काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

बहूनामपि पदानामेकपद्वद्भासनात्मा यः श्लेषःयश्चारोहा- वरोहक्रमरूपः समाधिः या च विकटत्वलक्षणा उदारता यश्चौजो- मिश्रितशैथिल्यात्मा प्रसादः तेषामोजस्यन्तर्भावः । पृथक्पदत्वरूपं माधुर्यं भङ्ग्या साक्षादुपात्तम् । प्रसादेनार्थव्यक्तिर्गृहीता । मार्गाभेदरूपा समता क्वचिद्दोषः । तथाहि ‘मातङ्गाः किमु वल्गितैः’ इत्यादौ सिंहाभिधाने मसृणमार्गत्यागो गुणः । कष्टत्वग्राम्यत्वयोर्दुष्टताभिधानात्तन्निराकरणेनापारुष्यरूपं सौकु- मार्यम् औज्ज्वलरूपा कान्तिश्च स्वीकृता ॥

(Among the ten enumerated by Vāmana) are—(1) Śhleṣa, Coalescence, defined as that property whereby several words have the appearance of a single word,—(2) Samādhi, Smoothness, defined as consisting in the proper adjustment of ascent (high-flown language) and descent (simple langu- age),—(3) Udārartā, Magnificence, consisting in the fanciful grouping of words,—(4) Prasāda, Simplicity, consisting in dullness mixed with floridity ;—and all these are included in ‘Floridity’ (as defined by ourselves) ;—(5) Mādhurya, Sweetness, consisting in the distinctness of words, has, in a way, been admitted by us also under the same name ;— (6) Arthavyakti, Clearness of Meaning, is included under ‘Lucidity ’,—(7) Samatā, Uniformity, consisting in the sameness of style, is, in some cases, a defect ; e. g., in such verses, ‘mātaṅgāiḥ kimu &c.’ (see above stanza No. 229.), where too, the abandoning of the softer diction, in the description of the Lion (in the fourth line), is a posi- tive excellence,—(8) Saukumārya, Softness, consisting in the absence of harshness, and (9) Kānti, Polish, consisting in the brightness of style, are admitted as the negations respectively of ‘harshness’ and ‘vulgarity’, which have been mentioned as defects.

CHAPTER VIII 309 एवं न दश शब्दगुणाः ॥ ‘पदार्थे वाक्यरचनं वाक्यार्थे च पदाभिधा । प्रौढिर्व्याससमासौ च साभिप्रायत्वमस्य च ॥’ इति या प्रौढिः ओज इत्युक्तं तद् वैचित्र्यमात्रम् न गुणः । तदभावेपि काव्यव्यवहारप्रवृत्तेः । अपुष्टार्थत्वाधिकपदत्वानवी- कृतत्वामङ्गल रूपाश्लील ग्राम्याणां निराकरणेन च साभि- प्रायत्वरूपमोजः अर्थवैमल्यात्मा प्रसादः उक्तवैचित्र्यरूपं माधुर्यम् अपारुष्यरूपं सौकुमार्यम् अग्राम्यत्वरूपा उदारता च Thus it follows that the number of excellences pertain- ing to words is not ten. As regards those same Excellences as pertaining to the meaning, (1) the first (mentioned by Vāmana) is Prauḍhi, Boldness, also called (the first kind of ‘ojas’ ‘strength’), which has been defined as consisting (a) in the use of a sentence for the expressing of what can be expressed by a single word, (b) in using a single word for the expressing of what would be expressed by a sen- tence, (c) in expansion, (d) in brevity and (e) in the effective- ness of epithets. But this is merely a flourish of style, and not an ‘excellence’; since expressions are regarded as ‘poetical’ even in the absence of the said (five kinds of) Boldness.—(1a) the second kind of ‘ojas’, ‘strength’, which has been defined as consisting in significance (a preg- nancy of meaning), is only the negation of the defect of Irrelevancy;—(2) ‘Prasāda’, consisting in clearness of meaning, is the negation of the defect of ‘redundancy’; —(3) ‘Mādhurya’, consisting of fanciful expression, is the negation of the defect of ‘monotony’;—(4) Saukumārya, consisting of freedom from ruggedness, is the negation of the defect of ‘Indecorous Inauspiciousness’;—(5) Udāratā, consisting in the absence of vulgarity, is the

