काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VI 163 अर्थचित्रं यथा ते दृष्टमात्रपतिता अपि कस्य नात्र क्षोभाय पक्षमलदृशामलकाः खलाश्च । नीचाः सदैव सविलाससमीकलग्ना ये कालतां कुटिलतामिव न त्यजन्ति ॥१४०॥ यद्यपि सर्वत्र काव्येन्ततः विभावादिरूपतयैव पर्यवसानं तथापि स्फुटस्य रसस्यानुपलम्भादव्यङ्ग्यमेतत्काव्यद्वयमुक्तम् । root of the fresh lotus-stock and is then capable of dis- persing darkness'. [Here the charm, lies in alliteration, which is more prominent and charming than the series of similes involved]. Example of the 'Fanciful Meaning' (Ideal Figure of Speech)— 'Whom do not (a) the locks of the woman with fair- lashed eyes—and (b) the wicked people—not perturb,— when they (a) curl over the eyes [(b) are seen], (a) hanging low [(b) mean], (a) lying beautifully on the forehead [(b) delighting in telling lies], and never abandon their (a) blackness [(b) fraudulence] and (a) curls [(b) crooked- ness, dishonesty]'. [Here we have the ideal figure 'Combination' aided by 'Paronomasia' and 'Simile]'. Though in reality, in the case of all kinds of Poetry, everything ultimately turns upon the Excitants, Ensuants and Variants (and the Passion manifested by these) [and hence in Fanciful Poetry also there is bound to be some suggestion of Passion], yet what happens in the two kinds of Fanciful Poetry just described is that no real 'Passion' is clearly discernible and it is on that ground