काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER III 47 अत्र चेष्टया प्रच्छन्नकान्तविषय आकूतविशेषो ध्वन्यते । निराकाङ्क्षप्रतिपत्तये प्राप्तावसरतया च पुनः पुनरुदाह्रि- यते । वक्त्रादीनां मिथःसंयोगे द्विकादिभेदेन । अनेन क्रमेण लक्ष्यव्यङ्ग्ययोश्च व्यञ्जकत्वमुदाहार्यम् ॥ २१-२२ ॥ शब्दप्रमाणवेद्योऽर्थो व्यनक्त्यर्थान्तरं यतः । अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता ॥ २३ ॥ शब्देति । नहि प्रमाणान्तरवेद्योऽर्थो व्यञ्जकः ॥ २३ ॥ इति श्रीकाव्यप्रकाशेऽर्थव्यञ्जकतानिर्णयो नाम तृतीय उल्लासः ॥३॥ so fully as to leave nothing to be desired on the part of the enquirer. Sometimes we have suggestion based upon the pecu- liarity of two or more of the conditions of the ‘speaker’ and the rest enumerated here. The suggestiveness of the ‘indicated’ and ‘suggest- ed’ meanings also may be illustrated in the same manner (as that of the ‘expressed’ meaning.) 22. Inasmuch as the meaning that suggests another meaning is itself cognisable by means of the word,—the word also is helpfful in the suggestiveness of the meaning.—(23). ‘By means of the word’,—That is, anything cognised through any other means of knowledge is never suggestive. 23.

चतुर्थ उल्लासः यद्यपि शब्दार्थयोर्निर्णये कृते दोषगुणालंकाराणां स्वरूपम- भिधानीयं तथापि धर्मिणि प्रदर्शिते धर्माणां हेयोपादेयता ज्ञायत इति प्रथमं काव्यभेदान् आह— अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ । अर्थान्तरे सङ्क्रमितमत्यन्तं वा तिरस्कृतम् ॥ २४ ॥ लक्षणामूलगूढव्यङ्ग्यप्राधान्ये सत्येव अविवक्षितं वाच्यं यत्र स ‘ध्वनौ’ इत्यनुवादात् ध्वनिरिति ज्ञेयः । तत्र च वाच्यं क्वचिदनुपयुज्यमानत्वादर्थान्तरे परिणमितम् । यथा CHAPTER IV SUGGESTIVE POETRY. ‘Word’ and ‘meaning’ having been defined, the next subject to be dealt with should be the exact nature of ‘defects,’ ‘excellences’ and ‘figures of speech’ [in view of the form in which the definition of ‘poetry’ has been worded]; but it is only when the object to which the properties belong has been described that it can be ascertained whether certain properties of it are fit to be rejected or admitted ; for this reason the author now proceeds to describe the various kinds of poetry (of which the defects, excellences and figures are properties.) In that ‘suggestive’ poetry where the ‘expressed’ meaning is not meant to be applicable,—the ‘expressed meaning’ is either (a) transformed into another meaning or (b) entirely rejected.—(24).

CHAPTER IV 49 त्वामस्मि वच्मि विदुषां समवायोत्र तिष्ठति । आत्मीयां मतिमास्थाय स्थितिमत्र विधेहि तत् ॥२३॥ अत्र वचनादि उपदेशादिरूपतया परिणमति । क्वचिदनुपपद्यमानतया अत्यन्तं तिरस्कृतम् । यथा-- उपकृतं बहु तत्र किमुच्यते सुजनता प्रथिता भवता परम् । विदधदीदृशमेव सदा सखे सुखितमास्स्व ततः शरदां शतम् ॥२४॥

The ‘expressed meaning’ is ‘not meant to be appli- cable’ only in cases where predominance attaches to that abstruse ‘suggested meaning’ which is based upon Indication ;—and it is such instances that should be under- stood as ‘Dhvani’, ‘suggestive poetry’; since they have been referred to in the text by the expression ‘dhvanau,’ ‘in suggestive poetry’.—(a) In this ‘suggestive poetry,’ the ‘expressed meaning’, being found to have no useful significance, becomes, in some cases, ‘transformed into another meaning’;—e. g. in the following— ‘I tell you here sits an assembly of learned men ; you should, therefore, remain here with your mind fully alert.’ Here, mere telling (having no significance at all) becomes transformed into advising (the suggestion being ‘I advise you that in this assembly of learned men, you should keep your mind alert, or else you will make yourself ridiculous’). (b) While in other cases, the ‘expressed meaning,’ being found to be inapplicable, becomes ‘entirely rejec- ted’;—e. g in the following— ‘Much benefit has been conferred upon me ;—what shall I say ?—Extreme gentlemanliness has been evinced by you ! May you, therefore, O friend, live in happiness for a hundred years, always behaving as you have done !’ 4

