काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IV रसभावतदाभासभावशान्त्यादिरक्रमः । भिन्नो रसाद्यलङ्कारादलङ्कार्यतया स्थितः ॥ २६ ॥ आदिग्रहणाद् भावोदयभावसंधिभावशबलत्वानि । प्रधानतया यत्र स्थितो रसादिस्तत्रालंकार्यः यथोदाहरिष्यते । अन्यत्र तु प्रधाने वाक्यार्थे यत्राङ्गभूतो रसादिस्तत्र गुणीभूतव्यङ्ग्ये do not themselves constitute the ‘Rasa’ or ‘Passion’ (which is the ‘suggested’ meaning),—but this latter is manifested by them [and thus there is a distinct order of sequence, first the Excitant and the rest, and then the Passion]; but this sequence, being extremely subtle, is not perceptible in the case of the first kind of poetry here described. 25. (a) Passion (b) Emotion (c) Aberrations of these, and the (d) Allayment of Emotion and the rest, constitute that in which the sequence is imperceptible;—and all this, appearing in the form of something to be embellished, is distinct from those embellishments (Figures of Speech), which are known as the ‘Passionate’ (Rasavat) and the like. ‘And the rest’—this is meant to include (a) the mani- festation of emotions, (b) the conjuncture of emotions, and (c) the admixture of emotions. In cases where the Passion and the rest appear as the predominant factor, they are to be embellished; as is going to be illustrated later on. In other cases, where the literal meaning of the sentence forms the predominant factor, and the Passion comes in only as a secondary element, the suggested meaning is subordinated, these same (passion and the rest), become embellishments, known as (a) ‘Rasavat’ (Passionate), [where the Passion forms the subordinate· factor], (b) ‘Preya’ (agreeable) [where emotion forms the