied by means of, a supposition brought in by the force of the word 'if.' h. And the inversion of the sequence in a cansation (§ 694) is two-fold, as the effect may be supposed to precede the cause or to co- exist with it. For examples in their order :- " The hearts of the deer-eyed ladies were agitated by fancy, even before the beauty of the blossoming Vakula and blooming Mango. manifested itself." "Bimultaneously did he of the elephant's majestic gait tread both the paternal throne and the dominions of other rulers." i. With reference to the present figure, some say " The ordinary, or only mundane, excellence belonging to the lady's tresses (§ 624 8.), for instance, is fancied as being super-mundane, and it is such a fancy that constitutes the introsusception in the present ornament. If, on the contrary, the introsusception of the tresses be held to consist in their being fancied under the character of the peacock's tail, the definition of the figure (§ 693) would not include, as it ought to do, such instances as, 'Strange is the beauty of her body &c.' (§ 694 e.)." This is not right.For here too, the lady's beauty which is Nor generically dif- ferent from that of other women, is fancied as different. To make the case still more clear, if we substitute ' anyadiva' for 'anyadana and read in the translation ' Her beauty is, as it were, quite apart from that of other women, ge.' we should indisputably have an incomplete introsusception, and so a Poetical Fancy (§ 686) would be admitted. In the example beginning 'The hearts of the deer-eyed ladies' (§ 694 h), the beauty of the Vakula &c., though coming first, is fancied coming afterwards, and so here too, on the employment of the parti-

• Here in Boer s edition of tha iginal, supply the following and cancel s before -Ffon, and remove the inverted commas after it- पन्चदेवा: कारेश्व प्रसंवससेति"। तंज्र सवापि हानसदा सावसमन्यलेना ायसीचते ह तथा अव्यदेवेति स्यानेऽ््यदिवेति पाठेड्यवसायस्

386 Thi Mirror af Comparttion.

cle ' ioa' (as if), we should have the Poetical Fancy. Similarly is it to be underatood of the other examples. TEXT.

Equal Pairing. No. 695. When objects in hand or others are associated with one and tho same attribute it is Equal Pairing. COMMENTARY. a. 'Others'-i. e. those that are not in hand, or unconnected with the subject. b. ' Attribute'-i. e. Quality or Action. c. The following are examples- "Unguents of Sandal, white flowers, and candles, and fair ones in- dignant against their lords were, by that darksome time (evening), lighted up, and Love awoke that had long fallen asleep." Here the description of darkness is in question, and the unguents &c connected therewith, are associated with the same action of light- ing up. "Who, that has perceived the softness of thy body, feels not the hardness of the jasmine, the lunar streak, and the plantain ?" . Here the jasmine &c., that are unconnected with the subject, are associated with the same quality of hardness. . d. Similarly :- "Charity from Affluence, Truth from Speech, Fame and, Piety from Life, Beneficence to others from the Body-from unsubstantial things, man ought to extract substantial good." Here Charity &c., which are in the objective case, are associated with the same quality of substantialness, as also with the same action of extracting. TEXT.

TThe Ilaminator. No. 696. When a thing connected with the subject, and another unconnected with it, are associated with the same attribute, it is termed the Illumi- nator; or when the same Case is conneuted with more than one Verb, COMMENTARY. a,Kor examaples of these tio sorts of the Iluminator in their

rom a pride of power, be (S'is upála), desirous of victory, op-

The Mirror of Composition. 387

presses the world now, as of old: the chaste wife and unchanging Nature come to the man even in succeeding births." Here there is an association with the same action of accompanying, of unchanging Nature, which is connected with the subject, and the chaste wife who is not connected. "When thou, life's lord, hast come to a distance, she, poor woman, pierced by the shaft of Love, rises up fitfully and lies down and comes to thy dwelling-house, goes out and laughs and sighs !" The stanza is mine. Here the same heroine is connected with the many actions of rising up &c. b. In the present Figure, the three varieties, arising from the Quality or the Action being expressed in the beginning, middle or end, have not been formally defined, inasmuch as a thousand such" varietaes are possible in every ornament. TEXT.

Tyrical Comparison. No. 697. Typical Comparison is when in sentences or descriptions, of which the correspondence is implied, the same common attribute is differently expressed. COMMENTARY. a. For Example :- "Glorious art, thon, daughter of Vidarbha, thou that by noble qualities hast attracted even the lord of Nishadha : what greater praise can be bestowed upon the Moon-light than that it agitates even the Ocean ?" Here the actions of ' attracting' and 'agitating,' though the same, are expressed by a difference of words, in order to avoid a repetition, b. This Figure is also found in a series; as- "Glorious indeed is the sun, pure the moon, the mirror is by nature brilliant, S'iva's mountain (Kailasa) is closely akin to S'iva's laughter, and the virtuous man is essentially fair."*

"" Full many a gem of purest ray serene, The dark unfathom'd ceves of ocean bear : Full many a fower is born to blush unseen And wuste ita uwestness on the desert air." Gray. This stanza, in contotion with the succeeding, may be given as twics stancing this Figure.

888 The Misror of Comporition.

Here the words glorious,'pure, &e, are the same in thoir ultimate meaning. The same figure under a negation of attribute; as- "The chakoris alone are expert in the act of drinking the moon- light : none, but the fair ones of Avanti, are skilled in the pranks of love." TEXT.

Exemplification. No. 698. But Exemplification is the re- flective representation of a SIMILAR attribute. COMMENTARY. a. 'Similar'-this distinguishes it from the Typical Comparison (§ 697). b. This figure too is twofold, being founded upon a similarity or contrast. For examples in their order :- " A good poet's song, though its merits have not been examined, pours a flood of honey into the ear: A wreath of jasmine ravishes the sight, though its fragrance has not been perceived." "The stag-eyed lady ceases to feel the torments of Love when thou art seen : The assemblage of water-lilies has been seen to droop, when the moon has not risen." How can my heart, the affectione of which are enchained to Vasantalekha alone, turn to other lovely women? Does the bee, eager for the honey of the blooming jasmine, seek any other plant ?" The stanza is mine. Here since the phrases how can my heart turn ?' and ' (does the bee) seek any other plant ?' terminate in con- veying the same sense, we have but the Typical Comparison. Whilst in the example of the present Figure, the pouring of honey into the ear and the ravishing of the sight are similar, not the same. d. When between the significations of a couple of sentences, one of which illustrates the other, there is the relation of genus and species, we have the ornament termed Transition (arthantara-nyasa- § 709). Such being not the case in the Typieal Comparison and the Exemplification, they are distinct figures. PEXT. No. 699. When a possible, or, as is sometimes the case, even an

Histration impossible connection of things implies a relation of typo and prototype it is Illus- rativa.

The Mirror of Composttion. 389

COMMENTARY. a. Of the troo sorts implied in the text, we have Illustration under a Possible Connection of Things exemplified in the following lines! "Who that vainly torments creatures in this mundane sphere enjoys prosperity for & long time ?'-telling this, the Sun, in a day, then reached the Western Mountain." Here the connection of the sun, as the agent, in the act of intimat- ing such a fact, is possible, inasmuch as the circumstance of his setting in the Western Mountain is capable of making such an in- timation. And this connection implies the relation of a Type and Prototype between the sun's setting and the falling into adversity of those who oppress others. b. The Illustration under an Impossible Connection of Things is twofold as being conveyed by one or more sentences. Of these, that conveyed by a single sentence; as- "Her sidelong darting glance bears the loveliness of the blue lotus- garland; her under-lip, the fairness of the tender leaf; her face, the radiance of the moon." Here the impossibility of the darting glance for instance, bearing the loveliness of the blue lotus-garland-for how can a thing bear the property of another ?- suggests a loveliness like thereto, and implies the relation of a Type and Prototype between the wreath of hlue lotuses and the darting of a side-glance. c. Or, for example :- " At thy march, O Chief of monarchs, the face and feet of thy foeman's fair ladies forsook the fairness of the moon and the gait of the royal swan." Here the setting aside, hy the fair ones' feet, of the gait of the royal swan, with which they have no connection, being absurd, the connection is PANOIED, but this fancied connection being actually tro possible implies a gait similar to that of the royal swan. d. The same in mone than one sentence (see § b.); as- "The saint, who wishes to make this unfeignedly lovely frame Al for penance, surely repolves to cut the S'ami plant with the edge o the blue-lotus-leaf. * In the Sanskrit, the reletive and correlative clauses are always separet are therefore here reckoned aistiuct sentences.

390 The Mitror of Comporition. Here the connection of identity between the significations of the sentences, respectively marked by the Relative yad and the Demons- trative tad, i. e. of the relative and correlative clauses, being absurd, terminates in the relation of type and prototype, thus-The desire of making such a frame fit for penance answers to the desire of cutting the S'ami plant with the edge of the leaf of the blue lotus- leaf. e. Or, if you refuse to count the relative and correlative clauses as distinct sentences (?)-take the following example : " By my eagerness to secure the pleasures of the world, I have made my life void of fruits: Alas! I have sold the invaluable chinta- mani at the price of glass." Here the ultimate meaning is, that the wasting of life in pursuit of worldly enjoyments is like the selling of the Chintamani at the price of glass. Similarly- f. "The sun-born race, and the intellect of small compass to describe it-how vast the disparity ! Ready am I, through folly, to pass, by means of a raft, the impassable ocean!" The ultimate meaning, here, is that the description of the solar race, by my intellect, corresponds to the crossing of the ocean by a raft. g. This variety may be also when the impossibility consists in a circumstance of an object compared, when said to belong to what is compared to, as- " What sweetness was experienced in the under-lip of the deer-eyed lady-that same sweetness has been relished by the tasteful in the jnice of the grape." Here the attribnte of sweetness, belonging to the under-lip which is in question, being impossible in the grape-juice, the sense, as be- fore, terminates in similarity. h. This occurs also in a series ; as- "Thou throwest a parrot at the teeth of a cat, thou committest a deer into the month of a hyena, thou drivest a horse upon the horns of a buffalo, setting thy heart on the enjoyments of the world." t.Iu the poesent ornament we have not the consummation of the sense uf the sontence, or sentences, apart from the intimation of the intiou of Bype and Prototype, whilst ia the Exempltacation (§ 698);

The Mirror of Composition, 891 we apprehend that relation from the context, after the complete mean- ings of the sentences have been understood. Nor is the present Figure the same with the Natural Inference (see § 787), since in the latter, as in the example "Lo! the necklace rolls on the breasts of the fair ones," &c., (§ 737 h.), the meaning does not terminate in a comparison.

TEXT. No. 700. When an object compared to another (1) excels or (2) Contrast, or Dissimilitude; falls short of it, it is Contrast, or Dissimi- forty-eight varieties. litude. This is single when the occasion' is mentioned, and threefold when it is not mentioned. These four sorts are again sub-divided into twelve, from the idea of resemblance: being conveyed by a word (i. e. directly see § 649), by the sense (indirectly), or by intimation, and since each of theso twelve sorta may consist even of a Paronomasia (§ 643), they become twenty-four. Each of the two cases thus containing twenty-four sorts, the Figure, on the whole, comprises forty-eight varieties.