50 KĀVYAPRAKĀŚA एतद् अपकारिणं प्रति विपरीतलक्षणया कश्चिद्वक्ति ॥ २४ ॥ विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः । अन्यपरं व्यङ्ग्यनिष्ठम् ॥ एष च कोप्यलक्ष्यक्रमव्यङ्ग्यो लक्ष्यव्यङ्ग्यक्रमः परः ॥ २५ ॥ अलक्ष्येति । न खलु विभावानुभावव्यभिचारिण एव रसः । अपि तु रसस्तैः इत्यस्ति क्रमः । स तु लाघवान्न लक्ष्यते ॥ २५ ॥ अत्र This is addressed to a person who has caused much injury to the speaker, who addresses to him these words in an ironical sense. [The gratitude expressed by the words is altogether inapplicable to one who has done harm; hence it is ‘entirely rejected,’ and its contrary is suggested.] 24. [Suggestive Poetry based upon Indication having been described, the author proceeds to describe that based upon denotation.] That (suggestive poetry), however, where the ‘expressed meaning’ is meant to be applicable, and is yet subservient to another meaning,—is the other kind. ‘Subservient to another’—i. e. implies the ‘suggested meaning’. This ‘other kind’ of suggestive poetry is of two varieties— (a) One in which the order of sequence of the ‘suggested meaning’ is imperceptible. and (b) the other in which the order of sequence of the ‘suggested meaning’ is perceptible. 25. ‘Imperceptible’;—there is this ‘order of sequence’ (in the case of all ‘passionate’ poetry, which is of the ‘suggestive’ kind) that the Excitants, the Ensuants and the Variables (which are ‘expressed’ by the words)

CHAPTER IV रसभावतदाभासभावशान्त्यादिरक्रमः । भिन्नो रसाद्यलङ्कारादलङ्कार्यतया स्थितः ॥ २६ ॥ आदिग्रहणाद् भावोदयभावसंधिभावशबलत्वानि । प्रधानतया यत्र स्थितो रसादिस्तत्रालंकार्यः यथोदाहरिष्यते । अन्यत्र तु प्रधाने वाक्यार्थे यत्राङ्गभूतो रसादिस्तत्र गुणीभूतव्यङ्ग्ये do not themselves constitute the ‘Rasa’ or ‘Passion’ (which is the ‘suggested’ meaning),—but this latter is manifested by them [and thus there is a distinct order of sequence, first the Excitant and the rest, and then the Passion]; but this sequence, being extremely subtle, is not perceptible in the case of the first kind of poetry here described. 25. (a) Passion (b) Emotion (c) Aberrations of these, and the (d) Allayment of Emotion and the rest, constitute that in which the sequence is imperceptible;—and all this, appearing in the form of something to be embellished, is distinct from those embellishments (Figures of Speech), which are known as the ‘Passionate’ (Rasavat) and the like. ‘And the rest’—this is meant to include (a) the mani- festation of emotions, (b) the conjuncture of emotions, and (c) the admixture of emotions. In cases where the Passion and the rest appear as the predominant factor, they are to be embellished; as is going to be illustrated later on. In other cases, where the literal meaning of the sentence forms the predominant factor, and the Passion comes in only as a secondary element, the suggested meaning is subordinated, these same (passion and the rest), become embellishments, known as (a) ‘Rasavat’ (Passionate), [where the Passion forms the subordinate· factor], (b) ‘Preya’ (agreeable) [where emotion forms the

