काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

86 KĀVYAPRAKĀŚA जा ठेरंव्व हसन्ती कइवअणंबुरुहबद्धविणिवेसा । दावेइ भुअणमंडलमण्णं विअ जअइ सा वाणी ॥ ६७ ॥ अत्रोत्प्रेक्षया चमत्कारैककारणं नवं नवं जगत् अजडासनस्था निर्मिमीते इति व्यतिरेकः । एषु कविप्रौढोक्तिमात्रनिष्पन्नो व्यञ्जकः । जे लंकागिरिमेहलासु खलिआ संभोगखिण्णोरइ- फारुप्फुल्लफणावलीकवलणे पत्ता दरिद्दत्तणं । ते एण्हि मलआनिला विरहिणीसाससंपक्किणो जादा भत्ति सिसुत्तणे वि बहला तारुण्णपुण्णा विअ ॥ ६८ ॥ Here the fact that ' the embraces began to be returned' is suggested by the figure 'Poetic Fancy' herein set forth. (8) 'Ever glorious is that Goddess of Speech who has taken up her abode in the lotus of the poet's mouth, exhibiting a universe of unique character, and who is, as it were, ridiculing the old Fogey'.-(Figure suggested by an imaginary figure). Here the figure of 'Poetic Fancy' set forth in the verse suggests the figure of 'Dissimilitude', in the implication that ' the goddess of speech has an animate seat (in the shape of the poet's mouth, while Brahmā, the creator of the world is seated upon the inanimate lotus), and creates a world (of poetic imagination) which is always new and the source of unmixed charm (while the creator's world is old and not always beautiful)'. In the last four examples the suggestive agent is the creation of the poet's bold assertion. (9) 'The winds from the Malaya, which had become emaciated by being inhaled in the large and rising hoods of the female serpents lying exhausted in dalliance on the lower ranges of the Hemakūṭa mountain, attain the exu-