310 KĀVYAPRAKĀŚA स्वीकृतानि । अभिधास्यमानस्वभावोक्त्यलंकारेण रसध्वनि- गुणीभूतव्यङ्ग्याभ्यां च वस्तुस्वभावस्फुटत्वरूपा अर्थव्यक्तिः, दीप्तरसत्वरूपा कान्तिश्च स्वीकृता । क्रमकौटिल्यानुल्बणत्वोप- पत्तियोगरूपघटनात्मा श्लेषोपि विचित्रत्वमात्रम् । अवैषम्य- स्वरूपा समता दोषाभावमात्रं न पुनर्गुणः । कः खल्वनुन्मत्तो- न्यस्य प्रस्तावेन्यदभिदध्यात् । अर्थस्यायोनेरन्यच्छायायोनेर्वा यदि न भवति दर्शनं तत्कथं काव्यम् इत्यर्थदृष्टिरूपः समाधिरपि न गुणः ॥७२॥ negation of the defect of ‘ vulgarity.’—(6) Arthavyakti, consisting in the distinctness of the character of things, is included under the Figure of Svabhāvokti, ‘ natural description,’—going to be described later on ; (7) Kānti, consisting in the brilliance of Passion, is included under the ‘ Suggestion of Passion ’, either as the predominant or the subordinated factor.—(8) Shleṣa,—consisting of a combination of several circumstances, such as (a) sequence of several actions, (b) deceit (c) well-known character, and (d) statement of, reasons,—is only a flourish of the poetic fancy.—(9) Samatā, consisting in the non-relinquish- ment of continuity, is only the negation of a defect (of ‘ Broken Uniformity ’), and not a positive excellence ; what man, unless he were mad, would ever begin with one thing and then speak of a totally different thing ?—(10) Samādhi, consisting in the true appreciation of the meaning (as being original or imitated), is not an excellence ; because unless one comprehends the true meaning of a poem, and recognises whether it is an original idea of the poet concerned, or has its source in the idea of some other poet,—how can the composition be regarded as ‘ poetry ’ at all ? 72.

CHAPTER VIII 311 तेन नार्थगुणा वाच्याः न वाच्याः न वक्तव्याः ॥ प्रोक्ताः शब्दगुणाश्च ये । वर्णाः समासो रचना तेषां व्यञ्जकतामिताः ॥ ७३ ॥ के कस्य इत्याह मूर्ध्नि वर्गान्त्यगाः स्पर्शा अटवर्गा रणौ लघू । अवृत्तिर्मध्यवृत्तिर्वा माधुर्ये घटना तथा ॥ ७४ ॥ टठडढवर्जिताः कादयो मान्ताः शिरसि निजवर्गान्त्ययुक्ताः तथा रेफणकारौ ह्रस्वान्तरिताविति वर्णाः समासाभावो मध्यमः For these reasons, the excellences (held by others) as pertaining to the meaning should not be mentioned sep arately). ‘Should not be mentioned’—do not deserve to be mentioned. Those excellences that have been spoken of as pertaining (indirectly) to words, (though really belonging to Passion depicted)— these are suggested by Letters, compounds and diction. 73. The text proceeds to describe what is suggestive of what excellence.— (a) The ‘sparsha’ [mute] consonants, with the exception of those of the ‘ṭa’-group, combined with the last consonant of their group,—(b) the consonants ‘r’ and ṇ’ when short,—(c) expressions free compounds,—(d) compounds of medium length,— and (e) harmonious diction—are (suggestive) of Sweetness. 74. (a) All the consonants from k to m—except ṭ, ṭh, ḍ and ḍh—combined with the last letter of their res- pective groups, (b) r and ṇ combined with short vowels ; —these are the ‘letters’ (suggestive of Sweetness). As for ‘compounds’—(e) ‘expressions free from com- pounds’ or (d) ‘compounds of medium length’ (are suggestive of Sweetness).

