काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IV 85 अत्र केशग्रहणावलोकनोद्दीपितमदना इव कन्दरास्तद्वि- धुरान् कण्ठे गृह्णन्ति इत्युत्प्रेक्षा । एकत्र संग्रामे विजयदर्शनात्त- स्यारयः पलाय्य गुहासु तिष्ठन्तीति काव्यहेतुरलंकारः । न पलाय्य गतास्तद्वैरिणोपि तु ततः पराभवं संभाव्य तान् कन्दरा न त्यजन्तीत्यपह्नुतिश्च । गाढालिंगणरहसुज्जअम्मि दइए लहु समोसरइ । माणंसिणीण माणो पीलणभीअ व्व हिअआहिं ॥ ६६ ॥ अत्रोत्प्रेक्षया प्रत्यालिङ्गनादि तत्र विजृम्भते इति वस्तु । Here we have the (a) figure ‘Poetic Fancy’, in the implication that ‘the caves (females) had their sexual passion aroused by looking at the locks of the lady, Victory, being held (in dalliance, as it were) and hence embraced the enemies (males)’;—also (b) the figure ‘Poetic Reason’, in the implication that ‘the enemies fled away to hide themselves in caves on seeing that the king had attained victory in battle’;—as also (c) the figure ‘Conceal- ment’, in the implication that ‘it was not that the enemies fled to the caves, but what happened was that the caves, fearing that the said enemies would suffer at the hands of the king, did not allow them to go out’. [And all this is suggested by the imaginary fact that the king caught hold of the locks of one lady and the enemies were embraced by other ladies.] (7) ‘On the lover preparing to embrace them, the feelings of indignation gently depart from the hearts of the high-minded girls, being, as it were, afraid of the pre- ssure of the embrace’—(Fact suggested by Figure created by the poet’s fancy).