COMMENTARY. a, The ' occhsion' in the case of the object compared excelling that compared to is the point of superiority belonging to the former and the point of inferiority belonging to the latter. When both of these are mentioned, there is one variety, and when one or both of these are omitted, there are three varieties. Thus the figure being fourfold, we have again twelve varieties, the relation of the com- pared, and the compared to, being expressed directly by the word, or indirectly through the sense, or being intimated. The twelve varieties being in the form ' even of a Paronomasia,' that is to say, occurring apart from a Paronomasia as well as in a Paronomasia, are sub divided into twenty-four. In the same manner, the Figure (Dissimilitude) containing twenty-four sorts when the object compared is inferior to that compared to, it comprises altogether forty-eight varieties. b. For examplo "Her stainless faoe is not as (yatha) the sallied moon." Here botl the cireumstances, viz. the stainlessness belonging to the object compared and the stainedness belonging to the object comparsd to, aro mentioned. The comparison is Direct from the employment

892 The Mirror of Composition.

of the word yatha' (as). In this very example, instead of 'not as the stained moon' (न कछके विधर्यथा) if weread 'not like the stained moon' (न कलङ्गिविधपमम्). we should have an Indirect comparison, and if we read ' triumphs over the stained moon,' we should have an Inti- mated comparison from the absence, both of ' as' &c. and ' like' &c. the only terms that abstractly or concretely DENOTE similitude. In this very example again, on leaving out the word ' stainless,' there would be the case of an omission of the circumstance of superiority (stainlessness) residing in the object compared; on leaving out the word ' stained,' we should have the case of the omission of the circumstance of in- feriority residing in the object compared to; and if we leave out both words, we should have the case in which both the circumstanees are omitted. c. This Figure in a Paronomasia; as- अतिगाढगुण्ा याख नाडवङ्गदुरा गुणा:। [The excellences (guna) of her with substantial merits are not as the frail fibres (guna) of the lotus.] Here there is a Direct Comparison, from the employment of the affix '-rat' in the sense of 'iva,' and both the points of superiority and inferiority are mentioned, and the term ' guna' (meaning an ex- cellence or a fibre) is paronomastic. The other varisties under this division are to be understood in the foregoing manner. d. These (the preceding) are examples of the case where the object compared excels that compared to. The case in which the former falls shor: of the latter is, in part, exemplified in the following stanza :- "The moon, waning, waxes again, ever and anon: forbear fair lady, be gracious ; youth, when gone, is never to come back again!" e. With reference to this stanza, some say : " Since the instability of youth, which is the object compared, is greater in this example, the clanse ' or vice versd' is not required in the definition given by a certain author viz .- 'The Contrast is when what is compared is greater than what is compared to, or vce versd'." Thie opinion cannot bear a discus- sion, for what is meant by being greater or less is nothing but super- iority or inferiority, and in the present example it is evident that youth is inferior. to the moon, in point of stability. Admitting however, that my opponent's view may, in a manner, hold good in the present igetace, how is he to. deal with such a one as-

The Mirror of Composition. 393

"Hanúmat and others illumined the messenger's pussage by their fame's white lustre, but I, by my foemen's brilliant laugh !"? So the clause ' or falls shott of it' was properly inserted in the text. TEXT. No. 701. When a single expression, by the force of a term de-

Connected Description. noting simultaneity or conjunction, signi- fies twro facts, it is Connected Description (sahokti), provided that a Hyperbole (§ 693) is what it is founded upon. COMMENTARY. a. The Hyperbole, again, must, in the present figure, be based (1) npon the introsusception of an object into an identity with another, or (2) upon the inversion of the sequence in a causation (see § 694). That based upon an introsusception under identity, again, may rest upon a Paronomasia, or otherwise. For examples in their order :- b. "In her youth, her lover is flushed (with love-ragabhak), together with the petal of her under-lip." Here there is a Paronomasia in the term rága (see § 964 d). c. "The beams of the nectar-rayed luminary shoot through every direction-awakening love along with the assemblage of the water- lilies, dispelling firmness of mind along with the thick shades of the night, and closing the heart (in the contemplation of the beloved one) along with the multitudes of lotuses." The stanza is mine. Here the 'awakening' &c., are distinct, from the distinction of what they pertain to, *- not merely under a Paronomasia as in the foregoing erample where the two LITERAL senses of 'raga'-' redness' and ' affection' are identified. d. The following are examples of the second division of the Connect- ted Description, or that founded upon a Hyperbole consisting in the in- version of the sequence in a causation :- "Together with the king, she fell upon the ground-her conscious-

. Thus; in lation to lovo, 'awakening' (vuTH) is 'exciting' and in relation to the assemblage of water-lilies, it is 'expanding'. These two signi- fications, hy the help of the phrase ' along with,' are identified by similitude not by a pun. So for the other participles.

894 The Mirror of Composition. ness taken away by a deep swoon, as the spark of a lamp falls with the dropping oil .* " e. This Figure is also possible in a series; as in the preceding example-" The beams of the nectar-rayed luminary" &c. f. In such a sentence as " Rama, together with Lakshmana, went to the thick forests," there is not this fignre, from its not being based upon a Hyperbole.f TEXT. No. 702. The Speech of Absence (rinokti) is when a thing, in

Speech of Absence. the absence of another, is represented as (1) not disagreeable or (2) disagreeable.$ COMMENTARY. a. 'Not disngreeable'-not unsightly. Thus thongh the ultimate meaning of the phrase is ' agrecable,' yet the expressing of the quality of agreeableness through the negation of that of disagrecableness is intended to import that the apparent disagrecableness or loss of beauty of the objeet of description is the fault of the presence of another object, the former being indeed essentially fair. For examplo :- b. "In the absence of the 'season of clouds, the moon obtained its unslumbering state (or shone forth in its native brilliance); in the absence of summer's burning heat, the woods put on their native charmns."§ c. The case where a thing is represented as disagreeable or not pleasant; as- "Well hast thou done, following thy lord that transcends all people: What is Day-beauty without the Sun; what is Night without tho Moon ?" " The commentator mistakes this for the similar stanza in the Raghuvans'a, describing the swoon of Aja at the sudden death of Indumati his wifo, of which the present is an exact connterpart. t The commentator justly asserts the propriety of admitting this ornament wherever this mode of speech may bu striking, even apart from a Hyperbole, and cites the Tollowing line fiom the Kavya-prakas'a-सह् मशिवलयेव।ष्पधारा ग्रसन्ति। I Reud नासाध्वन्यत for न साध्वन्यत् in Roer's edition of the original. § Lit .- beenme delightful.

The Mirror of Composition. 395

d. "The days of the Lotus have passed in vain; it saw not tho orb of the Cool-beamed Luminary : Fruitless too was the birth of tho Moon who never beheld the Lotus awakened." There is a particular strikingness, in this stanza, from the reciproca- tion of the Speech of Absence. Although the very particle ' vina,' (without) is not used here, yet the ornament is no other than the Speech of Absence, inasmuch as the sense of 'vind,' 'absence' or 'want,' is implied. Similarly is it to be understood that the Figure of Connected Deseription (§ 701) may occur without the actual employment of the word 'saha,' the meaning of it being implied. :

. TEXT. No. 703. The Modal Metaphor (Samasokti*) is when the beha- Modal Metaphor, three- viour or character of another is aseribed fold. to tho subjeet of description, from a same- ness of (1) Action, (2) Sex (or gender), or (3) Attribute.

COMMENTARY. a .. Of the three sorts thus obtained, the ascription of the beha- viour of one not in question to the subjeet of description, from a sameness of ACTION is exemplified as follows :- "Happy indeed art thou, Wind of the Malaya mountain, who forcibly embracest every part of the frame of the Lotus-eyed lady, having shaken off the vesture of those breasts that bear the beauty of a couple of golden jars." Here we have the attribution of the behaviour of a rough lover to the wind. b. From a sameness of sex, or gender ; as :-- "How can the lofty-minded man think of woman, when he has not satisfiod his desire of victory ? The Sun (ravih) woos not fair Evening (sandhya), without having careered, in triumph, over the whole world." Here the characters of the lover and the beloved are ascribed to the sun and evening, simply because of the words being respectively of the maseuline and feminine gender.

• Lit. 'a specch of brevity.' Tho figure answers to the English Personi- fication, excent that it includes ite reverse, or the attributiou of the character of un inanimato thing to a sontiont creature.

396 The Mirror of Composition.

. The sameness of ATTRIBUTE may be in three ways, (1) from a Paronomasia, (2) from Community, or (3) as implying a Resem- blance. d. Of these three cases, the following stanza of mine illustrates that in which the sameness of attribute is based upon a Paronomasia :-

विकसितमुखीं रागासक्राङलत्तमिगष्टतिं दिनकरकरस्पषटामेन्द्रीं निरीक्ष्य दिशं पुर:। जरठलवलोपाण्डच्छ्रायो भ्टभं कलुषान्तर: त्रयति परितं न्त प्राचेतसीं तुचिनकुनिः।

[Alas! the Luminary of the dewy. beams resorts to Varuna's Quarter (the West), very gloomy at heart and pale like an old lavali plant, as he beholds the East* with a smiling face, with the mantlo of darkness falling off, from the rosy light ofdawn (or warmth of affection,)-touched by the rays (or hands) of the Lord of day.] Here the words Hw (face or extremity), TT (redness or affection) &c., are Paronomastic. In this example, even on our turning one portion into a metaphor, by reading faferiwara (vesture of dark- ness) instead of fafntiefan (cover of darkness), we should still have the Modal Metaphor, not the Partial Metaphor (S674). For, in that case, the figuring of darkness as vesture would, from their evident resemblanco as covering, rest in itself, independent of the help of any other metaphor (the metaphorical figuring of the East, for instance, as a woman) ;t so it could not preclude our recognition ci the figure as the Modal Metaphor. Where, however, the thing figured and the thing figuring it, or that with which it is meta- phorically identified, do not bear an evident resemblance, there indeed the metaphor being absurd of unintelligible apart from another metaphor, we have to recognize an implied metaphor in another part of the description, though none be expressed. The following, for instance, is a case of the Partial Metaphor :-

. Lnit. Indra's Qnarter. t That is to eay, we shonld not be necessitated to recognize an implied me- tephor (rupata), technically so called, in any of the other parts of the descrip- tion, by the single metuphorical expression, whioh may stand quite apart and independent,

The Mirror of Composition. 397

" The Army (send*) of his foeman, as the monarch, in that retreat of lovet-the field of battle-holds in his hand the fair Sword (mandalagralata), turns away from him, though at first passionately eager to meet him." Here the resemblance between the battle-field and the retreat of love is not evident. e. In those instances too, where there is an expressed figuring of several objects, bearing evident resemblance to those under the cha- racter of which they are poetically disguised, and an implied figuring of only one portion, we have but the Partial Metaphor, inasmuch 'as the cognition of the metaphor, being copious or diffusive, prevails over that of the Modal Metaphor. 'But then there is a clear re- semblance between the battle-field and the retreat of love, in both of which the hero moves with ease.' Truly said,-there is a clear resemblance, but dependent upon a consideration of the meaning of the whole sentence, not independently; for a battle-field and a retreat of love are not both, from their nature, places of easy loitering, as a face and the moon are from their nature charming. f. From a Community (see § c.); as :- "The Lotus smiled (or, was expanded-smerd), on the rise of the Lord of day,-with the bee charmed with the native. fragrance, me- lodiously humming." Here the Lotus, under the common epithett ' with the bee charmed &c.,' is recognized under the character of a woman, by reason of the attribution of the action of smiling which belongs only to a human being : for without this attribution, it would be impossible to re- coguize the behaviour of a woman merely from a community of epithet.§ g. The circumstance of the common qualification implying a re- * Both of these words being feminine, Mandalagralata is represented as the rival of Sená. t In the original m:qr-inner apartment or the aparrment of women. t I. o. the opithet equally applicable to a woman, for, as the Commentator observes, 'nativo fragrance' is such a thing as is frequently ascribed to the breath of a fair.womau. § So, adds the Comment tor, a common epithet, accompanied with the ascription of a peculiar attribute, is, in faot, the condition of the prosont divi- sion of the figure.

398 The Mirror of Composition.

semblance (§c.) again, is possible in three ways, according as a Simile, a Metaphor, or a Commixture* of the two is included. h. Of these three cases, that implying a Simile is thus exompli- fied :-

केशपाशालिृन्देन सुवेशा हरिणेचणा॥ "With those flowers-the beams of the bright teeth, with those tender Icaves-the hands, with that swarm of bees-the dark tresses, shines that deer-eyed lady in her beautiful dress." Here by reason of the qualification 'in her beautiful dress' the composition of the epithet danta-prabha-pushpa-chita (' with thoso flowers' &c.,) for example, is at first, to bo interpreted to imply a Simile danta-prabhah pushpaniva (the beams of her tecth are like flowers). Afterwards another way of analysing the compound being resorted to, viz. danta-prabha-sadris'aih pushpais' chitat ( abounding with flowers looking like tho beams of teeth'), we recognize the deer-eyed lady in the character of a creeper, by virtue of the qualifications, which (as shown in one instance) are equally applicable, by a simple turn of interpretation, both to the lady and a creeper. i. When a Metaphor is implied, we have the example of the stanza beginning ' what clusters of bees-eyes of people'- §674). j. The common qualification implying a Commixture (Sy.) ; as, for instance, if we read qftar (encireled ' with that swarm &e.') instead of सुवेश ('in her bcautiful dress') in the stanza beginniug दन्नप्रभापुप्प- (§h), we have to resort to a Commixture, from the absence of any means of, or criterion for, settling that a Simile or a Metaphor is the ornament used here. The other way of analysing the compounds, according to which the lady is recognized as a creeper, has been shown before. k. Of these three cases, there is the Modal Metaphor in the first and third, according to those who hold that a Simile and a Commix- . The Oommixture, or coufusion, of two or more figures, as also thoir Con- junction, or ind pendent co-existence, in tho samo passage are counted as distinot ornamente (soe §755 and 756). + This is madhya-pada lopt samasa (composition omitting a middlo torm), as abhijnana. S'uruntalá.