312 KĀVYAPRAKĀŚA. समासो वेति समासः तथा माधुर्यवती पदान्तरयोगेन रचना माधुर्यस्य व्यञ्जिका ।। उदाहरणम् अनङ्गरङ्गप्रतिमं तदङ्गं भङ्गीभिरङ्गीकृतमानताङ्ग्याः । कुर्वन्ति यूनां सहसा यथैताः स्वान्तानि शान्तापरचिन्तनानि ॥३४७॥७४।। योग आद्यतृतीयाभ्यामन्त्ययो रेण तुल्ययोः । टादिः शषौ वृत्तिदैर्घ्यं गुम्फ उद्भट ओजसि ॥ ७५ ॥ वर्गप्रथमतृतीयाभ्यामन्त्ययोः द्वितीयचतुर्थयोः रेफेण अध उपरि उभयत्र वा यस्य कस्यचित् तुल्ययोः तेन तस्यैव (e) ‘Harmonious diction’—i. e., such diction in which the words are so combined as to make it soft—is also suggestive of Sweetness. Example— ‘Anaṅgaraṅgapratimaṁ tadaṅgaṁ Bhaṅgībhirāṅgīkṛtamānatāṅgyāḥ Kurvanti yūnāṁ sahasā yathaitāḥ Svāntāni shāntāparachintanāni.’ ‘The exquisite body of the slender-bodied one, re- sembling the sportive altar of the Love-god, accompanied by graceful motions makes the innermost hearts of young- men think of things other than the quietistic.’ 74. (A) The combination—(a) of the first and of the third consonants of a group with the consonant following them,—(b) of any consonant with r,—and (c) of any two similar consonants;—(B) the consonants beginning with ṭ—(C) the consonants sh and ṣ—(D) long compounds,—and (E) the bombastic diction,—these are suggestive of Floridity. 75. (a) The combination of the first and third letters of a group with those following them—i.e., with the second and the fourth respectively;—(b) any consonant

CHAPTER VIII 313 संबन्धः टवर्गोर्थात् णकारवर्जः शकारषकारौ दीर्घसमासः विकटा संघटना ओजसः । उदाहरणम्—मूर्ध्नामुद्वृत्तकृत्तइत्यादि ।।३४८।।७५।। श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् । साधारणः समग्राणां स प्रसादो गुणो मतः ॥ ७६ ॥ समग्राणां रसानां संघटनानां च । उदाहरणम् परिम्लानं पीनस्तनजघनभंगादुभयतस्- तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् । इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैः कृशाङ्ग्याः संतापं वदति बिसिनीपत्रशयनम् ।।३४९।।७६।। having r either above or below it ;—(c) the combination of ‘similar consonants’ i.e., that of a consonant with itself—(d) the entire ṭ-group with the exception of ṇ— (e) the consonants śh and ṣ—(f) long compounds—and (g) bombastic dictive ;—all these are suggestive of Flori- dity. As an example we have the verse ‘Mūrdhnāmudvṛtta &c.’ (see above stanza No. 285.) Lucidity has been held to be that excellence, common to all, by virtue of which the comprehension of meaning of words follows on the mere hearing of it. 76. ‘All’—i. e., all Passions and all styles or diction. Example.— ‘Parimlānaṁ pīnastanajaghanasaṅgādubhayatas Tanor madhyasyāntaḥ parimīlanamaprāpya haritam Idaṁ vyastanyāsaṁ śhlathabhujalatākṣepabalanaiḥ Kṛśhāṅgyāḥ santāpaṁ vadati bisinīpatrashayanam.’ ‘This bedding of lotus-leaves shows the distress of the slender-bodied one,—being as it is withered at its

314 KĀVYAPRAKĀŚA यद्यपि गुणपरतन्त्राः संघटनादयस्तथापि वक्तृवाच्यप्रबन्धानामौचित्येन क्वचित्क्वचित् । रचनावृत्तिवर्णानामन्यथात्वमपीष्यते ॥ ७७ ॥ क्वचिद्वाच्यप्रबन्धानपेक्षया वक्त्रौचित्यादेव रचनादयः । यथा मन्थायस्तार्णवाम्भःप्लुतकुहरचलन्मन्दरध्वानधीरः कोणाघातेषु गर्जत्प्रलयघनघटान्योऽन्यसंघट्टचण्डः । कृष्णाक्रोधाग्रदूतः कुरुकुलनिधनोत्पातनिर्घातवातः केनास्मत्सिंहनादप्रतिरसितसखो दुन्दुभिस्ताडितोऽसौ ॥ ३५० ॥ two ends where it has come into contact with the plump breasts and thighs —green in the middle where it did not come into contact with her slender waist —and ruffled by the throwing about of her unnerved arms.’ 76. [Although Construction, etc. are subservient to Excellence—] The diction, the compounds and the letters are sometimes altered, in accordance with the nature of (a) the speaker, (b) the subject and (c) the form (of the composition). 77. (a) In some cases the Diction &c., are made to accord with the nature of the speaker, irrespective of the subject or of the composition ; as an example of which we have the following— Manthāyastārṇavāmbhaḥplutakuhara-chalanmandaradhvānadhīraḥ Koṇāghāteṣu garjatpralayaghanaghaṭā-nyonyasaṅghaṭṭacaṇḍaḥ Kṛṣṇākrodhāgradūtaḥ kurukulanidhanotpātanirghātavātaḥ Kenāsmatsiṁhanādapratirasitasakho dundubhistāḍitosau. ‘By whom has this trumpet been blown,—appearing as it does like the echo of my lion-roar, the forward messenger of Draupadī’s wrath, the cyclone presaging the annihilation of the Kuru-race, resembling, at each stroke of the beating-stick, the terrible clash of the thundering