52 KĀVYAPRAKĀŚA रसवत्प्रेयऊर्जस्विसमाहितादयोलंकाराः । ते च गुणीभूतव्यङ्ग्या- भिधाने उदाहरिष्यन्ते ॥ २६ ॥ तत्र रसस्वरूपमाह- कारणान्यथ कार्याणि सहकारीणि यानि च । रत्यादेः स्थायिनो लोके तानि चेन्नाट्यकाव्ययोः ॥ २७ ॥ विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः । व्यक्तः स तैर्विभावाद्यैः स्थायी भावो रसः स्मृतः ॥ २८ ॥ उक्तं हि भरतेन “विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्तिः” इति । एतद्विवृण्वते— “विभावैर्ललनोद्यानादिभिरालम्बनोद्दीपन- कारणैः रत्यादिको भावो जनितः अनुभावैः कटाक्षभुजाक्षेपप्रभृ- तिभिः कार्यैः प्रतितियोग्यः कृतः व्यभिचारिभिर्निर्वेदादिभिः सहकारिभिरुपचितो मुख्यया वृत्त्या रामादावनुकार्ये तद्रूपसंधा- नान्नर्तकेपि प्रतीयमानो रसः” इति भट्टलोल्लटप्रभृतयः । subordinate factor], (c) ‘ūrjasvi’ (Forceful) [where the aberration of Passion forms the subordinate factor], (d) ‘Samāhita’ Quiescent [where the allayment of emotion forms the subordinate factor].—Instances of these are to be cited under the sections dealing with ‘Poetry of Sub- ordinated Suggestion’ (under Chapter V). 26. The author now describes the nature of ‘Passion’— Text—What are known, in ordinary language, as (a) ‘causes’ (b) ‘effects’ and (c) ‘auxiliaries’ of the ‘latent emotion’ of Love and the like,—come to be spoken of as (a) ‘excitants’, (b) ‘ensuants’ and (c) ‘variants’, when found in Drama and Poetry; and when the latent emotion comes to be manifested by these, it is known as ‘Rasa’, ‘Passion’.—(27-28).

CHAPTER IV 53 राम एवायम् अयमेव राम इति ‘न रामोयम्’ इत्यौत्तर- कालिके बाधे रामोयमिति रामः स्याद्वा न वायमिति राम- सदृशोयमिति च सम्यङ्मिथ्यासंशयसादृश्यप्रतीतिभ्यो विलक्षणया चित्रतुरगादिन्यायेन रामोयमिति प्रतिपत्त्या ग्राह्ये नटे This is what has been thus declared by Bharata (in his Nāṭyaśāstra)—“ There is accomplishment of Passion through the conjunction of the excitant, the ensuant and the variant.” [Four different interpretations of this assertion have been propounded, and each of these interpretations forms the basis of a distinct theory regarding the genesis of Rasa]. (A) The first interpretation is that given by Bhaṭṭa- Lollaṭa and his followers ; it is as follows :—The (latent) sentiment of love (and the like) is (a) generated by the excitants—i. e., the basic cause, in the shape of the woman, and the inflaming cause, in the shape of the garden and so forth—(b) rendered cognisable by the ensuants—i. e., effects, in the form of amorous glances, embraces and so forth,—and (c) consummated by the variants—such as self-disparagement and the like ;—this emotion, though primarily and really subsisting in the character personated— e. g. Rāma—comes to be recognised as subsisting in the personating actor by reason of his having assumed that character ; and when thus recognised, it is called ‘ Rasa ’, ‘ passion ’. [This theory is open to the objection that it fails to explain the emotion that arises in the mind of the spectator of the dramatic representation; as according to it, the sentiment is generated in the personated character and secondarily recognised in the personating actor.]

54 KĀVYAPRAKĀŚA ‘सेयं ममाङ्गेषु सुधारसच्छटा सुपूरकर्पूरशलाकिका दृशोः । मनोरथश्रीर्मनसः शरीरिणी प्राणेश्वरी लोचनगोचरं गता ॥ २५॥ दैवादहमद्य तया चपलायतनेत्रया वियुक्तश्च । अविरलविलोलजलदः कालः समुपागतश्चायम्’ ॥ २६ ॥ इत्यादिकाव्यानुसंधानबलाच्छिक्षाभ्यासनिर्वर्तितस्वकार्य- प्रकटनेन च नटेनैव प्रकाशितैः कारणकार्यसहकारिभिः (B) The second interpretation put forward by Śrī Śaṅkuka is as follows :—When an actor is personating Rāma, the spectator has with regard to him, the idea that ‘this is Rāma himself’ ; but this idea is of a peculiar kind, being of the same nature as the idea of ‘horse’ that one has in regard to the picture of a horse ; it is different from all the four kinds of ordinary notions : (1) it is not of the nature of the ordinary right notion that one has in the case of the real Rāma. ‘Rāma is the person’, which is also confirmed by the subsequent cognition ‘this is Rāma himself’ [the cognition in question cannot be of this kind as Rāma is not present there] ;—(2) it is different also from the ordinary wrong cognition ‘this is Rāma’, which appears in regard to one who is not really Rāma, and which is sublated by the subsequent cognition ‘this is not Rāma’ [the cognition in question cannot be of this nature, as there is no such sublation in this case] ;—(3) nor is it of the same nature as the doubtful cognition ‘this may or may not be Rāma’;—(4) nor lastly is it of the nature of the cognition of mere similarity, ‘he is like Rāma’ [the cognition in question cannot be of the nature of these last two cognitions, as it partakes of the notion of identifica- tion] ;—and this actor gives expression to the causes, effects and auxiliaries by the display of his art acquired