The Mirror of Composition. 399

ture cannot be partial; whilst the second is but an instance of the Partial Metaphor. On consideration, however, it would appear proper to recognize no other than the figure of Partial Simile in the first case. Otherwise, in such an instance as- " Autumn, bearing on (her) pale clond-breast (payodhara) the bow of Indra (the rainbow) resembling the fresh wound of the nail, and delighting (or making clear of clouds*) the branded (or spot- ted-sakalanka) moon, increased the distress (or heat -- tupat) of the sun,"-how should we recognize the autumn as behaving like a woman, when the breast of a woman bearing the rainbow resembling a fresh wound of the nail is impossible? l. "But then," as somebody might ohject, "the nature of what is compared to (upamana), though, according to the letter, belonging to the wound of the nail, ought, in consideration of the things (i. e. the spirit of the description), to be transferred to the rainbow ; just as the Vaidik injunction of oblation, the proper object of which is ghee, is transferred to curd in such a representation as 'IIe makes an obla- tion of curd,' when, in the absence of ghee, an offering cannot other- wise be made. Thus the clause in question will be understood to imply 'Bearing the fresh wound of the nail resembling (or rather simulating) tho bow of Indra."' m. I answer-No, it is better to admit the Partial Simile here than to resort to such a far-fetched interpretation, in maintaining that the Modal Metaphor is the ornament employed. Granting, however that this figure may somehow be recognized in the present example, we have no alternative but the admission of the Partial Simile in the example heginning ' Lako-beauties at every step .- ' Besides how can the Modal Metaphor, which consistssin the attribution of the beha- viour of an animated being to an inanimate thing or vice versa, have room in the Simile which conveys no idea of such action? To this effect it has been said: 'Since in the Simile, neither the identical actien nor the nature of the object compared to is understood to be attributrd to that compared, there is no such thing as a Modal Meta-

• My MS. probably rightl; reads प्रसाद्यन्ती iustead of प्रमोट्यन्ो the read ing in Roer's edition. t Roer wrengly reads yryH.

400 The Mirror of Composition.

phor resting upon a Simile,* but what is wrongly reckoned as such is evidently the Partial Simile. Thus the possibility of a Partial Simile and a Partial Metaphor being recognized, it is logically established that the Modal Metaphor has no room in a Commixture founded in the two former figures, and so, in fact, the Modal Metaphor does not admit of being sustained by an epithet implying a comparison. It is therefore two-fold in the employment of a common qualification, as festing upon a Paronomastic, or a common epithet; and two-fold as founded npon the sameness of Action or Gender (see text and §c.) So the Modal Metaphor comprises four varieties, of each of which the attribution of behaviour, is the essential constituent. n. This attribution of behaviour, again, is four-fold, according as the action of a being or thing pertaining to the ordinary world, or to science, is ascribed to another of the same sphere, or as the action of an object of the ordinary world is ascribed to one belonging to Science, or vice versd. Of these two clusses of beings, that of the ordi- nary world is numerous, from the difference of Relish, (or the variety of the sentiments which the constituents of the class are respectivoly capable of exciting) &c. Numerous likewise are the entities per- taining to science, such as those known in the sciences of Lo- gic, Medicine, Astronomy, &c. In this manner the Modal Metaphor is divisible into many sorts, of whch a portion is exempli- fied as follows :- o. In the stanza beginning " Happy, indeed, art thou, Wind of the Malaya mountain," we have the attribution of the action., &c., of a violent lover, a being of the ordinary world,o another being of the ordinary world-the Malaya wind. P. वैरेवरूपमखिलाखपि ष्टत्तिष लां पश्यद्विरव्ययमसल्तया प्रषसं। लाप: छतः किल परतजणे विभन्ने- केलंचएं तब लनं त्रुवमेव मन्ये॥ (They, I believe, have indeed obtained a sure knowledge of Thee, who, sewing thee the One unchangeable in all things, not to be exhaus- Harc, ins'ead of तभ्ापम्यं समासोति: read तम्जापन्यरमासोसि: in Rocrs adition of the tert. + the meaning of the stanza, acoording to the signification of the gramma- thcal teraa ueed here, neod not be rendered.

The Mirror of Composition. 401

ted, though infinitely energizing, have lost, O Supreme, all notions of duality.) Here the properties of things, dealt with in the science of Grammar, are ascribed to the Being (God) known in the Scriptures. Similarly in other cases. q. In the Metaphor, a thing not in question, by bringing in its own nature, covers over the nature of what is in question; whilst here, the former, by an attribution of its own character, distinguishes the latter from its original character, without hiding its real natire. It is for this reason that they speak of ' the ascription of behaviour' not 'the attribution of nature' in defining the present figure. In the Suggestion of Simile and in the Paronomasia of Sense (§ 705), the resemblance of the qualified too is implied, but here that of the attri- bute alone. In the Indirect Description, the being or thing in ques- . tion is intimated, but in this figure, one not in question. Such is the distinction.

TEXT. No. 704. A speech with a number* of The Insinnator. significant epithets is held the Insinuator (parikara). COMMENTARY. a. As :- " Ho ! monarch of Anga, commander of the forces, derider of Drona-Karna, do save this Duhs'asana from Bhima."+ TEXT.

Paronomasia. No. 705. Paronomasia is the expres- sion of more than one meaning by words naturally, or literally, bearing one signification. a. 'Naturally bearing one signification'-this distinguishes the present figure from the Paronomasia of Words (see § 643). The term ' expression' discriminates it from a Suggestion. b. For example :- * The phura! number, irplying more than two, in the original, is, as the scholiast cbserves, purposelv omployed. t A'swatthimá, in the Venf-Sañhára, by these insinuations cries shame to Karna unable to defond Duhs'asana, though he bragged much of his power and derided his superiors.

402 The Mirror of Composition.

प्रवर्जयन् क्रिया: साध्वीमीलिन्यं परितां दरम्। महसा भूयसा दीप्ा विराजति विभानर:॥* [" Occasioning the performance of good works, and dispelling the gloom of all quarters, the sun or the king, (vibhakara) shines resplen- dent with excessive glory."] Here in the absence of such means of determination as the circum- stances of the case or the like (see § 25 a), both a king and the sun are expressly meant (see § 25 e).

TEXT.

Indirect Description, five- No. 706. When (1) a particular from fold. a general, or (2) a general from a parti- cular, (3) a cause from an effect, or (4) an effect from a cause, or (5) a thing similar from what resembles it, is understood, each of the former being in question, and the latter not so, it is Indirect Descrip- tion, and is thus five-fold.

COMMENTARY.

a. For examples in their order :- "A man that can be at ease even under an insult-"better than he is the dust, that, struck with the foot, rises up and sits upon the head." . Here a 'man' in general, is spoken of, when those in whose mouth is put the stanza mean themselves in particular,-thus 'Even the dust is better than WE.' b. " If this wreath of flowers is destructive of life, why does it not kill me, when placed on my bosom ? Even poison may sometimes be ambrosia, and ambrosia poison, by the will of the Lord !" Here, the particular things, poison and ambrosia, are spoken of, whilst an injurious thing doing good and a beneficial thing doing evil, by the will of God, is what is intended in general. And so we have here the figure of Transition (see §709) based upon Indirect Descrip- tion. * The words radlinya (gloom), mahas (glory) &c., literally or primarily mean only klarkness' 'brilliance' &c., respectively, but secondarily ' sadness,' 'great prowess' &e. The word vibhakara, however, as the scholiast observes, literally duotes both the aun and a king, and hence the present is but a mixed exam- plo

The Mirror of Composition. 403

c. In the Exemplification (see § 698), a notorious* object only is employed as a type, an since poison and ambrosia respectively turning into ambrosia and poison have not been experienced, that ornament has no place in the present example. d. " Alas, in the presence of Sita, the moon is, as it were, be- smeared with lamp-black; the eyes of does appear to have become motionless; the redness of the vidruma leaf seoms faint and the lustre of gold gloomy ; the notes of the female cuckoo seem to speak the harshness of her threat, and the long tail of the peacock dispłays but its blemishes." Here from the fancied effects of the moon being besmeared with lamp-black &c., is understood the cause, viz , the pre-eminent beauty. of the face &c., which is in question. e. "The deer-eyed lady, when I said to her ' I dopart,' heaved a swelling sigh, and glancing at me side-wise with one of her eyes suffused with tears, spoke, in sad pleasantry, to the fondly nourished fawn-'Do thou now fix on my dear ladies that fondness thou. hast felt for me.'" Here the cause, the lady's intimation that she would die, is men- tioned, when the effect, the prevention of the lover's depurture, is in question. f. When one thing being in question,t another like to it is des- cribed, the figure is twofold, as being founded upon a Paronomusia or on simple resemblance. The cariety founded upon a Paronomasia again is twofold, according as there is a Paronomasia in the epithet alone as in the Modal Metaphor, or as there is a Paronomasia in the qualified word too as inthe ngure of Paronomasia itself. For ex- amples in their order : g. सह़कार: सदामोदो वसन्तत्रीसमन्वितः। समुखज्पल रचिः श्रीमान् प्रभूतास्कलिकाकुलः ॥ (" The Mango tree, fair and fragrant, adorned with vernal graces and coverod with exuberant blossoms, shines in resplendent beauty.") * Hure, in: Boer's edition, read प्रष्व्ानं for प्रस्थामं. + For sप्रम्नd read प्रस्तुसे in Roer's edition, The opit rts मदामद्:, वसम्तोसमन्वित: and प्रभतोत्कालिकाकुल meai also respectivoly 'ever gay,' 'dressed in vornal attire,' and 'agitated with powerfu) love.'

404 The Mirror of Composition.

Here a lover, the subject of discourse, is understood, by means of the epithets alone, from the description of & mango tree which is not in question. h. पुंस्त्वादपि प्रविचलेर्द्याद यद्यघोि यायाद्यदि प्रशयने न महानपि ख्थात्। चभ्युद्धरेत् तदपि विन्वमितीदृशीयं केनापि दिक् प्रकटिता पुरुषोन्तमेन।। ("Though departing from the state of a male, as he did when he assumed the form of a beautiful woman to charm the demons to destruc- tion, though going down to the infernal regions, as he did to raise up the'earth submerged under water, though becoming low of stature as a dwarf to beg of the demon Balin land measured by threc paces of his- paces which, to the demon's astonishment, measured the triple world- yet preserving the universe-such are the marvellous ways made out by that indescribable Purushottama.) Here from the qualified word too, viz., purushottama, which is paro- nomastic, is first understood Vishnu, because of its ordinary usage in that sense. From this, some personage, intended to be described, is understood. i. Indirect Description founded on mere resemblance, as- "There is but one young pigeon and a hundred hungry hawks are flying towards it; the heavens are fenceless; good gods! Divine inercy is the only refuge." Here from the pigeon which is not in question, is understood some- body, the subject of discourse, whom a great number of men are bent upon persecuting. j. This figure also occurs sometimes umnder a contrast; as- " Happy, indeed, are the winds of the woods, cooled by contact with lotus-lakes, that touch, unobstructed, Rama of the indivara's* dark and lovely complexion." Here, the subject of discourse, oneself, is understood under this con- trast, viz .- 'The winds are happy whilst I am unfortunate.' k. The figuro again is three-fold, according as what is expressed is possiblo, impossible, or both. Of these three cases, that of a pos- siblity is illustrated by the above examples. A aort of lotns of a dark-blue colour .- This is Da'saratha's speech, says the commentator.

The Mirror of Composition. 405

l: The case of impossibility ; as- " I am a kokila and your honour is a crow: blachness is common to both of us. But those who can appreciate soft melody will tell the difference." Here, the dialogue* of a crow and a kokila is impossible, unless we superimpose upon them the characters intended, viz., those of two men externally alike but different as to their internal qualities. m. The case of both a possibility and impossibility combined ; as- चन्तञ्किद्राणि भूयांसि कष्टका बहवो बद्ि:। कथं कमलनान्तसय मा भूवन् भङ़गरा गुसाः। [" Why should not the fibres (or reputation) of the lotus-stalk be fragile (or short-lived), that has so many holes (or failings) within and so many thorns (or foes) without ?"] Here without understanding some person, as the subject of dis- course, under the character of the lotus stalk, it is impossible that the internal holes thereof should be the cause of making the fibres fra- gile, but it is possible in the case of the thorns which can rend the fibres. Thus we have both a possibility and impossibility combined. n. That variety of this figure, which, under a Paronomasia, inti- mates an object, by describing one similar to it (§ f), is distinct from a Suggestion of Matter founded upon the power of Words (seo § 257 b.), inasmuch as it, like the Modal Metaphor (§703), has for its life an ascription of behaviour. In the suggestion of a simile, an object NOT in question is intimated, and in the Modal Metaphor and Paronomasia, both what is, and what is not, in question, are expressed. Thus the present figure is distinct.

TEXT.

Artful Praise. No. 707. When from blame and praise expressed, are understood praise and blame respectively, it is termed Artful Praise (vyaja-stuti).

COMMENTARY. a. When praise is understood from apparent blame, the etymology of the term 'vyaja-stuti is to be explained thus 'vyajena stutih,' or For बाकोब red बाकोपवाक iRor's edition,

406 The Mirror of Composition ..

praise BY an artifice; and when blame is understood from an appa- rent praise, it is to be interpreted ' vyaja-rúpá stutih' or pruise coN- SISTING in an artifice or trick. b. For examples in their order :- " With pearl-necklaces on their breasts (bnt, under the pun,- with breasts divested of ornaments), with the hairs of their bodies erect (with their bodies covered with thorns), the women of thy enemies, O king, have become as secure (widowed) at thy anger as ever."* The stanza is mine. "This, O Cloud, is but a false encomium I have bestowed npon thee-' thy waters are the life of the world.' But this indeed is a great praise to thee, that thou renderest assistance to the Lord of Justice (Yama-the god of death), by killing. the way-farers separated from their beloved." TEXT.