CHAPTER VIII 315 अत्र हि न वाच्यं क्रोधादिव्यञ्जकम् । अभिनेयार्थं च च काव्यमिति तत्प्रतिकूला उद्धता रचनदयः । वक्ता चात्र भीमसेनः ॥ क्वचिद्वक्तृप्रबन्धानपेक्षया वाच्यौचित्यादेव रचनादयः ॥ यथा प्रौढच्छेदानुरूपोच्छलनरयभवत्सैंहिकेयोपघात- त्रासाकृष्टश्वतिर्यग्वलितरविरथेनारुणेनेक्ष्यमाणम् । कुर्वत् काकुत्स्थवीर्यस्तुतिमिव मरुतां कन्धरारन्ध्रभाजां झांकारैर्भीममेतन्निपतति वियतः कुम्भकर्णोत्तमाङ्गम् ॥ ३५१॥ clouds at the time of universal dissolution, being as deep as the rumbling of the Mandara mountain tossed about and having its caves overflowing with the water of the sea thrown about, as it were, by the churning rod.’ Here the subject described , is not one suggestive of anger, or any such violent emotion ; the form of the work also is one to be staged ; so that the bombastic diction is not compatible with either of these two conditions ; and yet, since the speaker is Bhīmasena (well-known as a ‘ Furious ’ character) [the bombastic diction is quite suitable.] In other cases the diction and other things are altered in accordance with the character of the subject portrayed, irrespective of the speaker or the form. For instance, in the following :— ‘ Prauḍhachchhedānurūpochchhalanarayabhavatsaiṁhikeyopaghāta- Trāsākṛṣṭāśvatiryagvalitaravirathenāruṇenekṣyamāṇam Kurvat kākutsthavīryastutimiva marutāṁ kandharārandhrabhājāṁ Bhāṅkārairbhīmametannipatati viyataḥ kumbhakarṇottamāṅgam.’ ‘Here falls from the sky the head of Kumbhakarṇa, terrible on account of the curious humming of winds contained in the holes in his shoulders, and hence appearing II–2

316 KĀVYAPRAKĀŚA क्वचिद्वक्तृवाच्यानपेक्षाः प्रबन्धोचिता एव ते ॥ तथाहि— आख्यायिकायां शृङ्गारेऽपि न मसृणवर्णादयः । कथायां रौद्रेऽपि नात्यन्तमुद्धताः । नाटकादौ रौद्रेऽपि न दीर्घसमासादयः ॥ एवमन्यदप्यौचित्यमनुसर्तव्यम् ॥७७॥ इति काव्यप्रकाशे गुणालंकारभेदनियतगुणनिर्णयो नाम अष्टम उल्लासः ॥ ८ ॥ as it were, singing the praises of Rāma,—and being looked at by Aruṇa (the Sun’s charioteer) wheeling about the sun’s chariot and pulling up the horses on one side, fearing it to be Rāhu, on account of the force with which it has shot forth under the impact of the powerful stroke (of the sword).’ In other cases, the Diction &c. are altered in accordance with the nature of the form, irrespective of the speaker and the subject.—For instance in an Ākhyāyikā soft letters are not admissible even in the delineation of the Erotic Passion ;—in a Kathā, even in the delineation of the ‘Furious’, bombastic words are not used ;—and in dramas and works of that kind, long compounds are not used even in the depicting of the ‘Furious’. Similarly in other cases, the proprieties are to vary with the circumstances. 77. [ Thus ends Chapter VIII dealing with the determination of Excellences as different from Ornaments (Figures of Speech).]