CHAPTER IV 55 कृत्रिमैरपि तथानभिमन्यमानैर्विभावादिशब्दव्यपदेश्यैः ‘संयोगात्, गम्यगमकभावरूपात् अनुमीयमानोपि वस्तुसौन्दर्यबलाद्र- सनीयत्वेनान्यानुमीयमानविलक्षणः स्थायित्वेन संभाव्यमानो रत्यादिर्भावस्तत्रासन्नपि सामाजिकानां वासनया चर्व्यमाणो रस इति श्रीशङ्कुकः । through instruction and practice, and pondering over such poetry as the following— ‘ That lady, the mistress of my life, a splash of nectar to my body, unguent of camphor to my eyes, the very embodiment of the glorious longings of my heart, glided within the range of my vision ’;— ‘ Unfortunately I have to-day been separated from her, with eyes large and unsteady ; and that season has arrived wherein clouds are constantly flitting about ’; Though all these causes, effects and auxiliaries are only artificially assumed, yet they are not regarded as such, and hence they are spoken of as ‘ excitants,’ ‘ ensuants ’ and ‘ variants ’;—the ‘ saṁyoga ’, ‘ conjunction ’, of these three,—i. e., through the relation of ‘ the indicative and the indicated ’, subsisting between these three and the result- ant feeling—leads to the inference of the ‘ latent emotion ’, of Love e. g.;—though thus inferred, the emotion is by reason of the peculiar charm, different from all other objects of inference ; and hence it is recognised as something subsisting latently ; and as, though thus inferred, this emotion is recognised, through its peculiar charm, as some- thing relished, and as such different from other ordinary inferred things ; it is imagined to be subsisting latently in the actor ; and even though not really present in him, it is relished by the spectators through their predisposed tendencies.

56 KĀVYAPRAKĀŚA न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य- ज्यते अपि तु काव्ये नाट्ये चाभिधातो द्वितीयेन विभावादि- साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमानः स्थायी सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते इति भट्टनायकः । [Under this view, the causes, effects and auxiliaries are the invariable concomitants of the emotion,—and hence when they are perceived, in the Actor, they lead to the inference of the emotion; and the inference of this non-existent emotion is explained as being due to the predisposition of the audience.] [The objection against this view is that inference is a purely intellectual process, and hence cannot account for the highly complex emotional phenomena involved in Rasa.] (C) The third interpretation, that of Bhaṭṭa-nāyaka, is as follows :—‘Passion’ is not cognised (inferred), or generated, or manifested,—either unconcernedly (as not concerning the spectator at all, as held by Bhaṭṭa-Lollaṭa), or as subsisting in the spectator himself (relished by him, as held by Śrī-Śaṅkuka);—what happens is that in poetry and drama words are endowed with a peculiar presentative potency, distinct from direct Denotation (and indirect Indication)—which tends to generalise the Excitants, Ensuants and Variants, and thereby presents to consciousness the ‘latent emotion’, which thereupon comes to be relished by a process of delectation abounding in enlightenment and bliss, due to the plenitude of the quality of Harmony (Sattva). [According to this view the relishing of Passion is the outcome of the purely verbal process of ‘generalised presentation’. This is open to the objection that it makes the unwarrantable assumption of this last mentioned verbal process.]