Periphrasis. No. 708. Periphrasis is when the fact to be intimated is expressed by a turn of speech. COMMENTARY. a. For example :-- "-Whose troops in the Garden of Bliss (nandana) touched, with contempt, the flower-bunches of tho Parijata tree,-fondly cherish- ed for the adornment of 'Sachi's tresses." Here, what is in question and to be intimated, viz. the fact, in the shape of a cause, of Indra's Heaven being conquered by Hayagriva, is expressed through the effect viz., the troops scornfully touching the flower-bunches of the Parijata,-for the purpose of giving partieular strikingness to the deseription. Nor is it that variety of the Indirect Description in which a cause is understood from an effect (§ 706 d.), since in that the effect is not in question, whilst in the present figure the effect equally with the canse is in question, as indicating the greatness of the power of the subjeet of description.

. Hero, nbserves the commentator, the apparent blame of tho king consists in representing him as cansing pain to women, and the praise intimatod is that he ia victorious over his onemies.

The Mirror of Composition. 407

b. Similarly :- "He restored to the fair ladies of his foemen their necklaces with- out the binding thread, as he caused tears to trickle down their breasts in drops large like pearls." Here the effect-the tears of the enemies, as indicating the great prowess of the king who is the snbject of description, is as much con- nected with the question as the intimated cause-the killing of the enemies : so the figure is no other than the Periphrasis. c. '"The princess, O king, does not teach me to speak; the queens too are silent; feed me, hump-backed girl; are not the princes and ministers taking their food yet ?'-thus, the royal parrot of the ene- my's palace, let loose from the cage by the passengers, speaks, one by one, to the pictured personages in the empty turret." Here the cause of this state of things is in question, what is meant to be said being-'The enemies have suddenly fled away, having heard your majesty was ready to march.' With respect to the present example, cited in the Kavyaprakasa in illustration of the Indirect Description, some say that the effect too is in question, as being fit to be described in connection with the subject-matter, the cause. Others, however, declare that the figure is no other than the Indirect Descrip- tion, inasmuch as the inexpressibly great prowess of the monarch in question is understood from the account of the royal parrot, which is not connected with the subject.

TEXT.

Transition, eight-fold. No. 709. When a general is streng- thened by a particular or a particular by a general, and when an effert is justified by a cause, or vice versd,- either under a correspondence or a contrast-, it is Transition (arthá- ntara-nyasa/, and is thus eight-fold. COMMENTARY. a. For examples in their order :- "The meanest creature, assisted by one that is great, attains to the consummation of a deed. The rivulet of the mountain, united with a great river, reachos the mighty ocean." Here, the gonerality, implied in the first half of the stanza, is con- firmed by a particular illustration, implied in the second half,

408 The Mirror of Composition.

b. " Thus having discoursed in words that did not exceed the sense, Madhava (Krishna) ceased ; for the great are, by nature, of measured speech." c. "Be firm, O Earth! O Serpent sustain her; thou, Royal Tortoise, uphold them both; ye Elephants of the Quarters, exert your energy to support the three-my venerable brother is about to string Mahadeva's mighty bow!" Here, the cause, or occasion, vis., the stringing of Mahadeva's bow is what justifies the effect or consequence, viz., earth exerting herself to be firm, &c. a. In the stanza-"One ought not to perform an act rashly : jndis- cretion is the great resting-place of evils. And Prosperity, attracted by merit, chooses, of her own accord, the man who does prudently"- the effect, ris., Prosperity's choosing the prudent man-justifies the cause, viz., the opposite of heedless proceeding, or prudence. These are examples of the cases resting upon Correspondence (see text). e. The cases of Contrast ; as- " Served, as he is, thus, by us Deities, he (the demon Táraka) still torments the triple world : It is evil requital, not beneficence, that pacifies the wicked soul." Here a particular is strengthened by a general, under a contrast. Similarly of others. TEXT. No. 710. When a reason is implied Poetical Reason. in (1) a sentence or (2) a word, it is termed Poetical Reason.

COMMENTARY. a. Of these, the case of a reason being implied in a sentence; as- " The blue lotus, which was like thy eyes in loveliness, is now sunk under water; that moon, my love, which imitated the fairness of thy face, is mantled over by clouds; those royal swans too are gone (to the minasa lake) whose pace resembled thine-alas! the gods would not suffer me to derive a consolation even from thy similitudes-in this season of rains so tormenting to separated

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Here, the sentences forming the first three lines of the stanza imply reason for what is affirmed in the fourth line-' alas ! the gods' &e ... b. The cage of a reason implied in a word; e. g. the following couplet of mine :-- " S'iva, afraid of the immense weight, bears not the Ganges on his head, muddy as it is with the heaps of dust raised by the multitude of thy horses (ल् द्वाजिराजिनर्धृतधूलोपटलपङ्टिलां)." Here, the one compound word, forming the first half, implies a rea- son for what is expressed by the second half. c. The reason expressed by more than one word; as in the following example of mine :- O Sire, Ganga who flows through three ways only, (or Heaven, Earth and Patala), conceals herself, through shame, on Mahadeva's head, as she beholds the river formed of the waters poured in thy donations, streaming through. innumerable passages (पभ्यन््यसषापथमा लद्दानजलवाहिनीं)." d. Some writers, it is to be observed here, do not admit those cases of the Transition ($709 c. and d.) which rest upon the relation of cansation, because, they suppose, they are superseded by the Poetical Reason residing in a Sentence, (§710 a.) This opinion is not right. For here in the province of Poetry, Reason is three-fold, as being Informative, Completive and Justificative (or Confirmative.) Of these three sorts, the Informative Reason is the subject of the figure of Inference, the Completive of the Poetical Reason, and the Justificative of the Transition: thus the Transition founded upon a causation is evidently distinct from the Poetical Reason. To illus- trate : In the stanza beginning " Tho blue lotus-" ($710 a), the sentences forming the first three lines are indispensably wanted for the completion of the sense, inasmuch as, without them, the sentence constituting the fourth line would be incomplete in its signification and therefore absurd. Whilst in the stanza beginning " One ought not to perform an act rashly" ($709 d.) the prohibition of heedless- ly acting is fully intelligible in itself as being complete in its signi- fication, just in the manner of a counsel such as-" Never ought any one to associate, I tell vour honour the truth, with the wicked, wlio are busy in working harm to their "fellow creatures." The circum- stance, addnd in the stanza, of Prosperity's choosing the discreet, ouly

410 The Mirror of Composition.

confirms or justifies the prohibition, without being needed to be men- tioned in order to the completion of its sense. So the Transition resting upon a causation is clearly distinct from the Poetical Reason. e. " Hara (Mahadeva), for fear of the immense weight, bears not the Ganges on his head : for it is muddy with the heaps of dust raised by the multitude of thy horses." Here, we have not the ornament in question, since the reason is made as clear, by the use of the particle ' hi' (for), as if we were to employ the formal expression pankilatwat (from its being muddy), and it is strikingness that is the essence of ornament.

TEXT.

Inference. No. 711. The notion, expressed in a peculiarly striking manner, of a thing established by proof, is termed Inference.

COMMENTARY.

a For example :- " I believe, in the heart of this fair lady shines the moon-face of her beloved : for in the diffusive beams burst out, all her limbs look pale, and those lotuses, her eyes, are closod." Here the strikingness has its original in the metaphor. b. Or we may take the following example :- "Wherever falls the sight of women, there fall sharpened arrows ; hence, I infer, Cupid runs before them with his bow furnished with shafts." Here the strikingness rests upon the boldness of the poet's speech. In the figure of Poetical Fancy, the notion is attended with un- certainty, whilst in the present ornament it is attended with certainty, this is what makes their difference. TEXT.

The Canse. No. 712. When a cause is represen- ted in identity with the effect, it is termed the Cause (hetu).

COMMENTARY. a. As in my couplet beginning " She is the ecstasy of youth-

The Mirror of Composition. 411

fulness"* (Chap. III §131 a.) the heroine, the cause of subjugation, is represented as the very subjugation of the minds of young men. In the expressions ' ecstasy' and ' laugh,' however, the ornament rests upon an introsusception (see §693 and 694).t TEXT.

The Favourable, No. 713. The Favourable (anukula) is when unfavourableness turns into a fa- vour. COMMENTARY. . For example :- " When thou art angry, lady of the slender frame, wound him with thy nails, and tie his neck tight, with those fair cords, thy hands."# The peculiar strikingness of.such a mode of speech is properly coun- ted as a distinct ornament, since it is perceived altogether different from all other figures. TEXT. No. 714. When somethingr really intended to be said, is appa- rently suppressed or denied, for the purpose Hint, two-fold. of conveying a particular meaning, it is termed Hint (akshepa),§ and is two-fold as pertaining to what is about to be said or what has been said. COMMENTARY. a. Of these two cases, that pertaining to what is about to be said, has two varieties, inasmuch as some thing, wholly and summarily hinted at may be suppressed, or something may be partially men- tioned and partially omitted. The case pertaining to what has been said, admits of two sub-divisions, inasmuch as the very character of a thing may be denied, or as the speaker may pretend to negative, or cancel, what he has already spoken. Thus the Hint has four varieties. * "She is the ecstasy of youthfulness-the laugh of the abundance of excessive beauty-the ornament of the face of the earth-the subjugation of the minds of the young men." t The sentence is obseure in the original, and the scholiast, whot mistakes even the namo-hetu-of the figure to be abhidha-hetu, gives en absurd inter- pretation of iv. $ So in Romco and Juliet : "Jul. Ther have may lips the sin that they have took. Bom. Sin from my lips P O trespass sweetly urg'd! Give ma my sin again." § Paralipsis in Greek Rhetorio.

412 The Mirror of Composition.

b. For examples in their order :- "I would say something for the sake of my doar lady, pierced with a hundred shafts of Cupid-do thou, friend, stay here for a moment-nay, nay, what shall I say to one whose heart is devoid of compassion !" Here the pangs of separution, felt by the female friend of theaspeaker, are hinted at in general, but the particulars, which were about to be spoken of, are suppressed. c. " In separation from thee, the stag-eyed lady, beholding now the new jasmine expanded, is, of a certainty, alas !- but oh, enough of such a cursed discourse." Here the portion ' to die' is omitted. d. "My boy, I am no go-between, my business is not to say that thou art beloved. She dies, and thine will be the disgrace-these words of righteousness are what I have to say." Here the character of a thing, or rather a person, is denied-that of the go-between. e* " How can she of the slender frame pass the night in separa- tion from thee-nay what is the use of talking to thee who art of so cruel a purpose?" Here the very fact of speaking is, as it were, negatived. f. In the first example, the particular meaning conveyed (see text) is 'My friend is sure to die;' in the second, what'ts particularly intimated, is the impossibility of speaking further or the like; in the third, speaking the truth in spite of being a go-between; and in the fourth, excess of misery. It is not to be supposed that a PROPER negation of what has been, or is about to be, said is what constitntes the present figure, for the SEMBLANCE of a deuial is the essence of it. TEXT. No. 715. Another figure, also termed Iint, Another Hint. is held, likewise, to be an apparent permis- sion of something, really unwished for. COMMENTARY. a. 'Likew ise'-for the purpose of conveying a particular meaning, as in the preceding ornament. b. For example :-

The Mirtor of Composition. 413

"Depart, my love, if thou art resolved to go- auspicious be thy paths, and may I be born again in the place where thou hast gone!" Here the permission of going, which is so much unwished for, fuiling as it does, terminates in prohibition; and the particular meaning conveyed, is that the addressee ought ENTIRELY to desist from going. TEXT.

Peculiar Causation. No. 716. When an effect is said to arise without a cause, it is Peculiar Causation, and is two-fold, according as the occasion is, or is not, mentioned. COMMENTARY. a. The production of an effect, thongh represented as being with- out the supposed sole cause, inust depend upon some other cause. This distinet cause, or occasion, as it is sometimes mentioned and sometimes omitted, makes the figure two-fold. For example :- "In youth, the waist of the fair-browed lady is slender, though she has never toiled, her eyes are tremulous, but she is not affrighted, her body is heart-ravishing, yet it is not ornamented." Here the occasion, viz. youth, is mentioned. In this very example if we leave out ' in youth' by reading vapur bhati mrigi-dris'ah' (the body of the deer-eyed lady shines) instead of ' vapur vayasi subhruvah' (in youth the body of the fair-browed lady), we should have the case of the Occasion being omitted. TEXT.

Peculiar Allegation. No. 717. When, in spite ofthe existence of a cause, there is an absence of the effect, it is Peculiar Allegation, and is likewise two-fold. COMMENTARY. a. 'Likewise' -- that is to say, as the Occasion is, or is not, men- tioned. Of these, the case in which the Occasion is mentioned; as- "Truly great are they, who though rich, are free from haughtines, though young, are not fickle, and though possessed of power, do not give way to heedlessness in the exercise of it." Here the Occasion, viz. true greatness, is mentioned, In this very stansa if, for tho fourth line maha-mahima-s'alinah (truly great are they), we read kiyantal santi bhutale (few there are on earth), the Occasion would be omitted.