अथ नवम उल्लासः गुणविवेचने कृतेलंकाराः प्राप्तावसराः इति संप्रति शब्दा- लङ्कारानाह-- यदुक्तमन्यथा वाक्यमन्यथान्येन योज्यते । श्लेषेण काक्वा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा ॥ ७८ ॥ तथेति श्लेषवक्रोक्तिः काकुवक्रोक्तिश्च । तत्र पदभङ्गश्लेषेण यथा नारीणामनुकूलमाचरसि चेज्जानासि कश्चेतनो वामानां प्रियमदधाति हितकृन्नैवाबलानां भवान् । युक्तं किं हितकर्तनं ननु बलाभावप्रसिद्धात्मनः सामर्थ्यं भवतः पुरन्दरमतच्छेदं विधातुं कुतः ॥३५२॥ CHAPTER IX THE VERBAL FIGURES OF SPEECH. The Excellences having been examined, the author now describes the Verbal Figures of Speech. (1)—When what is said by one person in one sense is construed by another person in a different sense—either through punning or through intonation,—it is Equivoque (Vakrokti) : and thus it is of two kinds. 78. 'Thus'—i.e., (1) Equivoque based on Punning and (2) Equivoque based upon Intonation. The following is an example of Equiyoque based upon pun due to the breaking up of words :— 'Nārīṇāmanukūlamācharasi chejjānāsi kashchetano Vāmānāṁ priyamādadhāti hitakṛnnaivābalānāṁ bhavān Yuktaṁ kiṁ hitakartanaṁ nanu balābhāvaprasiddhātmanaḥ,— Sāmarthyaṁ bhavataḥ purandaramatachchhedaṁ vidhātuṁ kutaḥ.'

318 KĀVYAPRAKĀŚA अभङ्गश्लेषेण यथा अहो केनेदृशी बुद्धिर्दारुणा तव निर्मिता । त्रिगुणा श्रूयते बुद्धिर्न तु दारुमयी क्वचित् ॥३५३॥ “If you behave satisfactorily towards women, then you are wise”.—“What intelligent person does what is agreeable to his enemies?” [This reply being based upon the pun involved in breaking up the term ‘nārīṇāṁ’, spoken by the first speaker in the sense of ‘towards women’, into two terms ‘na-arīṇāṁ’, ‘not to enemies’]—“Then you are not a benefactor of the weaker sex.” [This rejoinder takes the term ‘vāmānāṁ’, used by the second speaker in the sense ‘of enemies’, in the sense ‘of the weaker sex’.]— “Would it be proper to destroy the good of a person known to be weak?” [This answer is based upon the term ‘hitakṛt’, used by the former speaker in the sense of hitaṁ karoti ‘benefactor, one who does good’, being taken in the sense of hitaṁ kṛntati’, ‘one who destroys the good’]. —“Whence can there be any power in you to bring about the destruction of what is desired by Indra?” [This reply is based on the expression ‘balābhāvaprasiddhātmanaḥ’, used by the former speaker in the sense of ‘one known to be weak’, being taken by the latter in the sense of ‘one who is known by his killing of the demon Bala, i.e., Indra’.] The following is an example of Equivoque based upon Paronomasia, not involving the breaking up of words. ‘Aho kenedṛśī buddhirdāruṇā tava nirmitā· Triguṇā śrūyate buddhirna tu dārumayī kvachit’. “Oh! By whom has this Intelligence of yours been made so cruel?”—“Intelligence is known to consist of the three attributes, and never of wood”. [The reply