CHAPTER IV 57 लोके प्रमदाभिः स्थाय्यनुमानेऽभ्यासपाटवतां काव्ये नाट्ये च तैरेव कारणत्वादिपरिहारेण विभावनादिव्यापार- वत्वादलौकिकविभावादिशब्दव्यवहार्यैर्ममैवैते शत्रोरेवैते तटस्थ- स्यैवैते न ममैवैते न शत्रोरेवैते न तटस्थस्यैवैते इति संबन्ध- विशेषस्वीकारपरिहारनियमानध्यवसायात् साधारण्येन प्रती- तैरभिव्यक्तः सामाजिकानां वासनात्मतया स्थितः स्थायी (D) The fourth explanation, propounded by the revered Āchārya Abhinavagupta, is as follows :— In the mind of such spectators as are proficient in the art of feeling emotion, a particular emotion is already present, in the form of ‘predisposition’;—lying thus latent, it becomes patently manifested by such agencies as those of women and other things, which, in ordinary parlance are known as ‘causes’, (effects and auxiliaries); but in poetry and drama, they renounce these names by reason of their being endowed with the faculty of exciting and so forth, and, on this account, come to be spoken of by the extraordinary names of ‘Excitants’, ‘Ensuants’ and ‘Variants’;—these Excitants and the rest being recognised in their most generalised forms, not partaking of any restrictions due to either the affirmation or negation of any of those specific relationships that are involved in such conceptions as (1) ‘this is mine’ or ‘this is my enemy’s’, or ‘this belongs to a disinterested person’ (where specific relationship is affirmed) or (2) ‘this is not mine’, ‘this is not my enemy’s’, ‘this does not belong to a disinterested person’ (where specific relationship is denied);—though the said emotion actually subsists in the particular spectator himself, yet, by reason of the genera- lised form in which it is presented, the man loses, for the moment, all sense of his separate personality and has his

58 KĀVYAPRAKĀŚA रत्यादिको नियतप्रमातृगतत्वेन स्थितोपि साधारणोपायबलात् तत्कालविगलितपरिमितप्रमातृभाववशोन्मिषितवेद्यान्तरसंपर्क- शून्यापरिमितभावेन प्रमात्रा सकलसहृदयसंवादभाजा साधा- रण्येन स्वाकार इवाभिन्नोपि गोचरीकृतश्चर्व्यमाणतैकप्राणो consciousness merged in the universal ; and this repre- senting the mental condition of all men of poetic sensibi- lity, he apprehends the said emotion ; though, having been manifested in its most generalised form, it has no existence apart from its own apprehension ; in fact its sole essence consists in its being relished, and it lasts as long as the Excitants, Ensuants and Variants continue to exist ;—it is relished in the same manner as a mixed beverage ; and when it is relished, it appears as if it were vibrating before the eyes, entering the inmost recesses of the heart, inspiriting the entire body, and eclipsing everything else ; it makes one feel the rapturous bliss of Brahman ;—the emotion thus manifested becomes the source of transcendent charm and is spoken of as ‘rasa’, ‘Passion’.—This Passion is not an effect, something pro- duced (by the excitants and the rest) ; for if it were an effect, it would continue to exist even after these excitants and the rest had ceased to exist. [As the jar continues to exist even after the destruction of the stick and other causes that had operated in its production. ] Nor is it something to be made known (by the excitants etc.); as it is never an accomplished entity (like the jar, and it is only an accomplished entity that can be made known) ;—in reality, it is only manifested by the Excitants, Ensuants and Variants, and is something to be relished.—Against this, the question may be asked—“ where has anything been seen to exist apart from what produces and from what makes

CHAPTER IV 59 विभावादिजीवितावधिः पानकरसन्यायेन चर्व्यमाणः पुर इव परिस्फुरन् हृदयमिव प्रविशन् सर्वाङ्गीणमिवालिङ्गन् अन्यत् सर्वमिव तिरोदधत् ब्रह्मास्वादमिवानुभावयन् अलौकिक- चमत्कारकारी शृङ्गारादिको रसः। स च न कार्यः। विभावादि- विनाशेऽपि तस्य संभवप्रसङ्गात् । नापि ज्ञाप्यः सिद्धस्य तस्या- संभवात् । अपि तु विभावादिभिर्व्यञ्जितश्चर्वणीयः। कारक- ज्ञापकाभ्यामन्यत् क्व दृष्टमिति चेत् न क्वचिद्दृष्टमित्यलौकि- कसिद्धेर्भूषणमेतन्न दूषणम् । चर्वणानिष्पत्त्या तस्य निष्पत्तिरुप- चरितेति कार्योऽप्युच्यताम् । लौकिकप्रत्यक्षादिप्रमाणताटस्थ्याव- बोधशालिमितयोगिज्ञानवेद्यान्तरसंस्पर्शरहितस्वात्ममात्रपर्यवसि- known?”—Our answer to this is that the fact that what occurs in the case of Passion has not been seen anywhere else only serves to confirm, not vitiate, the transcendental nature of Passion. It may however be spoken of as an ‘effect’ by virtue of its being accomplished by the accom- plishment of its relishing ; and it may also be regarded as ‘to be known’, ‘cognised’, in the sense that it forms the object of a super-physical consciousness, which differs (1) from Perception and other ordinary forms of cogni- tion, (2) from the cognition of the imperfect Yogin, which is independent of the ordinary means of cognition and (3) also from the cognition of the perfect Yogin, which is self-centered and free from all touch of any other cognisable thing.—Further the cognition that apprehends it cannot be of the ‘indeterminate’ kind, a due recognition of the excitants, ensuants and variants forming an impor- tant element in it ; nor can it be of the ‘determinate’ kind, because what is merely relished as transcendent bliss de- pends entirely upon its own realisation (which is not the case with determinate cognitions).—Here also as before,