414 The Mirror of Comporition.

b. The case in which the oocasion is inconceivable, being only a variety of that in which it is omitted, is not separately mentioned. The following is an example :- " He of the flowery bow conquers the three worlds, alone,-whose power was not destroyed by Mahadeva, though he destroyed his body." Here the cause of his power not being destroyed, notwithstanding the destruction of the body of Káma, is inconceivable. c. In the present figure, an effect is also intimated to be absent, by means of representing something as present, which is opposed to it. So'also in the Peculiar Causation (§ 716), a cause is represented to be absent through speaking of something, opposed to it, as present. Thus in the stanza (given under §2. 0, Chap. I. & § 187, Chap. III.), there is Peculiar Causation, because of the representation of circum- stances opposed to the cause of longing, which yet is ascribed to the heroine-circumstances such as are implied in ' The bridegroom is the very youth who embraced me before marriage' &c .;* and there is the Peculiar Allegation, inasmuch as the lady is described as longing, whilst longing is opposed to the effect expected to be produced by such a cause as the cireumstance of her gaining that very person for her bridegroom who enjoyed her before marriage. Thus there is in this example the Commixture (see §757) of Peculiar Causation and Peculiar Allegation. A pure example of such a modification of the figure is to bo sought out by the reader for himself.

TEXT. No. 718. When there is an apparent incongruity between a Contradiction ; its ten genus and any of the four beginning with forms. genus (i. e. genus, quality, action and sub- stance) ; between a quality and any of the three beginning with quality; between an action and another action or a substance, or between two substances-it is Contradiction, occurring in these ten forms.

Substitute this clause for ' There is that very husbund who gained me as a gurl' in tho stanza in question. This mistake was ovorlooked by me, in revising Dr. Ballantyne's translation.

The Mirror of Composition. 415

COMMENTARY. a. For examples in their order :- ".Separated from thee, the wind of the Malaya mountain is to her a conflagration; the beams of the moon are impregnated with heat; even the hum of the bee pierces her heart; even the lotus-leaf is to her the summer sun." b. "O king, the hands of the wives of the Twice-born (Brahmans), hardened by the constant rub of the pestle and by manifold house- hold work are, whilst thou reignest, soft like the lake-born flower. (lotus)." c. " Though, Self-existent, yet Thou art born, though devoid 8f passion, Thou destroyest thy foes (the Demons), though in Thy deepest sleep, Thou art awake-'is there the being who knows Thee in truth ?" d. "To the deer-eyed lady, separated as she was from the lap of her beloved, the Lord of Night (moon), in his complete glory, was full of burning poison."* e. "Ol this form, ecstatic to my eyes but hard to obtain even through, imagination, - O! the one with drunken eyes gladdens my heart yet torments it." f. "S'iva, afraid of the immense weight," &c. g. In the stanza beginning " To the deer-eyed lady," if, in the fonrth line, instead of ' full of burning poison,' we read 'the mid-day sun,' we shall have the Contradiction of Substances. h. In the example beginning ' Separated from thee,-' 'the wind' &c., which, as denoting many individuals, are generic terms, seem, at first sight, to contradict ' a conflagration,' heat,' ' piercing the heart' and 'the sun,' which, respectively, are a genus, a quality, an action and a substance. The apparent contradiction is explained by the fact that the state of things was caused by separation. i. In the example beginning ' Thongh Self-existent,-' the quality of self-existence &o. is opposed to the action of being born &c., and the seeming contradiction is explained by the greatness of the power of God, who, though wnborn, can manifest himself as a hyian being born sand so forth. * The Miltonic representation of the Deity "Dark with excessive light" should, perhapr, be ranked under thie variety of the figure, i, e. the Contradio. tion of Quality and Subntance.

416 The Mirror of Composition.

j. In the verses commencing " S'iva, afraid of the immense weight,' the contradiction may be expressed thus: 'S'iva himself, who ever bears the Ganges on his head, ceases to bear it &c.' ; and the boldness with which poets are privileged to speak is the explanation of it. The other illustrations are clear. k. In the P'eculiar Causation, an effect only, as represented without a cause, is scemingly incongruous; in the P'eculiar Allegation, a causo only, without an effect; and in the present figure, both the things represented are apparently contradicted by each other. Such is the difference.

TEXT. No. 719: When a cause and the effect Disconnection, are represented as locally separated, it is Disconnection.

COMMENTARY. a. For example :- "She is a girl, but it is our minds that want manly boldness; she is a woman, but it is we that are timid; she bears a couple of plump and lofty breasts, but it is we that are oppressed; she is charged with the weight of fleshy thighs, but it is we that are nnable to move- marvellous it is that the faults belonging to another have deprived us of power." b. This figure being counted as an exception, the ornament of Contradiction (§718) is left to rest in the mutual inconsistency of two things residing in the same place. TEXT. No. 720. When the respective qualities or actions of a cause and its effect are opposed to each other; or Incongruity. when an endeavour becomes fruitless and brings an evil result; or when there is an association of two incongruous things-it is held Incongruity. COMMENTARY. a. For examnles in their order :- "His sword, wonderful to say, dark as it is like the Tamala tree, in evory battle, having obtained contact with his hand, engenders, at

The Mirror of Composition. 417

the very moment, a fame white as the autumnal moon, glorifying the triple world!" Here, we have white fame arising from the dark sword, figured as the cause,-in opposition to the rule or theory that the qualities of the effect conform to those of the cause. b. WO thou with eyes like the blue lotus-leaf, how ecstatic is the joy thou givest, yet Separation which has its origin in thyself-how fiercely it burns my frame W. Here we have burnig Separation originating in a joy-exciting cause, vis., a woman. c. "This ocean is a store-house of gems, so I resorted to it in the hope of obtaining treasures, but treasures far from obtaining, my mouth was filled with salt-wafer." Here, not only is the desired wealth not obtained, but, on the contrary, the mouth is filled with salt-water. d. "The woods with barks of trees for ornament, and the glory of royalty admired even by Indra-how vast the disparity. Ah! how hard it is to bear the dealings of Fate, evil-disposed as he ever is."* We have, here, the association of the woods and royal glory. The stanza is mine. e. Or for example :- "He, the Sleeper on the Ocean (Vishnu), whose vast belly drank up the worlds at the consummation of the ages-that Deity was" drunk in by one of the fair ones of the city, with a corner of one of her eyes, languid in love !"t

TEXT. *

The Equal. No. 721. The Equal is the commend- ation of an object fitly united with another.

• The commentator does not admit this as a proper example of the fourth variety of the figure, contending that Rama, the subject of the stanza, was not a king when ho went to the woods. The author, however, perhaps means to intimate that majesty was the hero's by nature, though he was not, at the time, inauguratd a king. * + Mallinatha, in commenting on this stanza (Magha, xiii, 40), characterizes the figure as the Exceeding (see $723), and in so doing differs with the author of the Kavya-prakas'a as wel as with that of the present work.

418 The Mirror of Composition.

COMMENTARY.

a. For example :-- " The moon-light has been wedded to the deer-marked luminary (moon), freed from clouds; Jahnu's daughter (Ganga) has come down to meet worthy Ocean'-such were the words-harsh to the ear of the other monarchs-that the citizens, with one voice, spoke, glaf at the union of that couple of equal worth." TEXT. No. 722. Tho Strange is, when, for

'The Strange. the attainment of an object, one acts contrarily to it. COMMENTÁRY. a. For example :- "For the purpose of being elevated, he bows down; for the sake of his life, he parts with it altogether; for the sake of happiness, he subjects himself to misery-who is there a greater fool than the servant ?" TEXT. No. 723. When of the container and

The Exceeding. the contained, one is represented as vaster than the other, it is termed the Exceeding. COMMENTARY. a. The ease when the Container is vaster; as :- "How shall we better describe the vastness of the Ocean than by saying that Vishnu sleeps upon Lim-obscure, having thrown the worlds into his belly." The case when the Contained is vaster ; as :- b. "The Foe of Kaitabha (Vishuu) could not contain within himself the flood of joy caused by the advent of the holy saint-IIe in whose divine person the worlds did freely abide, when, at the consummation of a cosmic cycle, he had withdrawn within himseli all the created souls." TEXT.

The Beciprocal. No. 724. The Reciprocal is when two things do the sume act to each other.

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COMMENTARY. a. For example :- "She of the slender frame is graced by thee, and thou art graced by her : The night gives glory to the moon, and the moon lends lustre to the night."

TEXT. No. 725. When something that depends on another is represent-

The Extraordinary; ity ed as existing without it; or when one

three forms. object is spoken of as being present in many places simultaneously ; or when some- body, i dihg an act, unexpectedly does another act, either uncon- nected with the subject, or otherwise; it is the Extraordinary, and is thus three-fold. COMMENTARY. a. For examples in their order :- "Who would not glorify the poets, whose discourse-though they have gone to heaven-graced with infinite beauties-delights the world, generation after generation, until the end of creation ?" b "In the forest, by the river's side, in the mountain cave,- every where do thy foemen see thee standing in front, terrible like Death !" c. " Wife, minister, confidant, beloved disciple in the charming, arts,-say, what has not merciless Death deprived me of, in depriving me of thee?" Raghuvan's'a. TEXT. No. 726. The Frustration is when by the same means that one

Frustration. employed in bringing a thing to a parti- cular state, another brings it to an oppo- site one. COMMENTARY. a. For example, the stanza beginning ' Them, who with a look.' (§ 636 a.)

• "Thei, who, with a lcok, recall to life the Mind-born God, who was barnt by a look- we glorify the fair-eyed women, the conquerors of the Fierce-eyed Divinity (S iva)."

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TEXT.

A second kind of the No. 727. Or when the contrary of a

above. certain act is justified by the same reason, with facility.

COMMENTARY. a. Supply ' It is the same Frustration.' b. For example :- "'Stay here, my love; after but a few da s I shall speed to be here again-stay here, for thou art tender and canst not bear toil.'- 'Eenderness, fair youth, is rather a reason for my going with thee, for tender, as I am, I shall not endure the terrible pangs of epara- tion'." Here, the hero mentions the tenderness of the heroine as a reason against her accompanying him, and the horoine, on the other hand, makes it, with still more facility, a reason for the same. TEXT. No. 728. When something mentioned first is spoken of as the

The Garland of Causes. cause of what follows, and this again of what comes next, and so on, it is the Gar- land of Causes.

COMMENTARY. a. For example :- "Knowledge is acquired from association with the learned ; meek- ness from knowledge; the affection of the people from meekness; and what is it that is not obtainable from the affection of the people?" TEXT. No. 729. The Serial Illuminator, again, is when a number of

The Serial Illuminator. objects is, in succession, connected with the same attribute.

COMMENTARY. a. For example :-- "When thou didst come to fight, the bow obtained the arrows; the arrows, the foeman's head; the foeman's head, the Earth ; sho again, theo; and thou, immortal fame." Here the uction of obtaining is the attribute.

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TEXT. No. 730. When what is mentioned first is qualified, (1) affirma- tively, or (2) negatively, by what follows, The Necklace, two-fold. and this again by what comes next, and so on, it is the Necklace, and is thus two-fold. COMMENTARY. a. For examples in their order :- "-When (in Autumrg tne fake is adorned with the expanded lotus, and the lotus is associa ed with the bee, the bee is perpetually humm- ing and the humming is attended with the excitement of love." b. "Thao was not a lake that was not graced with fair lotuses, there was not a lotus in which there reposed not a bee, there was not a bee which hummed not melodiously, there was not a hum that ravished not the heart." c. Sometimes the qualified, too, is found successively to be affirmed or denied as qualification ;* as- . "The lakes are pure, the lotuses bloom in the lakes, the bees fly to the lotuses, tho musical hum is now uttered by the bees." So also in the case of a denial. TEXT. No. 73L. A succession of things, gradu- The Climax. Climax (sára). ally rising in excellence, is termed the . COMMENTARY. a. For example :- "The most important thing in the reqnisites of royalty is a king- dom; in a kingdom, a capital; in a capital, a palace ; in a palace, a couch ; in a couch, a fair woman, tho whole property of Love." TEXT.

