काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

122 KĀVYAPRAKĀŚA अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरूजघनस्पर्शी नीवीविस्रंसनः करः ॥११६॥ अत्र शृङ्गारः करुणस्य । कैलासालयभाललोचनरुचा निर्वर्तितालक्तक- व्यक्तिः पादनखद्युतिर्गिरिभुवः सा वः सदा त्रायताम् । स्पर्धाबन्धसमृद्धयेव सुदृढं रूढा यया नेत्रयोः कान्तिः कोकनदानुकारसरसा सद्यः समुत्सार्यते ॥११७॥ अत्र भावस्य रसः । अत्युच्चाः परितः स्फुरन्ति गिरयः स्फारास्तथाम्भोधय- स्तानेतानपि बिभ्रती किमपि न क्लान्तासि तुभ्यं नमः । ‘ This is that same hand which used to pull (my) girdle-zone, press the plump breasts, touch the navel, the thighs and the hips and loosen the cloth-knot.’ Here the Erotic is ‘ subservient ’ to the Pathetic. [It is the speech of the wife of a hero in the Mahābhārata war, addressed on seeing the dead body of her husband]. Another example— ‘ May the sheen of the foot-nails of Pārvatī ever protect you,—the red paint wherein has become heightened by the (red) light emanating from the eye on the forehead of Śiva (who has fallen upon her feet for the purpose of propitiating her) ; and this sheen, urged by emulation as it were, speedily and steadily sets aside the red-lotus-like lustre of her eyes (by depriving them of the redness due to her anger which has ceased upon her husband falling at her feet)’. Here the Passion (Erotic) is ‘ subservient ’ to the Emo- tion (the poet’s devotion to the goddess).