60 KĀVYAPRAKĀŚA तपरिमितेतरयोगिसंवेदनविलक्षणलोकोत्तरस्वसंवेदनगोचर इति प्रत्येयोऽप्यभिधीयताम् । तद्ग्राहकं च न निर्विकल्पकं विभावादिपरामर्शप्रधानत्वात् । नापि सविकल्पकं चर्व्यमाणस्या- लौकिकानन्दमयस्य स्वसंवेदनसिद्धत्वात् । उभयाभावस्वरूपस्य चोभयात्मकत्वमपि पूर्ववल्लोकोत्तरतामेव गमयति न तु विरोधमिति श्रीमदाचार्याभिनवगुप्तपादाः ॥ व्याघ्रादयो विभावा भयानकस्येव वीराद्भुतरौद्राणाम् अश्रुपातादयोनुभावाः शृङ्गारस्येव करुणभयानकयोः चिन्ता- दयो व्यभिचारिणः शृङ्गारस्येव वीरकरुणभयानकानामिति पृथगनैकान्तिकत्वात् सूत्रे मिलिता निर्दिष्टाः । the fact that it is neither the one nor the other, and yet it partakes of the nature of both, only confirms its trans- cendental character, and does not vitiate it. [The difference between the fourth and the third explanations lies in the fact that according to the third,there is relishing of the emotion which is not present in the spectator's mind, while according to the fourth, it is present in his mind in the form of predisposition. The propriety of this explanation is further strengthened by the fact that the spectator whose mind is free from such predisposition does not feel the passion,] The ‘ excitants, ensuants and variants ’ have been spoken of in the Sūtra (of Bharata) in a general way, be- cause as a rule they are not related specifically to any parti- cular Passion ; for instance, the Tiger is an excitant of the ‘ Frightful ’, as also of the ‘ Heroic ’, the ‘ Marvellous ’ and the ‘ Furious ’; the shedding of tears is an ensuant of the ‘ Erotic ’, as also of the ‘ Pathetic ’ and the ‘ Fright- ful ’; painful reflection is the variant of the ‘ Erotic ’, as also of the ‘ Heroic ’, the ‘ Pathetic ’ and the ‘ Frightful.’

CHAPTER IV 61 वियदलिमलिनाम्बुगर्भमेघं मधुकरकोकिलकूजितैर्दिशां श्रीः । धरणिरभिनवाङ्कुराङ्कटङ्का प्रणतिपरे दयिते प्रसीद मुग्धे ॥२७॥ इत्यादौ परिमृदितमृणालीम्लानमङ्गं प्रवृत्तिः कथमपि परिवारप्रार्थनाभिः क्रियासु । कलयति च हिमांशोर्निष्कलङ्कस्य लक्ष्मी- मभिनवकरिदन्तच्छेदकान्तः कपोलः ॥२८॥ इत्यादौ दूरादुत्सुकमागते विवलितं संभाषिणि स्फारितं संश्लिष्यत्यरुणं गृहीतवसने किञ्चाञ्चितभ्रूलतम् । मानिन्याश्चरणानतिव्यतिकरे बाष्पाम्बुपूर्णेक्षणं चक्षुर्जातमहो प्रपञ्चचतुरं जातागसि प्रेयसि ॥२९॥ In the following verses— (a) 'The sky is overcast with heavy clouds dark as the black bee ; the atmosphere has acquired loveliness through the warbling of the cuckoo and the bee ; the earth bears on her lap the shoots of tender sprouts ; young woman ! be reconciled to your lover who is so devoted in his affections !' ;— (b) ' Her body withered and languid like the squeezed lotus-stalk, her activity due to the expostulations of her attendants, her cheek lovely like a piece of fresh ivory, bears the sheen of the stainless moon ';— (c) ' Her lover having given cause for offence, the eyes of the self-respecting woman became skilled in giving expression to varied emotions—being anxious on seeing