CHAPTER IX 319 काक्वा यथा गुरुजनपरतन्त्रतया दूरतरं देशमुद्यतो गन्तुम् । अलिकुलकोकिलललिते नैष्यति सखि सुरभिसमयेऽसौ ॥३५४॥७८॥ वर्णसाम्यमनुप्रासः ॥ स्वरवैसादृश्येपि व्यञ्जनसदृशत्वं वर्णसाम्यम् । रसाद्यनुगतः प्रकृष्टो न्यासोनुप्रासः ॥ is based upon the word ‘dāruṇā’, used by the first speaker in the sense of ‘cruel’, being taken by the other in the sense of ‘of wood’.] The following is an example of Equivoque based on Intonation. ‘Gurujanaparatantratayā dūrataraṁ deshamudyato gantum Alikulakokilalalite naiṣyati sakhi surabhisamayesau’. ‘Being obedient to his elders, he is prepared to go to a far remote country; and O friend! will he not come during the fragrant season (of spring), which is beautified by the presence of swarms of black bees and cuckoos?’ [To this the friend is supposed to reply ‘will he not come?’ this reply in this sense being obtained by giving to the word ‘naiṣyati’, ‘will not come’, the intonation of a ques- tion; so that the word used by the first speaker in the former sense is taken by the second in the latter sense, which carries the further meaning ‘he is sure to come.’] Alliteration (Anuprāsa) consists in the similarity of letters. The ‘similarity of letters’ meant here is the sameness of the consonants, even though the vowels may be different. The figure is called ‘Anuprāsa’, because it consists in such ‘prāsa’—prakṛṣṭa nyāsa, i.e., excellent allocation (of letters)—as is ‘anu’—anugata, favourable, to the delineation of Passion and other things.

320- KĀVYAPRAKĀŚA छेकवृत्तिगतो द्विधा ।। छेकाः विदग्धाः । वृत्तिर्नियतवर्णगतो रसविषयो व्यापारः । गत इति छेकानुप्रासो वृत्यनुप्रासश्च ।। किं तयोः स्वरूपम् इत्याह— सोनेकस्य सकृत्पूर्वः ।। अनेकस्य अर्थात् व्यञ्जनस्य सकृदेकवारं सादृश्यं छेकानुप्रासः । उदाहरणम् ततोरुणपरिस्पन्दमन्दीकृतवपुः शशी । दध्रे कामपरिक्षामकामिनीगण्डपाण्डुताम् ।।३५५।। It is of two kinds,—as pertaining to (a) chheka (experts) and (b) vṛtti (diction). ‘Chheka’—Experts ; ‘vṛtti’—that function of letters which affects the delineation of Passion ;—‘pertaining to’ these,—i.e., the two kinds of Alliteration are (a) ‘chhekānu- prāsa’ and (b) Vṛttyanuprāsa.’ [These are merely fanciful names, as is clear from the definitions that follow, according to which the two kinds may be called (a) ‘Isolated’ and (b) ‘Complex’ Alliteration.] The author states the characteristics of these two kinds of Alliteration.— The former is the single repetition of several. When there is a single repetition of ‘several’—consona- nts, it is ‘Chhekānuprāsa’, ‘Isolated Alliteration.’ Example— ‘Tato’ ruṇaparispandamandīkṛtavapuḥ shashī Dadhre kāmaparikṣāmakāminīgaṇḍapāṇḍutām’. ‘The Moon, having his body eclipsed by the advent of the Sun, bore the paleness of the cheek of a woman emaciated by the pangs of love.’ [Here we have ‘single repetition of the consonants (a) ‘n-d’ and (b) ‘ṇ-ḍ’]

\ CHAPTER IX 321 एकस्याप्यसकृत्परः ॥ ७९ ॥ एकस्य अपिशब्दादनेकस्य व्यञ्जनस्य द्विर्बहुकृत्वो वा सादृश्यं वृत्त्यनुप्रासः ॥७९॥ तत्र माधुर्यव्यञ्जकैर्वर्णैरुपनागरिकोच्यते । ओजःप्रकाशकैस्तैस्तु परुषा । उभयत्रापि प्रागुदाहृतम् । कोमला परैः ॥ ८० ॥ परैः शेषैः । तामेव केचित् ग्राम्येति वदन्ति । उदाहरणम् अपसारय घनसारं कुरु हारं दूर एव किं कमलैः । अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥३५६॥८०॥ The latter consists in several repetitions of one also. 79. When there are ‘several’—two or more—‘repetitions’ of ‘one’—consonant—‘also’—i.e., or of several consonants,— we have the ‘Vṛttyanuprāsa’, the ‘Alliteration of Diction’. 79. As regards ‘Vṛtti’, ‘Diction’ :— (a) That (Diction) which is characterised by consonants suggestive of sweetness is called ‘Upanāgarikā’ ‘Polished’; and (b) that which is characterised by consonants suggestive of floridity is called ‘Paruṣā’, ‘Harsh’. Examples of both these have been cited above (in Ch. VIII, under ‘Sweetness’ and ‘Floridity’). (c) That characterised by others is called ‘komalā’, ‘soft’. 80. ‘Others’—Consonants other than the two kinds mention- ed above. This last diction some people also call ‘grāmyā’, ‘Vulgar.’ . Example— ' ‘Apasāraya ghanasāraṁ kuru hāraṁ dūrameva kiṁ kamalaiḥ Alamalamāli mṛṇālairiti vadati divāniśaṁ bālā. For translation (see above stanza No. 341.) 80.

