काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

162 KĀVYAPRAKĀŚA तदेतदाहुः सौशब्द्यं नार्थव्युत्पत्तिरीदृशी । शब्दाभिधेयालंकारभेदादिष्टं द्वयं तु नः॥” इति ॥ शब्दचित्रं यथा “प्रथममरुणच्छायस्तावत्ततः कनकप्रभ- स्तदनु विरहोत्ताम्यत्तन्वीकपोलतलद्युतिः । उदयति ततो ध्वान्तध्वंसक्षमः क्षणदामुखे सरसबिसिनीकन्दच्छेदच्छविर्मृगलाञ्छनः” ॥१३९॥ of Poetry ; even the face of a woman, though beautiful in itself, does not appear charming when it is without any ornaments [similarly Poetry, however beautiful in itself is not charming unless it is embellished by a Figure of Speech] ;—(b) others regard Metaphor and the other Ideal Figures of Speech as something foreign to Poetry, and they hold that the real embellishment consists in the elegant placing of nouns and verbs ; it is this that they call ‘ ele- gance of composition ’; no such elegance (or charm) attaches to the mere Ideal figure (the fanciful meaning);— (c) we however accept both kinds of embellishments ro figures—the Verbal and the Ideal ’. Example of the ‘ Fanciful Word ’ (Verbal Figure of Speech)— Prathamamaruṇachchhāyastāvattataḥ kanakaprabhas. Tadanu virahottāmyattanvī kapolataladyutiḥ. Udayati tato dhvāntadhvamsakṣamaḥ kṣaṇadāmukhe Sarasabisinīkandachchhedachchhavirmṛgalāñchhanaḥ. ‘ The Moon rises at first with a shade of red ; then he takes the golden hue ; after that he has the lustre of the cheeks of the slender woman pining under separation ; then towards night he takes the splendour of the bulbous