62 KĀVYAPRAKĀŚA इत्यादौ च यद्यपि विभावानामनुभावानामौत्सुक्यव्रीडाहर्षकोपासूया- प्रसादानां च व्यभिचारिणां केवलनामत्र स्थितिः, तथाप्ये- तेषामसाधारणत्वमित्यन्यतमद्वयाक्षेपकत्वे सति नानैकान्तिक- त्वमिति ॥ २८ ॥ तद्विशेषानाह-- शृङ्गारहास्यकरुणरौद्रवीरभयानकाः । बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाट्ये रसाः स्मृताः ॥ २९ ॥ her lover at a distance, averted on his drawing near her, beaming on being spoken to, blushing on embrace, curving the brows on her clothes being touched, filling with tears on his falling on her feet,'— We find that the first (a) mentions the excitants only (in the shape of the woman, the season and so forth; and makes no mention of any ensuants or variants),—the second (b) mentions the ensuants alone (in the shape of the languishing of the body and so forth),—and the third (c) mentions only the variants, in the shape of Anxiety, Modesty, Joy, Anger, Aversion and Conciliation; [and as such it would appear to be not right to say that Passion is manifested by the excitants, ensuants and variants collec- tively, as the Sūtra declares].—But what each of the cited examples directly mentions—are the exceptional elements of each case, and the other two factors are also indirectly implied; so that they do not vitiate the truth of the general proposition (propounded by Bharata). 28. The Author next mentions the particular kinds of Passion.— (1) The Erotic, (2) the Comic, (3) the Pathetic, (4) the Furious, (5) the Heroic, (6) the Frightful, (7) the Disgustful,

CHAPTER IV 63 तत्र शृङ्गारस्य द्वौ भेदौ। संभोगो विप्रलम्भश्च। तत्राद्यः परस्परावलोकनालिङ्गनाधरपानपरिचुम्बनाद्यनन्तत्वादपरि- च्छेद्य एक एव गण्यते। यथा शून्यं वासगृहं विलोक्य शयनादुत्थाय किंचिच्छनै- र्निद्राव्याजमुपागतस्य सुचिरं निर्वर्ण्य पत्युर्मुखम् । विस्रब्धं परिचुम्ब्य जातपुलकामालोक्य गण्डस्थलीं लज्जानम्रमुखी प्रियेण हसता बाला चिरं चुम्बिता ॥३०॥ तथा त्वं मुग्धाक्षि विनैव कञ्चुलिकया धत्से मनोहारिणीं लक्ष्मीमित्यभिधायिनि प्रियतमे तद्वीटिकासंस्पृशि । शय्योपान्तनिविष्टसस्मितसखीनेत्रोत्सवानन्दितो निर्यातः शनकैरलीकवचनोपन्यासमालीजनः ॥ ३१ ॥ and (8) the Marvellous have been described as the eight Passions in the Drama.—(29). Of the Erotic there are two varieties—(1) in union and (2) in privation ; of these the former is counted as one only, any classification of it being impossible by reason of the endless variety of its manifestations, in the form of mutual glances, kissing, embraces, and so forth. Examples— (a) ‘Finding the love-chamber empty, she rose gently from the couch and having intently gazed at the face of her husband who was feigning sleep, she kissed him with confidence ; but noticing a tremor in his cheeks, she hung her head through shame and was repeatedly kissed by her smiling lover’. [Here the first overture comes from the woman].— (b) “ ‘O thou of lovely eyes, thou appearest heart- ravishing without the bodice ’—saying this the lover

64 KĀVYAPRAKĀŚA अपरस्तु--अभिलाषविरहेर्ष्याप्रवासशापहेतुक इति पञ्चविधः । क्रमेणोदाहरणम्— प्रेमार्द्राः प्रणयस्पृशः परिचयादुद्गाढरागोदया- स्तास्ता मुग्धदृशो निसर्गमधुराश्चेष्टा भवेयुर्मयि । यास्वन्तःकरणस्य बाह्यकरणव्यापाररोधी क्षणा- दाशंसापरिकल्पितास्वपि भवत्यानन्दसान्द्रो लयः ॥ ३२ ॥ अन्यत्र व्रजतीति का खलु कथा नाप्यस्य तादृक् सुहृद् यो मां नेच्छति नागंतश्च हहहा कोयं विधेः प्रक्रमः । इत्यल्पेतरकल्पनाकवलितस्वान्ता निशान्तान्तरे बाला वृत्तविवर्तनव्यतिकरा नाप्नोति निद्रां निशि ॥ ३३ ॥ touched the knot of the bodice ; whereupon her friends, delighted at the look of rapture in the eyes of their smiling companion seated upon the couch, went out on various pretexts.” [Here the overture comes from the man]. The other kind of the Erotic (that in Privation), is of five kinds, the feeling being due to (a) longing, (b) separa- tion, (c) jealousy, (d) residence abroad, and (e) curse. Examples in order— (a) ‘May the behaviour of the fair-eyed one towards me be steeped in affection and full of love and naturally sweet !, that behaviour in which love has been intensified by ripening acquaintance, and the mere thought of which immerses the heart in a flood of joy, suspending the func- tioning of all external organs.’ (b) ‘Has he gone elsewhere ?—What possibility is there of that ? He has no such friend as does not want me. And yet he has not come ! Oh ! What an irony of fate !—Having her heart devoured by these consider- able vascillations, the girl rolls about in her bed and does not obtain sleep.’