322 KĀVYAPRAKĀŚA केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः ॥ एतास्तिस्रो वृत्तयः वामनादीनां मते वैदर्भीगौडीपाञ्चाल्याख्या रीतयो मताः ॥ शब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः ॥ ८१ ॥ शब्दगतोनुप्रासः शब्दार्थयोरभेदेप्यन्वयमात्रभेदात् लाट- जनवल्लभत्वाच्च लाटानुप्रासः । एष पदानुप्रास इत्यन्ये ॥८१॥ पदानां सः । स इति लाटानुप्रासः । उदाहरणम् By some people these styles of diction have been called the 'Vaidarbhī' and the rest. According to others—i.e., Vāmana and his followers,— the three styles of diction just described have been called, respectively, (a) 'Vaidarbhī', (b) 'Gauḍī' and 'Pāñchālī.' The Lāṭānuprāsa is verbal; the difference lying only in the import. 81. When there is Alliteration (repetition) of words (not mainly of single consonants as in the other two kinds of Alliteration),—and though the form and the meaning of the words thus repeated are the same, yet there is difference in the syntactical relation of the words,— it is ‘Lāṭānuprāsa,’ so called because of its being popular among the inhabitants of the Lāṭa country. Others have called this the ‘Alliteration of Words.’ [‘Words’ are here divided into the (A) verbal forms complete with the terminations; and (B) simple basic substantives. In the Alliteration of (A), there may be repetition either (a) of several words, or (b) of a single word; and in that of (B), the repetition may be either (a) in the same compound or (b) in different compounds. Each of these is next dealt with.] 81. (Aa) This pertains to several words. ‘This’—i.e. The Lāṭānuprāsa.

CHAPTER IX 323 यस्य न सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य । यस्य च सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य ॥३५७॥ पदस्यापि । अपिशब्देन स इति समुच्चीयते । उदाहरणम् वदनं वरवर्णिन्यास्तस्याः सत्यं सुधाकरः । सुधाकरः क्व नु पुनः कलङ्कविकलो भवेत् ॥३५८॥ वृत्तावन्यत्र तत्र वा । नाम्नः स वृत्त्यवृत्त्योश्च । Example— ‘Yasya na savidhe dayitā davadahanastuhinadīdhitistasya Yasya cha savidhe dayitā davadahanastuhinadīdhitistasya.’ ‘To one who has not his beloved near him, even the cool-rayed Moon is like the forest-conflagration ; while to one who has his beloved near him, even the forest-con- flagration is like the cool-rayed Moon.’ [Here we have the repetition of several words (a) ‘yasya-savidhe dayitā’ and (a) ‘davadahanaḥ-tuhinadīdhitiḥ-tasya’.] (A) It pertains to a single word also. The particle ‘api’, ‘also’, indicates that the pronoun ‘saḥ’ of the preceding text is to be construed here also. Example.— ‘Vadanaṁ varavarṇinyāstasyāḥ satyaṁ sudhākaraḥ Sudhākaraḥ kva nu punaḥ kalaṁkavikalo bhavet.’ ‘The face of the fair-complexioned one is really the Moon ;—where else could the Moon be free from stains ?’ [Here we have the repetition of the single word ‘sudhākaraḥ’.] (B) It is (repetition) of the same substantive base, either (a) in the same compound, or (b) in different compounds, or (c) once in a compound and once in a non-compound.

एकस्मिन् समासे भिन्ने वा समासे समासासमासयोर्वा नाम्नः प्रातिपदिकस्य न तु पदस्य सारूप्यम् । उदाहरणम् सितकरकररुचिरविभा विभाकराकार धरणिधर कीर्तिः । पौरुषकमला कमला सापि तवैवास्ति नान्यस्य ॥ ३५९ ॥ तदेवं पञ्चधा मतः ॥ ८२ ॥ अर्थे सत्यर्थभिन्नानां वर्णानां [सा पुनः श्रुतिः । यमकम् । समरसमरसोयमित्यादावेकेषामर्थवत्त्वे अन्येषामनर्थकत्वे भिन्नार्थानामिति न युज्यते वक्तुम् इति अर्थे सतीत्युक्तम् । सेति सरोरस इत्यादिवैलक्षण्येन तेनैव क्रमेण स्थिता ।