The Relative Order. No. 732. The Relative Order is when a referenco is made respectively to what have been mentioned. COMMENTARY. a. For example :- " They bloom " ' Pluck them with thy nails.' ' It blows:' 'Hedge . The reader will obser ve that the term 'qualified' (fantu) is here used in the sense of subject and ' qualification' to denote a member of the predicate

422 The Mirror of Composition.

it with the skirts of thy garment.' 'They enter the garden :' ' Scare them away with the tinkling of thy bracelets.'-thus, fortunate youth, do the female friends of thy love separated from thee, talk to each other by hints, touching the vanjula flowers, the southern breeze and the kokila."* TEXT. No. 733. When the same object (1) is, or (3) is made to be, in

The Sequence. many placd pimeuccession; or when many objects (2) are, or (*) are made to be, in the same place, in succession,-it is termed the Sequence (paryiya). COMMENTARY. a. For examples in their order :- " Reposing for a moment on the thick eye-lashes, striking the de'i- cate lips, split by the fall upon the breasts, rolling down the dimples in the skin-thus gradually did the first rain-drops reach the navel of Umá." b. "Wolves, crows and jackals run in thy foeman's city, where walked gay women once, languid with the weight of hips." c. "That hand, the fingers of which were cut by the handling of the sharp-edged sprouts of the sacred grass (kus'a), she made a friend to the rosary-kept off from the under-lip which she had ceased to colour, kept off from the play-ball reddened by the unguent of her breasts." . d. "Thy foemen's wives now let fall thick drops of tears on thoso breasts where rolled the pure pearl necklace." e. In these varieties, the Place or Places is either one or arc several, and so also the Placed. To iustrate. In the stanza begin- ning ' Reposing for a moment,' the rain-drops are gradually in tho places-eye-lashes &c .- which are several. In the example commen- cing ' Wolves, crows and jackals,' the ' wolves' &c., the placed, were successively in the foeman's city, which is one place. So of the rest. * So in Sbakespear's Comedy of Errors, Act II, Scene 2nd. . "The time was once when thou, unnrg'd, wouldst vow That never words were music to thine ear, That never object pleasing in thine eye, That never touoh well welcome to thy band, That never meat sweet savour'd in thy taste, Unless, I spako, or looked, or touched, or earv'd to thee."

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f. Since in the present figure one object is represented to be in many places only in consecution, it is distinct from the Extraordinary ($725); and it is different from the Return (§734), because of the absence of an exchange. TEXT. No. 734. The Return (parivrittih) is the The Return. exchange of a thing for what is (1) equal, (2) lesser or (3) greater., COMMENTARY. a. For examples i their order :- "The fonroyed lady gave a glanco and took my heart, whilst I gave my heart but got the fever of love." Here, in the first half there is an exchange for the like, and in the second half, for what is lesser. b. "The old Jatayuh, translated to heaven-wherefore should we lament him now, who, at the price of a decrepit body, bought a fame lustrous like the light of the moon ?" Here we have an exchange for what is greater. TEXT. No. 735. When with, or without a query, something is affirmed

Special Mention. for the denial, expressed or understood, of something else similar to it, it is Special Mention (parisan'khya). COMMENTARY. a. For examples in their order :- "What is a lasting ornament, here below ?-- fame, not a gem. What is to be practised ?- good deed done by the great, not a crime. What is an eye unobstructed ?- the intellect not the corporal eye. And who is there besides thee who knows to discriminate good and evil ?" Here, a gem &c., which are to be rejected or denied as an ornament gc., aro mentioned, b. "What is ever to be practised ?- virtue; what is to be earnest- ly sought ?-- the company of the good. Who is to be meditated upon ?- the Lord Vishpa. What is to be desired ?- the supreme abode, or firul beatitude." Hfere what are to be rejected, viz., sin &c., are understood. In these two examples, the declaration is preceded by a query.

424 The Mirror of Composition.

c. When it is not preceded by a query, we have the following examples :- " Devotion to God not to Mammon; addiction to Scripture not to woman, the weapon of Love; regard for fame not for the body are often found in the great." d. " His strength was for the purpose of qnelling the fear a the oppressed, his great learning was for the sake of honouring the learned -not the wealth alone but the perfectione too of that sovereign were for the sake of others." e. When founded upon a Paronomasia, it n peculiarly striking; e. g. "When that king, the conqueror of the world, avas proteeting the earth, the mixture of colours (or classes-a) was in paiting, the want of the string (or merits-w)'was in bows" &c. TEXT. No. 736. The Reply is when a question is inferred from an

The Reply. answer; or, the questions being given, when there is a number of answers, unlook ed for. COMMENTARY. a. For examples, the following verses of mine :- " My mother-in law has lost her sight, my husband is gone far away and I am a solitary girl : how canst thou stay here ?"* From this is understood a traveller having asked for lodging. . b. "What is most odd ?- the decree of destiny. What is to be sought out ?- a man appreciating merit. What is the source of bliss? -a good wife. What is hard to be won ?- a wicked man." This is distinct from the Special Mention, because, here, other things of a similar nature are not intended to be disowned, or denied * The author probably means to represent the girl as tempting the traveller as we infer from similar stanzas of such indirect import. The strikingness of this example, if there is any in it, as well as of that givon in tho Kárya- prakas'a, rests upon the indirect way in which the speaker, in either case, ex- presses his or her meaning, and is quite independent of the inforence on onr part of a query or request previously made. I do not see why it should be connted a figure at all. It is indeed strange to fiud the author of the Kácyn- prakas'a admitting this figure of speech, when he is unwilling to recogniso such a figure as the Cause (hetu), that comes under the English Metonymy, and perceives no strikingness in such an example of it as 'The Spring, the joy of the kokila, has arrived.'

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as possessing the respective predicates. Nor is the first case of the present figure the same with the Inference (§711), since that is recognized only when what is inferred and the ground of inference, or the reason, are both mentioned,-and here the query is not mentioned. Nor is it Poetical Reason (§ 710), for the reply is not the source of the question .*

TEXT. No. 737. When according to the Maxim of the Stick and the The Necessary Conclys Cake, a fact is concluded from another, it sion. is held tho Necessary Conclusion (arthá patti). COMMENTARY. a. The Maxim of the Stick and the Cake is one by which, a truth or fact being given, another truth or fact comes in through a neces- sary connection; for example, it being admitted that a mouse has eaten up a portion of a stick, the fact of its having eaten the cake connected therewith, comes in as a matter of course. b. The figure has two varieties, inasmuch as irom a fact connected with the subject-matter, there comes in one unconnected with it, or vice versá. c. For examples in their order :- "Lo! the Necklace rolls on the round breasts of the fawn- eyed ladies. When such is the condition even of the pearls, free (mukta) as they are called, of what consequence are we, the slaves of love ?" d. "Forsaking his native fortitude, he bewailed, with his voice choked by weeping. Even iron, heated to excess, becomes soft, why speak we then of mortals melting under affliction ?" e. In the present ornament, there is a peculiar strikingness when the Necessary Connection is founded upon a Paronomasia, as in the * The Kavya-prakas'a, whom tho present work literally follows here, has, it seems to me, failed to clucidate the distinction between the two figures, The following is the proper explanation : In the Poetical Reason, an epithet, a clause, or a whole sentence is used by the poet as implying a reason or ground for an assertion ur representatim made by himself; whilst in the present figure the whoie of what has been said by the poet serves as a reason for the reader in inferring a query supposed by the poet. The difforence from the inference too is not riglitl; marked. ..

426 The Mirror of Composition.

example "Lo ! the Necklace," &c. This figure is not identical with the Inference (§ 711), since the Necessary Connection has not the nature of a mere Relation, established by experience .*

TEXT. No. 738. The Alternative is an ingenious opposition of two The Alternative. things of equal probability.

COMMENTARY.

g. For example; "Bend ye yonr heads or your bows; make our authority or your bow-strings the ornaments of your ears, i. e. yield to our authority or drau your bous."t Here the bending of the heads and that of the bows are opposed to each other, being respectively marks of peace and war, which it is impossible to resort to at the same time. And this opposition ter- minates in the having recourse to one of the alternatives. Tho facts are equally probable, inasmuch as the bending of the bows and that of the heads are alike looked for by the speaker, through a prido of prowess. The ingenuity of the speech consists in its implying a comparison; so also in the sentence 'Make our authority or your bow-strings the ornaments of your ears.' Similarly in the sentence " May the eyes or the body of Vishnu effect (kurutam) the cure of your worldly distresses," the ingenuity consists in the use of the Paronomasia in 'kurutam' which, in one voice, is singular, and in another, dual. In the sentence 'Let wealth acquired be given away to a Divinity or a Brahman, there is no ornament, because of the absence of ingenuity.

TEXT.

No. 739. The Conjunction is (1) when notwithstanding the cx-

The Conjunction. istence of one cause sufficient to bring about an effect, there aro represented others producing the same, according to the Maxim of the Thresh-

We have hero the recognition of necessary, or intuitivo, truths, as contra- distingaished from thoso established by experienco. + So Satau exhorts the fallen angols-' Awake, arise, or bo for ever fallen.'

The Mirror of Composition. 427 ..

ing-floor and the Pigeons ; or (2) when two qualities or aetions, or a quality and an action are simultaneously produced.

COMMENTARY. For example, take the following stanza of mine :- Chou wast, O gentle Zephyr, begotten by the Mountain of the Sandal ; pre-eminent art thou in the world in mild complaisance (or southernness-dakshinya), and. intimate art thou with the holy waters of Godavari-if thou, alas! even thou dost burn my whole frame like a fierce cenflagration, what shall I say.to the black kokila, savage and intoxicated as he is ?" Here, notwithstanding the existence of one cause, viz., the cir- cumstance of being begotten 'by the Mountain of the Sandal, for the effect of burning, other causes such as the circumstance of coming from the South &c., are mentioned. All these causes being good things (since they are a source of delight' to all, excepting the separated lover), we have in the above example a Combination of Good Things. In the fourth line of the same stanza, wherein the bad things such as madness &c., are joined together, we have a Combination of Bad Things. b. To exemplify the Combination of Good and Bad Things .. "The moon dimmed by the day, a lovely woman whose yonth has departed, a lake bereft of its lotuses, a fair form with an unlettered' tongue, a master devoted to Mammon, a good man in perpetual misery, a wicked person seated in tho court of a king-these seven are sore afflictions to my heart." With respect to this example, some say that there is here the Combination of Good and Bad Things, inasmuch as the moon &c., are good and a wicked man is bad. Others, however, declare the same characteristic to rest upon the circumstance of the moon being by nature fair, and the dimness, with which it is associated, being foul. For, they contend justly, the strikingness of the example rests upon this peculiar way of pointing to the impropriety of such foul states as dimuness &o., coming upon such good things as the moon &c. Besides, ail the seven being summed up as afflictions by the sen- tence-'These seven are sore afflictions to my heart,' the clause ' a wicked person seated in the court of a king' bears the character of &

428 The Mirror of Composition.

fault, because of its riolating the uniformity of the representation (see Chap. VII § 575, bb), in each of the other instances the subject, and not the predicate, being a good person or thing. c. In the present ornament, all the causes are jointly introduced just as pigeons alight together upon a threshing-floor ; whilst in he figure Convenience, notwithstanding the existence of a cause suencient for the production of an effect, another cause is represented as operating BY CHANCE. d. "No sooner had thy eyes, youthful lady, become red than the face of thy beloved became gloomy; no sooner, fair friend, hadst thou bent down thy head than the fire of love blazed up iw his heart." Here, in the first half there is a simultaneity of Qualities; in the second, that of Actions. e. When a Quality and Action are simultancous, take the follow- ing example :- "No sooner, king of kings, had thy eyes, those fair brethren to the white lily, become, on a sudden, dismal towards thy foemen, than the fierce glances of fell Adversity distinctly fell on their frames." f. We also see this figure respecting one and the same subject; as in "He brandishes his sword and diffuses his glory."* It is not an instance of the Illuminator, (see § 696), since these varieties of the Conjunction implying the simultaneity of quality and action, are, as a rule,+ founded upon a Hyperbole consisting in the inversion of the necessary sequence of a cause and an effeet; whilst the Illu- minator has not for its foundation a Hyperbole.

• Cæsar made himself the subjeet of this variety of the figure when he wroto "I came, I saw, I conqnered;" to which Shakespear has supplied the follow- ing humorous counterpart, illnstrating the figuro in a serios :-- "For yoar brother and my sister no sooner met, but they looked ; no sooul- er looked, but they loved; no sooner loved, but they sighed; no sooner sighed but they asked one anotber the reason; no sooner knew the reason, but they sought the remedy :" As You Like It, Act V, Scono II. + lere in tho original, instead of समुषयप्रकारानियभेन, as read in Rocr's suition, rad अमुच् यप्रकारा नियमेन, though my own lS, suuctious tho frr by inserting the mark s of a rejected .

The Mirror of Composition. 429

TEXT. No. 740. The Convenience is when what is to be effected becomes

The Convenience. easy through the accidental operation of another agency.

COMMENTARY. a. For example :- "As I was about to fall at her feet to quell her indignation, happily, for my good, rose tho roar of the clouds."

TEXT. No. 741 The Rivalry (pratyanika) is when somebody, unable

The Rivalry. to avenge himself on his enemy, is repre- sented as doing harm to what has a connec- tion with him, which only proves his superiority .*

COMMENTARY. a. 'His'-i. e. the enemy's .- For example the following couplet of mine :- "'She of the slender waist has vanquished my waist with hers'- so thinking, the lion breaks the protuberances of the elephant's head that resemble the jar-like breasts of the lady."

TEXT. No. 742. When things to which a comparison is generally mado

The Converse. are (1) themselves turned into objects of comparison, or (2) declared to be useless, it is termed the Converse (pratipa.) COMMENTARY. a. For examples in their order :- "The blue lotus, which was like thy eyes in loveliness, is now sunk in water" &c. (see § 710. a.) b. "When there is that face, all discourse of the moon is closed ; alas ! for gold, when there is that radiance; if there are those eyes, the blae loin ns are lost ; that smile existing, what is nectar; fie! to proud Cupid's bow, if there are those eye-brows-nay why talk we * Roer erringly blends this with the foregoing Commentury.

