काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

466 KĀVYAPRAKĀŚA अक्षवलयमेव मुख्यतयावगम्यते तस्यैव च करग्रहणयोग्यतायां सार्वत्रिकी प्रसिद्धिः। श्लेषच्छायया तु कलङ्कस्य करधारणम् असदेव प्रत्यासत्त्या उपचर्य योज्यते शशाङ्केन केवलं कलङ्कस्य मूर्त्यैव उद्वहनात्। कलङ्कोक्षवलयमिवेति तु, उपमायां कलङ्कस्य, उत्कटतया प्रतिपत्तिः। न चास्य करधृतत्वं तत्त्वतोस्तीति मुख्येप्युपचार एव शरणं स्यात्। एवंरूपश्च संकरः शब्दालंकारयोरपि परिदृश्यते। यथा Metaphor ; and in this Metaphor it is the 'bracelet of rosary-beads' which appears as the predominant factor, entirely hiding from view the 'black mark' ; as it is the bracelet (and not the black mark) that is universally known as 'Karadhṛta', 'worn in the hand'; this latter factor, of being 'Karadhṛta',—though really not present in the case of the black mark—is imposed upon it figuratively, through the force of the Pun (upon the word 'kara', which means both hand and rays) aided by the proximity (of the lunar disc),—since it is only on his disc that the Moon wears the black mark. If, on the other hand, the expression 'Kalaṅkākṣabalaya' is expounded as 'Kalaṅkaḥ akṣabalayam iva', ('the black mark which is like the bracelet of rosary-beads'),—thus involving a Simile (not a Metaphor),—then it is the 'black mark' that comes to be recognised most obtrusively (as the principal factor) ;—but even so, as it is not possible for this mark to be 'karadhṛta' (worn in the hand),—if it is the predominant factor, for the application of this epithet, it would have to be dependent entirely upon the said figurative indication (based upon Pun). Commixture of this kind is met with between verbal figures also. As for example, in the following—