काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

84 KĀVYAPRAKĀŚA तद्बुद्धिरुत्प्रेक्ष्यते इत्युत्प्रेक्षा च । एषूदाहरणेषु स्वतःसंभवी व्यञ्जकः । कैलासस्य प्रथमशिखरे वेणुसंमूर्छनाभिः श्रुत्वा कीर्तिं विबुधरमणीगीयमानां यदीयाम् । स्रस्तापाङ्गाः सरसबिसिनीकाण्डसंजातशङ्का दिङ्मातङ्गाः श्रवणपुलिने हस्तमावर्तयन्ति ॥ ६४ ॥ अत्र वस्तुना येषामप्यर्थाधिगमो नास्ति तेषामप्येवमादि- बुद्धिजननेन चमत्कारं करोति त्वत्कीर्तिरिति वस्तु ध्वन्यते । केसेसु बलामओडिअ तेण अ समरम्मि जअसिरी गहिआ । जह कन्दराहिँ विहुरा तस्स दढं कंठअम्मि संठविआ ॥६५॥ moment in which the king bit his lips in rage',—or the figure 'Poetic Fancy', in the implication that 'the king desires to relieve the pain of others even by hurting himself'. In all these (four) examples, the suggestive factor is something that is really Self-existent. (5) 'Hearing his fame sung by the nymphs on the highest peak of mount Kailāsa, to the accompaniment of the melodies of the flute,—the Elephants of the quarters, casting side-long glances, mistake it to be the juicy lotus- root (on account of its pure whiteness), and hence extend their trunk to their ears (in order to reach the Fame which has reached the ears).' (A fact, the creation of the poet's fancy, suggests a fact). Here the fact that—'even such beings as do not com- prehend the meaning of the song sung are affected in the manner described,—such is the wonderful effect of your fame'—is suggested (by the imaginary fact of the elephants extending their trunks to the ears). (6) 'Victory was so forcibly held by her locks by the king that his discomfited enemies were drawn by the caves to their necks.'—(Figure suggested by a fact created by the poet's imagination).