काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER X 465 जटाभाभिर्भाभिः करधृतकलङ्काक्षवलयो वियोगिव्यापत्तेरिव कलितवैराग्यविशदः । परिप्रेङ्खत्तारापरिकरकपालाङ्किततले शशी भस्मापाण्डुः पितृवन इव व्योम्नि चरति ॥५७१॥ उपमा रूपकम् उत्प्रेक्षा श्लेषश्चेति चत्वारोत्र पूर्ववत् अङ्गाङ्गिंतया प्रतीयन्ते । कलङ्क एवाक्षवलयमिति रूपकपरिग्रहे करधृतत्वमेव साधक- प्रमाणतां प्रतिपद्यते । अस्य हि रूपकत्वे तिरोहितकलङ्करूपम् Another example of the same— ‘ Jaṭābhābhirbhābhiḥ karadhṛtakalaṅkākṣabalayo Viyogivyāpatteriva kalitavairāgyavishadaḥ Paripreṅkhattārāparikarakapālāṅkitatale Shashī bhasmāpāṇḍuḥ pitṛvana iva vyomni charati ’. ‘ The Moon roams in the sky, which has its surface marked by skulls in the shape of the moon and stars, as if it were in a crematorium,—shining, as he does, with the colour of the knotted hair,—wearing in his hand (rays) the bracelet of rosary-beads, in the shape of the black mark,—having attained the purity (whiteness) of dis- passion (freedom from redness) consequent upon the trouble brought upon separated lovers (the destruction of the objects of sense),—and is white like (with) ashes ’. Here the four Figures, Simile, Metaphor, Poetical Fancy, and Pun appear, as in the foregoing verse, to be ‘ mutually subservient ’. When we expound the expression ‘ Kalaṅkākṣabalaya ’ as ‘ Kalaṅka eva akṣabalayam ’, (the black mark itself being ‘the bracelet of rosary-beads ’), and as such involving the figure of Metaphor,—the n the fact of ‘ being held in the hand (rays) ’ is to be regarded as the basis justifying that