CHAPTER IX 325 पादतद्भागवृत्ति तद्यात्यनेकताम् ॥ ८३ ॥ प्रथमो द्वितीयादौ द्वितीयस्तृतीयादौ तृतीयश्चतुर्थे प्रथम- स्त्रिष्वपीति सप्त । प्रथमो द्वितीये तृतीयश्चतुर्थे प्रथमश्चतुर्थे द्वितीयस्तृतीये, इति द्वे । तदेवं पादजं नवभेदम् । अर्धावृत्तिः श्लोकावृत्तिश्चेति द्वे । uniform’), the letters ‘sa-ma-ra’, when occurring first, have the sense of ‘war’, but when repeated, the same letters have no sense, (as they form part of the compound ‘samarasaḥ’); so that it is not right to say that Chime consists in the repetition of letters with a different meaning.” ‘Sā’, ‘in the same order’,—this is meant to exclude such repetition, as in ‘sarorasa’ (where the consonants are not repeated in the same order). As occurring in the several feet of a verse or in several parts thereof,—it becomes manifold. 83. (1) The first foot repeated in the second foot, (2) the first foot repeated in the third foot, (3) the first foot repeated in the fourth foot;—(4) the second foot repeated in the third foot, (5) the second foot repeated in the fourth foot;—(6) the third foot repeated in the fourth, —and (7) the first foot repeated in all the other three feet.— These make seven varieties.—Then there are two varie- ties—viz:—(8) the repetition of the first foot in the second foot, and that of the third in the fourth foot—and (9) the repetition of the first foot in the fourth and that of the second in the third.—Thus there are nine varieties of Chime as occurring in the several feet of a verse.—In addition to these there are two varieties—viz.,—(10) the repetition of one half of the verse and (11) the repetition of the entire verse.

द्विधा विभक्ते पादे प्रथमादिपादादिभागः पूर्ववत् द्विती- यादिपादादिभागेषु अन्तभागोऽन्तभागेष्विति विंशतिर्भेदाः श्लोकान्तरे हि नासौ भागावृत्तिः । त्रिखण्डे त्रिंशत् चतुःखण्डे चत्वारिंशत् । प्रथमपादादिगतान्त्यार्धादिभागो द्वितीयपादादिगते आद्यार्धादिभागे यम्यते इत्याद्यन्वर्थतानुसरणेनानेकभेदम् । अन्ता- दिकम् । आद्यन्तिकम् । तत्समुच्चयः । मध्यादिकम् । आदिमध्यम् ।

CHAPTER IX 327 अन्तमध्यम् । मध्यान्तिकम् । तेषां समुच्चयः । तथा तस्मिन्नेव पादे आद्यादिभागानां मध्यादिभागे अनियते च स्थाने आवृत्ति- रिति प्रभूततमभेदम् । तदेतत्काव्यान्तर्गण्डभूतम् इति नास्य भेदReach/भेदलक्षणं कृतम् । दिङ्मात्रमुदाह्रियते । सन्नारीभरणोमायमाराध्य विधुशेखरम् । सन्नारीभरणोमायस्ततस्त्वं पृथिवीं जय ॥३६०॥ विनायमेनो नयतासुखादिना विना यमेनोऽनयता सुखादिना । महाजनोदीयत मानसादरं महाजनोदी यतमानसादरम् ॥३६१॥ foot,—(8) the combination of the last three.—Similarly there can be repetition of the first and other parts in the middle, and other parts of the same foot,—or again, the repetition may be without any fixed order, any part of one foot being repeated in any part of another ; and so forth, there would be many varieties. All this however is a mere excrescence in the body of poetry ; and hence any detailed definition of these varieties has not been attempted ; examples also we are citing of only a few kinds.— (1) Sannārībharaṇomāyastatastvaṁ pṛthivīṁ jaya.’ ‘ Having worshipped the Moon-crested God, who has obtained the jewel of pure women, may you win the earth,—you, who are free from deceit and in whose battle your enemy’s elephants have perished.’ (2) ‘ Vināyameno nayatāsukhādinā Vinā yamenonayatā sukhādinā Mahājanodīyata mānasādaraṁ Mahājanodī yatamānasādaram.