काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

FIFTH ADHYĀYA 159 l. 11. The verse देवी पुत्रमसूत etc. is quoted by Bhojadeva in his Sarasvatīkaṇṭhābharaṇa (4–176). This verse is also found in the Sūktimuktāvalī and is attributed to Trivikramabhaṭṭa. Bhoja finds in this verse a variety of Parikarālaṅkāra while Rājaśekhara quotes this verse to illustrate an Arthakavi. ll. 15–19. In this verse न प्राप्तम् etc. यमकशब्दालङ्कार is illustrated by repetition of two words विषभरणम् and भागीरथ्याम् in two different senses. In the verse भ्रान्त etc. रूपकालङ्कार is illustrated. *[ l. 21. Read as स्तनतटपरिणाहो दोर्लतालेह्यसीमा । प्रतीच्छत्याशोकी also in सरस्वतीकण्ठाभरण ]. l. 20–25. Here उक्ति indicates a beautiful presentation of certain ideas. For an attractive presentation, poets must make use of the quality or गुण known as Samādhi. This is considered by Daṇḍin as the most important among the Guṇas. cf. तदेतत्काव्यसर्वस्वं समाधिर्नाम यो गुणः । कविसार्थः समग्रोऽपि तमेनमुपजीवति ॥ Kāvyādarśa. 1–100. The two verses quoted here to illustrate an उक्तिकवि indicate that समाधि is the chief factor in उक्ति. Samādhi has been defined by Daṇḍin, Bhoja and others as अन्यधर्मस्यान्यत्रारोपणम् । Bhoja, in the second verse प्रतीच्छति etc. illustrates Samādhi. In these two verses such words as लाघ्य, लेह्य, निपेय and प्रतीच्छति, अनुवदति, अवतरति, denote the quality known as Samādhi. Page. 19. *[ ll. 3. 7. मूलं वालक. (विद्धशालभञ्जिका IV. 5.) ] l. 3. In this verse, the skill of a Rasakavi is illustrated. Here, a poet describes the beauty of the river Tāmraparṇī and its water which transforms itself into pearls and adorns the breasts of beautiful ladies. The poet thereby gives vent to his inner feeling of S'ṛṅgāra. l. 7. मार्गकविः । The word ‘Mārga’ denotes here the Rītis वैदर्भी, गौडी etc. See Daṇḍin 1. 40. This verse represents the Vaidarbhī style which has been acknowledged by early writers as the best. *[ l. 11 आत्माराम। वेणीसंहार. 1–23. ] l. 22. पौरस्त्यानाम् । The Gauḍas are generally called Paurastyas and their छाया or style is known as the Gauḍīyā style. Daṇḍin