CHAPTER IV 65 एषा विरहोत्कण्ठिता । सा पत्युः प्रथमापराधसमये सख्योपदेशं विना नो जानाति सविभ्रमाङ्गवलनावक्रोक्तिसंसूचनम् । स्वच्छैरच्छकपोलमूलगलितैः पर्यस्तनेत्रोत्पला बाला केवलमेव रोदिति लुठल्लोलालकैरश्रुभिः ॥ ३४ ॥ प्रस्थानं वलयैः कृतं प्रियसखैरस्रैरजस्रं गतं धृत्या न क्षणमासितं व्यवसितं चित्तेन गन्तुं पुरः । यातुं निश्चितचेतसि प्रियतमे सर्वे समं प्रस्थिता गन्तव्ये सति जीवित प्रियसुहृत्सार्थः किमु त्यज्यते ॥ ३५ ॥ त्वामालिख्य प्रणयकुपितां धातुरागैः शिलाया- मात्मानं ते चरणपतितं यावदिच्छामि कर्तुम् । अस्रैस्तावन्मुहुरुपचितैर्दृष्टिरलुप्यते मे क्रूरस्तस्मिन्नपि न सहते संगमं नौ कृतान्तः ॥ ३६ ॥ The girl depicted here is anxious in separation. (c) ‘ On the occasion of her husband’s first delin- quency, not having been instructed by her friend, she knows not how to make any graceful gestures or poignant remarks ; all that she does is to turn away her lotus-like eyes and weep with tears flowing down her cheeks and rolling over her dishevelled tresses’. (d) ‘ The Bracelets have gone ; your dear friends the Tears have freely departed ; Patience stayed not for a moment ; the Mind determined to go forward ;—on my beloved having made up his mind to depart, all these have started together ; O Life ! as you also have to go, why are you losing the company of your dear friends ?’ (e) ‘ Having painted thee in a mood of loving dis- pleasure, on a slab of stone with mineral pigments,—as 5

66 KĀVYAPRAKĀŚA हास्यादीनां क्रमेणोदाहरणम्— आकुञ्च्य पाणिमशुचिं मम मूर्ध्नि वेश्या मन्त्राम्भसां प्रतिपदं पृषतैः पवित्रे । तारस्वनं प्रथितथूत्कमदात्प्रहारं हाहा हतोहमिति रोदिति विष्णुशर्मा ॥ ३७ ॥ हा मातस्त्वरितासि कुत्र किमिदं हा देवताः क्वाशिषः धिक् प्राणान् पतितोशनिर्हुतवहस्तेऽङ्गेषु दग्धे दृशौ । इत्थं घर्घरमध्यरुद्धकरुणाः पौराङ्गनानां गिर- श्चित्रस्थानपि रोदयन्ति शतधा कुर्वन्ति भित्तीरपि ॥३८॥ soon as I think of representing myself as fallen upon thy feet, my vision becomes blurred by the frequent outburst of tears ; cruel Fate brooks not our union even in the picture !’ [This is cited as an instance of ‘ privation due to curse’, as it describes a lover who was separated from his lady by reason of a curse of banishment pronounced upon him by his master.] The following are examples, in due order, of the Comic and other passions :— (1) “ Clenching her dirty hands, the harlot struck with a loud thumping sound upon my head, sanctified with drops of water consecrated with incantations ; —Ah ! I am damned !”—so cries Viṣṇu Śarman.” —(The Comic). (2) “ O mother, whereto hast thou hastened away ? What is this ? O Gods, where be the blessings ? Fie on our lives ! Thunderous fire has fallen on thy limbs ! Eyes scorched !”—These loud and pathetic lamentations of the female citizens make even statues weep and shatter even walls into hundreds of pieces’.—(The Pathetic).