430 The Mirror of Composition.

so much when it is true that the Maker's rule of creation is opposed to superfluities." Here the radiance of the moon &c., being eclipsed by that of the face &c., the former are rendered useless.

TEXT. No. 743. When the pre-eminence of an object, greatly excelling A second sort of the in some quality, being at first declared, an- Converse. other is compared to it, it too is termed the Couverse.

COMMENTARY. a. For example :- "Be not proud, O destructive Poison, to think that thou art the chief of direful things. Are there not in this world the words of the wicked as malign as thyself ?" In the first line of the stanza, i. e. in the clause ' Thou art the chief of direful things,' the pre-eminence of the object is declared, though in evilness. When it is not declared, we have not this ornament; as in such a sentence as ' Like Brahma speaks the Brahman.'

TEXT. No. 744. The Lost (milita) is when something is spoken of as The Lost. concealed in another of a like quality.

COMMENTARY. a. The thing of a like quality may be cither inherent or borrowed. b. For examples in their order :- "Saraswati saw not the mark on Vishnu's bosom of the musk that had perfumed Lakshmi's (her rival's) breasts-lost as it was in his lustre that shone like the dark-blue lotus." Here, the dark-blue lustre is inherent in the person of the Divinity. c. "In that city the faces of fair women, reddoned, as they ever were, with the ray of the ruby carring, excited no mistrust, even when glowing in anger, in the hearts of the youthful lovers." "Hore, the redness of the ruby earring is borrowed in the face.

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TEXT. No 745. The Sameness is when something in question is spoken of as having become identical with, or un- The Sameness. distinguishable from, something else, through a likeness of properties.

COMMENTARY. a. For example :- "Fair women resorting to their beloved, went securely, undistin- guished in the moon-light-their tresses covered with jasmines and their bodies anointed with bright sandal." b. In the Lost we have the eclipse of an object of an inferior quality by one of a superior, quality ; whilst in the present figure there is an absence of discrimination on account of both the objects possessing like properties.

TEXT. No. 746. The Borrower (tadguna) is when an object is represented

The Borrower. as quitting its own quality and assuming an excellent one.

COMMENTARY. a. Tor example :- " He spoke and the gleams of his radiant teeth whitened those" honey-lickers-the black.bees-that hovered round that blooming lotus disguised as his face." . In the Lost, something in question is covered over by another, whilst in this figure, the quality of another is recognized as superin- duced upon it. TEXT.

No. 747. The Non-borrower is when something (in question) The Nou-borrower, does not assume the quality of another, though there is a reason for it.

COMMENTARY. a .For example :- "How is it alas ! that, seated in my heart glowing with ardent

432 The Mirror of Composition.

love, thou, though white with goodness, dost not reflect the glow ?"* b. Or for example :- "White are the waters of Ganga and black are those of Yamuna- dipping in both, O royal swan, thy whiteness is the same-it increases not, nor does it decrease." In the former example, the beloved person, spoken of as white with goodness,' does not glowt with answering lore, though it is pro- per that he should do so, having come in contact with an excessively glowing heart.t In the latter example, though there is an Indirect Description (see §706), and the sican, therefore,, absolutely speaking, is not the proper subjeet of the description, yet it is a thing in question, in comparison with Ganga and Yamuna, which are still more romote from the real subject, viz., a person of a steady character.§ The swan, in spite of its contact with Ganga and Yamuna, takes not the colour of cither. c. This figure is distinct from the Peculiar Allegation (see §717), being founded upon the peculiarly striking cireumstance of not as- suming a quality, or colour ; and it is different from the Incongruity (§720), because a distinct colour is not said to be produced. TEXT. No. 749. When a delicate circumstance, indicated by (1) some

. The Subtle. appearance or (2) gesture, is intimated by any hint, it is termed the Subtle (súkshma). COMMENTARY. a. 'Delicate'-i. e. not to be understood by one of a dull appre- hension. . This is not & literal rendering of the original stanza, in which the figure rests upon the use of the word raga which means both ' love' and ' redness.' t Lit. Does not become red or affectionate. t Lit. Excessively red or affectionate heart. § This remark is with reference to the qualification, bracketod in the trar.s- lation of the Text, which our author intonds to be supplied from Text No. 745. The qualification however seems needless and is virtually annulled by the first example of the present figure given in the Karyaprakas'a. Our author indeed modifies the example (see gu) to reconcilo it to the qualifica- tion, though he fergot it while illustrating the foregoing figure, for the bluck. bees there spoken of are certainly not things in question.

Tho Mirror of Composition. 433

b. Of the two cascs, that of Appearance; as: - "Some female friend, observing the saffron ointment on the lady's neck divided by the continuous flow of heat-drops oozing from her face, drew, with a smile, the figure of a sword in her hand to inti- mace her masculineness." Herc the masculine action of a woman, indicated by the division of the saffron, is intimated by another, by drawing in her hand the figure of a sword, which is the token of a man. c. The case of Gesture; as :- "Perceiving that her lover had his mind anxious about the time of assignation, the quick-witted dame closed tho lotus-flower with which she was playing-whilst her laughing eye conveyed to it the import." Here, the time of meeting which the lover inquired for by strain- ing his eyebrows &c., is intimated by the close of the lotus which takes place at night.

TEXT.

No. 749. The Dissembler (vyajokti) is the artful concealment The Dissembler. of a thing, though discovered.

COMMENTARY.

n. For example :- "May S'iva preserve you !- that Deity who-as the Mountain- king joined his daughter's hand with his, in wedlock-thrilled by the touch and troubled by the distraction of his attention from the various cercmonials of marriage, cried out ' Oh! how oold are the hands of the Mountain of Snow,' and was beheld with a smile by the troops of the Divine Mothers standing in a circle in the inner apartment of Himálaya." b. It is not; the first Concealment (see §683), as the object is not mentioned by the person who conceals it. Its difference from the second Concealment has been shown on the occasion of speaking of that ornhment.

484 The Mirror of Composition.

TEXT. No. 750. The Description of Nature The Description of Nature. (sabhávokti) is the description of such pecu- liar action or appearance of an object as is not easily perceived.

COMMENTARY. a. 'Not easily perceived'-i. e. perceived by the poet alone .- 'An object'-such as a boy or the like .- ' Peculiar action or appear- ance'-i. e. such as characteristically belong to the object. 4. Take the following example of mine :- "Lo! the angry hyena, with red and swollen eyes, scaring away the animals all around with his howling roar, traverses from forest to forest-behold, he lashes the earth repeatedly with his tail, rests upon it for a moment with his hind feet, then on a sudden shrinking into himself, he springs with fierce velocity in the air:"

TEXT. No. 751. When (1) a wonderful object,* or (2) something past

Vision. or future, is represented as if it were present, it is termed the Vision (bhavika).

COMMENTARY. a. For example :- " Victorious is that prince of ascetics-Agastya of the mighty soul-who, in the hollow of one of his hands, saw the divine Fish and Tortoise (incarnations of Vishnu), as he drank up the ocean in one handful of water." b. Or for example :- " Methinks I see thy eyes with the black collyrium that was there; I seem to perceive thy form with that profusion of ornaments that is yet to adorn it." c. This figure is not one with the Merit named Perspicuity (see Chap. VII, 611), for the latter does not cause a thing past or futuret

. This variety is not recognized in the Kavya-prakas a, being our author's own invention, and an unreasonable ono too, for it is either included in the serond varioty or has no meaning at all, t 'Or a wonderful object'-adds the Commentator.

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to seem as if it were present. Nor is it the Marvellous flavour (see Chap III § 37), for it occasions no wonder .* Nor is it the orna- ment of Hyperbole, because it implies no introsusception (see § 693). Nor is it the Mistaker, for what is past or future is mentioned as paet or future. Nor is it the Description of Nature, for this con- sists in e faithful representation of the nice characteristics of a natural object, whilst the present figure rests upon the peculiarly remarkable circumstance of an object (really past or future) seeming to be present. If, however, in the description of the nature of an object, the above peculiarity does occur, then there is a Commixture of the two figures. d. "Who is he that, without an umbrella, seems as if he were surrounded with white umbrellas; who is he that, without a chamara, is ever fanned with the chámar of flickering graces?" There is not the present figure in the above example, inasmuch as what appears in itself to be present is here described. As the figure in question consists in an object's seeming to be present THROUGH the description,t it has its proper place there where some- thing not actually seeming to be present is so represented; as in the example ' Methinks I see thy eyes with the black collyrium that was there' &c.

TEXT. No. 752. The description of super-mundane prosperity is termed the Exalted, or an action of one that is great, The Exalted, represented collaterally to the subject in hand.

• Read म हेतुत्यात् for हेतुलात् in Roer's edition of the text. It indeed seems odd to speak of the representation of a wonderful object causing no wonder. t Cancel here the stop (T) after weqara in Roer's edition of the tert. The translation is according to the reading of my MS. viz. o- यमाजस्वेव सर्मने प्रत्यचायमाएलं &c. which, cannot but be preferred to Roer'. reading, viz. यत् पुनः प्रत्यचायमाशस्यापि वणने प्रन्यसायमाएलं &o., whioh is simply unintelligible, and makes a distinction without a difference.' The commextator seems indeed to support it and toils hard to make out a sense, but to no purpose.

436 The Mirror of Composition.

COMMENTARY. a. For examples in their order :- "There, the pleasure-gardens are fed by the waters oozing from the roofs of the Lunar Stone (s'as'ankopala) by the fall of moon-light -roofs that leave the sphere of the clouds beneath." b. "Used to the slumber of blessedness after the consummation of a cosmic cycle, the Lord sleeps here (on the ocean), having de. stroyed the worlds-hymned by the First Maker (Brahma) seated on the lotus that has risen from His navel."

TEXT. No 753. When (1) a Flavour (chap. III. § 32), or (2) an In- The Impassioned, the complete Flavour (chap. III, § 245), or (3) Lovely, the Impetuous Semblances thereof (§ 247), or (4) the Quel- and the Allayment. ling of a sentiment (§ 249. a) are reduced to a subordinate condition, then they become Ornaments and are res- pectively termed the Impassioned (rasavat), the Lovely (preyah), tho Impetuous (urjuswi) and the Allayment (samahita) .*

COMMENTARY. a. 'Semblances thereof'-i. e. the semblance of Flavour and Incomplete Flavour. Of these four kinds of embellishment, the 'Rasarat (Impassioned) is so called from the association of rasa, Fla- vour, or passion. b. For example-"This is that hand" &c. (see § 266 b.) Here, the erotic is subordinate to the pathetic. So also of othor Flavours. o. The Preyah (Lovely) is so named from being loved by the best of critics. For example, the following stanza of mine: "With eyes half-closed, in which the cyo-balls were languid and motionless, with her soft creeper-like arms gently loosened as thoy clasped my neck, with her round choeks suffused with heat-drops-

. These four figures have quite different definitions in tho Kávya-dars'a of Dandin and the samahita thoro is what our author has denominatod samadhi. The Kavya prakasá dves not recognize these ornaments nor the succeeding three

The Mirror of Composition. 437

that fair one as I remember ever and anon, my heart obtains no tranquillity." Here 'Love in union' (see chap. III, § 225) is subordinate to the sentiment named Reminiscence or Recollection ($190), and this agxin to ' love in separation' § 212). d. The U'rjaswi (Impetuous) is so designated from its implying urjas or impetuosity, in doing an improper deed. For example :- "The savages of the forests, now betaking themselves to all the charming arts-singing, dancing &c .- enjoy thy foemen's ladies, having abandoned their own consorts." Here the Samblance of the Erotic is subordinate to the sentiment . of Love having a king for its object. So of the Semblance of an Incomplete Flavour. e. 'Allayment' denotes 'giving up,' or rather, 'quelling.'-For example :- "That pride of thy foemen which perpetually manifested itself in continuous blandishments of the sword, in frowns, in threats and in shouts of defiance, has gone-we know not where-at the very sight of thy eyes." Here the quelling of the sentiment named Pride is subordinate to the sentiment of Love having for its object a king.

TEXT.

No. 754. And when there is an ' excitement' of a sentiment and Excitemont, Conjunc. a 'conjunction' and a ' commixture' of senti- tion and Commixture of ments (see chap. III § 249) in a subordinate Sentiments. condition, they are entitled the same.

COMMENTARY. a. 'Entitled the same.' i. e. the ornaments are named the Ex- citement of a Sentiment, the Conjunction of Sentiments, and the Commixture of Sentiments. For examples in their order :- 6. "Rasy as they were in their carousal in company of their friends, those foemen of thine were reduced to a miserable condition. having somehow heard thy name." .

