काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

102 KĀVYAPRAKĀŚA नाश्वसिषि तत्समीहितसिद्धये व्रज अहं ते श्वश्रूनिकटे सर्वं समर्थयिष्ये इति द्वारस्पर्शनव्याजेनेत्यपहृत्या वस्तु । जोण्हाइँ महुरसेण अ विइण्णतारुण्णच्छुअमणा सा । वुड्ढावि णवोढव्विअ परवहुआ अहह हरइ तुह हिअअं॥९२॥ (१७) अत्र काव्यलिङ्गेन वृद्धां परवधूं त्वमस्मानुज्झित्वाभिलषसीति त्वदीयमाचरितं वक्तुं न शक्यमित्याक्षेपः परवहूपदप्रकाश्यः । suggests the following fact—‘you had made an appoint- ment with your lover that you would meet him in the bower on the river-bank,—you went there but he was not there ; so you returned ; but entering the house you found that he had come to the place after you had left ;— so in order to be able to return to the river you have in- tentionally broken the jar under the pretext of striking against the door ;—all this I have understood ; why then don't you take heart ? Go and fulfil your desires, I justify everything to your mother-in-law.’ (17) Suggestion of perceptible process—of figure by figure based upon the fanciful assertion of an imaginary person. ‘What a pity that your concubine captivates your heart, like a young girl, even though she is an old hag, to whose mind youthful sensuality is lent by moonlight and wine’. The figure of ‘Poetic Reason’ (involved in the state- ment that the fact of her being the concubine, and not your wife, is the reason why she captivates your heart) suggests the figure of ‘Hint’, on the following implica- tion—‘you neglect young girls like myself and go after old women who are the wives of other men,—this conduct of yours is simply inexplicable’ ; all this being indicated by the word ‘concubine’.