438 The Mirror of Composition. Here Terror, &c., the sentiments excited, are subordinate to the sen- timent of Love having a king for its objeet. c. "Longing for union with him who was her lord in her former birth, but modestly seated by the side of her female friend-may Párvatí ever preserve us!" . Here the conjunction of Longing and Modesty is subordinate to the sentiment of Love having a divinity for its object. d. "O we may be seen. Move off, thon wicked man. Why am I in a hurry ? Nay, I am a maiden. Do thou give me the support of thy arm. Alas! alas! for this transgression of the bounds of modesty. Where dost thou go?'-thus-bearing fruits and tender leaves upon which she lives-the daughter of thy foeman now abiding in a forest, speaks to 'somebody, O thou victorious monarch of the earth." Here the Commixture of Apprehension, Resentment,* Equanimity, Recollection, Weariness, Depression, Awakingt and Longing is subordinate to the sentiment of Love having a king for its object. e. With respect to these ornaments, viz. the Impassioned &c. some people say-'What subserve Flavour &c. by means of embellishing the form of sense or sound are alone ornaments. But Flavour &c., being what are subserved by sense and sound, they cannot properly be ornaments.' Others however affirm that the designation of Ornament given to such representations, merely because of their subserving Flavour &c., is tropical and is to be assented to, in compliance with ancient custom. Others assert that, strictly speak- ing, an ornament, such as a Metaphor or the like, is what simply subserves Flavour &c., and the circumstance of its embellishing the sense &c. is of no importance, being analogous to the nipple attached to the neck of a she-goat, which serves no end. But those who have * waqr in the original, which means 'envy' or 'malice' (seo § 196), but a ('resentment' or 'indignation') incomprehensively rendered by Dr. Ballantyne into 'impatience of opposition' (see § 184), is evidently the senti- ment described here. t The Commentator observes, with reference to the example, that excessive fatigue had brought a transient slumber on the maiden who, waking, regrets that she had passed beyond the bounds of feminine modesty by leaning upon the arm of a mau.

The Mirror of Composition. 439

thoroughly considered the matter are of opinion that a Flavour or the like which has become subordinate and which is itself subserved by word and sense that suggest it, properly obtains the denomina- tion of Ornament, subserving, as it does, the Flavour or the like thet is principal, through embellishing the words and the sense that suggest athe latter. In the Modal Metaphor (see § 703), it is the behaviour merely of a lover or the like that constitutes the orna- ment, not the Relish that is derivable from the representation, because being itself ultimate, it wants the said condition of assisting a prin- cipal Flavour through ornamenting the words and sense suggestive thereof. Hence it is that the author of the 'Dhwani' has declared- 'In that piece of poetry where a Flavour or the like is subordinate to another Flavonr or a sense'that is principal, the former Flavour or the like, is, in my opinion, an Ornamont.' If the character of an ornament should be constituted by the circumstance of merely sub- serving the Flavour or the like, then it might be claimed even by plain or direct expressions or ideas, and there are such capable of exciting poetical relish. Similarly is refuted the opinion of those that affirm that the ornaments Impassioned &c. are, when the Flavour or the like is principal, and that when it is subordinate, there is the second ornament named Exalted.

TEXT.

The Conjunction and No. 755. If any of these very ornaments the Commixture. (that we have treated of in this chapter) are united together, then there arise two distinct ornaments, viz. the Conjunction and the Commixture. COMMENTARY. a. As material ornaments, when united together, obtain a distinct beauty, and are consequently counted as one distinct ornament, so the poetical embollishments that have been defined, when united together, become distinct ornaments and are designated the Con- junction aud the Commixture. Of these- TEXT. The Coujunction, de No. 756. The existence of these indepen- fined. dently of each other is termed the Conjunc- tion.

.440 The Mirror of Composition.

COMMENTARY. a. 'Ofthese' i. e. of ornaments of word and those of sonse .- For example :- देव: पायादपायाञ्ा सेरेन्टीवरलोचन:। संसारध्वान्तविध्वंसचंस: कंसनिषद्म:। (May Kansa's Destroyer-the Deity of the smiling lotus-eyes- preserve us from destruction-the Glorious Sun in annihilating tho darkness of the world.) We have a Rhyme in payadapayat and an Alliteration in the line beginning sansara; so thore is the Conjunction of two ornaments of word. In the second quarter of the vorse, viz. 'the Deity of the smiling lotus-eyes' there is a Simile and,in the second half, a Me- taphor; thus we have the Conjunction of two ornaments of sense. Both these Conjunctions residing in the samo verse, we have here the distinct ornament of the Conjunction of the ornaments of word and sense. TEXT.

No. 757. The Commixture again is, when of two or more orna- The Commixturo, de- ments united, (1) one is principal and the fined. others are subordinate to it,* or (2) when they reside in the same place, or (3) when there is a dnbiousness about them -- being thus threefold. COMMENTARY. a. The case of the Principal and Subordinate Ornaments: as -. "Under the form, methinks, of that mantling silk-white slough that had slipped, through the force of pulling, from the body of tho royal Serpent (Vasnki, employed as the string), long did lovo-quick Mandákiní cling to his feott (in kneading them), as if to remove tho pain that Ocean had suffered in the churning." . The Karya-prakas'a, with much grenter convenience, holds this variety to cousist in the mutual subserviency of ornaments. Our author's illustrations imply that one of the ornaments in such cases is ultimately the principal, the others being subordinave, or subservient, to it. t Or-with referonco to the netual fact- fo a part of the ocean, which the vord qre nivn means, necording lo the Commentator.

The Mirror of Composition. 441

Here, the nature of Mandakini (the celestial Ganges) is super- imposed upon the slough, the real nature whereof is denied, so we have the Concealment (§683). This is subordinate to Paronomasia orCoalescence (see §643), inasmuch as it gives rise to, or implies, the verdal identification of the actual fact of Mandakini's* clinging to a portion of the personified ocean, with clinging to its feet (by means of the pun in the word pada which means 'part' as well as 'foot'). The Paronomasia is subordinate to the Hyperbole (§693) consisting in the said identification. The Hyperbole is subordinate to the Poetical Fancy ($686) gontained in the clause-'as if to remove the pain that Ocean had suffered in the churning.' The Poetical Fancy is subservient to the Modal Metaphor (§703), inas- much as it implies Ocean and Mandakini behaving respectively like a male and a female personage. b. Or for example :- "Fair Evening glows (with passion or redness-anuraga) and Day is ever before her, still,-O wonderful is the decree of fate-they are never united." Here the Modal Metaphor is subordinate to the Peculiar Allega- tion (see §717). c. The Commixture of Dubiousness; as -- "Lo!t the Lunar Orb shines in the sky, dispersing the outspread- ing gloom, causing exquisite joy to the eyes." Here, it is dubious whether there is a Hyperbole in the shape of the introsusception of a fair face into the moon ; or a Metaphor con- sisting in the suporimposition of the nature of the moon upon a face intimated by the pronoun ' this;' or an Equal Pairing (§695), a face (intimated by 'this') and the lunar orb being both subjects of dis- course and associated with the same attribute of destroying (internal or external) gloom &c .; or an Illuminator (§696), the moon not being in question; or a Modal Metaphor ($703), the face being not in question and understood from a sameness of attribute; or an Inairect Description ($706), the face being in question, and under- stood through the deseription of the moon which is not in question; or a Periphrasis ($708), the time (night) that excites love being meant to be described through the description of the moon, the rise * Or, rather, the slongh's, feignod as such. J t Literally 'this' (idam.)

442 The Mirror of Composition.

of which is the effect thereof. Thus there being a doubtful pos- sibility of each of these several ornaments, we have here the Com- mixture of Dubiousness. d. Or, to take another example (-if our dubious fancies uith respect to the former one seem too far-fetched-) in the sentonce "I see the moon-face," it is doubtful whether there is a Simile, it being meant that the face is LIKE the moon ; or a Metaphor, the meaning being that it rs the moon. When, however, there is a reason for one of the ornaments, and another, against the others, or one only of such two reasons, there the doubt does not exist. For example, in the sentence " He kisses the moon-face," kissing being consistent with a face and inconsis- tent with the moon, it is a reason for our recognizing a Similo here, and against our admitting a Metaphor. In the example "The moon-face shines," the attribute of shiningness is a reason for the Motaphor, but being tropically possible in a face, it is not against the Simile. In the sentence " Lakshmi (Prosperity), O royal Narayana, embraces thee firmly," a woman's embrace of one LIKE her lord being improper, the embrace of a king, as such, by Lakshmí is impossible and so thwarts a Simile, but the embrace of Narayana (her lord) being possible, there is a Metaphor : that is to say, the king is not LIKENED to Narayana but IDENTIFIED with him. Similarly in 'The lotus-face of the fawn-eyed lady shines with tremulous eyes,' the eye, which is possible (only) in a face, indicates a Simile and thwarts a Metaphor, being impossible in a lotus. So in such a phraso as हन्दरं वट्नाम्बुजं (the beautiful lotus- face) where the common attribute (viz. beauty) is montioned, since the compound वदनाम्बजं (lotus-face) cannot imply a similitude, according to the grammatical rulo उपमितं व्यात्रादिभि: सामान्याप्रयोगे, Paņini II, 1, 56, S. K. p. 356, (A word donoting an object com- pared is compounded with cyaghra &c., when the common attribute in not mentioned), the Simile is debarred, and consequently the compound implies a Metaphor, as bolonging to that class which begins with tho word mayura-vyansaka (Pan. UI, 1, 72, S. K. p. 336). f. The case of the Residence of Ornaments in the Same Place, or the Idontical Position, is exemplified in the following stanza of mine :-

The Mirror of Composition. 443

कटाचेणापीषत् चणमपि निरीच्षेत यदि सा तदानन्द: सान्द्र: स्फुर्रात पिदिताशेषविषय:। सरोमासदचतकुचकलशनिर्भिन्नवसन: परीरभारभः क द्व भविताभोवहटशः।

(If even for a moment she glances at me with the corner of her eye, ecstatic joy bursts forth in my heart and shuts out the con- sciousness of all external objects. What raptures then would flow from the embrace of her of the lotus-eyes, while the vesture falls off from those swelling breasts that quiver with joy.) Hero the Chhckanuprasa contained in कटाचेणापीषतवएमपि, and the Vrittyanuprasa, consisting in the compounded letters (k-sh) occurring twice in this phrase and once in निरीचेत, have an identical position. So also there is in this very example the identical position of Alliteration and Necessary Conclusion (§737). Or, for instance, in the phrase संसारध्वान्तविध्वंस &c. ($756a.), there is the identical position of Metaphor and Alliteration. Or, for instance in raarr रवकारणतां ययु:, रवका रवका form one Rhyme ($640), and वकार वकार another ; so there is the identical position of two Rhymes. g. Or for example :- " Festively do the peacocks with out-stretched necks dance in these days, noisy with the roar of fresh clouds, and gloomy like the traveller's heart (or with travellers for spectators-पष्िअ्सामाइएस)" Here, in the same position, viz., the word पदिथ्य-सामाइएसु, there are the Simile पथिक-श्यामायितेष (gloomy like the traveller), and the Metaphor पतिक-साभाजिकेषु (with travellers for spectators) .*

• The Commentator rightly considers tho above example as an instance of the Commixture of Dubiousness, not of the Commixture of the Identical Position, inasmuch as tho Prakrit expression पदिम्-सामादएसु does not admit of the two interpretations simultaneously or positively, but alternatively or dubiously. He, evidently reading पचात्तरसितेष instead of-सोतेषु and महद instead of anvr, ronders the couplet into Sanskrit thus :- चभिनवपयोद्रसितेषु पचिकश्यामायितेषु (पाथकसामाजिकेष) दिवसेषु। मर्शात (उत्पवायते) प्रसारितयीवाणं वृत्यं मथूरद्टन्दानाम्।। The term wrarfen, applied to the travellers, implies a Metaphor, inasmuoh as it properly moans one of an audience at some regular festivity, such as a dramatic entertainment. The peacock's danco is no festivity in the proper

444 The Mirror of Composition.

Intelligent readers, do you, with ease, acquire a knowledge of the principles of poetical composition in their integrity, by the perusel of this Mirror of Composition, the work of S'ri Vis'wanatha Kaviraja, the son of the glorious moon among the poets, S'ri Chandra-S'ekhafa. As long as Lakshmí, whose face resembles the unclouded moon, adorns the lap of Narayana, so long may this work be celebrated in the world, rejoicing the mind of the poets ! Here ends the 10th chapter of the Mirror of Composition.

sense of the word,-none, at all events, to the separated lover, to whom every merry sight is a source of pain. It would not be uninteresting to illustrate some of these mixed ornaments by an English example: "Ye ice-falls ! yo that from the mountain's brow Adown enormous ravines slope amain- Torrents, methinks, that heard a mighty voice, And stopped at once amidst their maddest plunge ! Motionless torrents! silent cataracts!"-Coleridge. In the 3rd and 4th lines, there is a Modal Metaphor (§ 703), subserved by a Poetical Fancy (§ 686). In the last line, there is a Commixture, called Iden- tical Position, of a Hyperbole (§ 697) and a Contradiction (§ 718). If we may look upon these five lines as forming one piece of poetry, there is hore a Conjunction (§ 756) of these two Connnixtures.

THE END.