काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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).

CHAPTER IV 67 कृतमनुमतं दृष्टं वा यैरिदं गुरुपातकं मनुजपशुभिर्निर्मर्यादैर्भवद्भिरुदायुधैः । नरकरिपुणा सार्धं तेषां सभीमकिरीटिना- मयमहसृङ्मेदोमांसैः करोमि दिशां बलिम् ।।३९।। क्षुद्रा संत्रासमेते विजहत हरयः क्षुण्णशक्रैभकुम्भा युष्मद्देहेषु लज्जां दधति परममी सायका निष्पतन्तः । सौमित्रे तिष्ठ पात्रं त्वमसि न हि रुषां नन्वहं मेघनादः किंचिद्भ्रूभङ्गलीलानियमितजलधिं राममन्वेषयामि ।।४०।। ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बद्धदृष्टिः पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम् । दर्भैरर्धावलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवर्त्मा । पश्योदग्रप्लुतत्वाद्वियति बहुतरं स्तोकमुर्व्यां प्रयाति ।।४१।। (3) ‘O you dishonourable beasts of men wielding weapons, by whom this heinous crime has been committed, sanctioned or witnessed ! Here I am going to make to the Quarters an offering of the blood, fat and flesh of all these along with Bhīma and Arjuna and Kṛṣṇa.’—(The Furious). (4) ‘Poor monkeys ! Give up your fears ; these arrows that have shattered the temple of Indra’s elephant feel ashamed to fall upon your bodies ;—O son of Sumitrā, stand where you are ; you are not a fit object of my wrath ; —I, Meghanāda, am looking for Rāma, who has bound down the ocean by a mere curving of his eye-brows !’— (The Heroic). (5) ‘Behold ! The deer, owing to the great speed at which it is running, is moving more in the sky than on the earth ; with a graceful turn of its neck, it is casting backward glances at the pursuing chariot ; through fear

68 KĀVYAPRAKĀŚA उत्कृत्योत्कृत्य कृत्तिं प्रथममथ पृथूत्सेधभूयांसि मांसा- न्यंसस्फिक्पृष्ठपिण्डाद्यवयवसुलभान्यग्रपूतीनि जग्ध्वा । आर्तः पर्यस्तनेत्रः प्रकटितदशनः प्रेतरङ्कः करङ्का- दङ्कस्थादस्थिसंस्थं स्थपुटगतमपि क्रव्यमव्यग्रमत्ति ॥४२॥ चित्रं महानेष बतावतारः क्व कान्तिरेषाभिनवैव भङ्गिः । लोकोत्तरं धैर्यमहो प्रभावः काप्याकृतिर्नूतन एष सर्गः ॥४३॥ एषां स्थायिभावानाह— रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा । जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः ॥ ३० ॥ of the falling of the arrow, it has much of its hinder part contracted within the fore-part ; and it scatters on the path half-chewed morsels of grass out of its mouth gaping with fatigue’.—(The Frightful). (6) ‘Having first torn and stripped off the skin, and then devoured the swollen and fearfully stinking lumps of flesh that could be easily got at from such parts of the body as the shoulder, the back and the buttocks, the beggarly ghost casts its glances all round, and displaying its teeth, is leisurely devouring the flesh that remains on the bones and joints of the skeleton lying on its lap.’—(The Disgustful). (7) ‘How wonderful ! A superb incarnation this ! What effulgence ! An unprecedented grace ! Super- natural equanimity ! Marvellous majesty ! An indes- cribable figure ! Quite a novel creation !’—(The Mar- vellous). 29. The author now mentions the ‘basic feelings’ of the above-mentioned Passions— Love, Mirth, Sorrow, Resentment, Heroism, Fear, Loathing and Wonder have been declared to be the ‘Basic Feelings.’—(30)

CHAPTER VI 69 स्पष्टम् ॥ ३० ॥ व्यभिचारिणो ब्रूते-- निर्वेदग्लानिशङ्काख्यास्तथासूया मदश्रमाः । आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिर्धृतिः ॥ ३१ ॥ व्रीडा चपलता हर्ष आवेगो जडता तथा । गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च ॥ ३२ ॥ सुप्तं प्रबोधोमर्षश्चाप्यवहित्थमथोग्रता । मतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च ॥ ३३ ॥ त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः । त्रयस्त्रिंशदमी भावाः समाख्यातास्तु नामतः ॥ ३४ ॥ निर्वेदस्यामङ्गलप्रायस्य प्रथममनुपादेयत्वेप्युपादानं व्यभि- चारित्वेपि स्थायिताभिधानार्थम् । तेन

He next describes the Variants— (1) Self-disparagement, (2) Debility, (3) Apprehension, (4) Hatred, (5) Intoxication, (6) Lassitude, (7) Indolence, (8) Depression, (9) Painful Reflection, (10) Distraction, (11) Recollection, (12) Serenity, (13) Shame, (14) Unsteadiness, (15) Joy, (16) Flurry, (17) Stupefaction, (18) Arrogance, (19) Despondency, (20) Impatience, (21) Drowsiness, (22) Dementedness, (23) Dreaming, (24) Awakening, (25) Animosity, (26) Constraint, (27) Irascibility, (28) Resolve, (29) Sickness, (30) Mental Derangement, (31) Demise, (32) Alarm and (33) Trepidation,—these are the thirty-three Variants described by name.—(31-34). Though ‘self-disparagement’ is an almost inaus- picious feeling, and as such should not have been mentioned first, yet it has been so mentioned with a view to indicate that though it is a ‘variant’, it serves as a ‘basic emotion’ also; hence it is that—

70 KĀVYAPRAKĀŚA निर्वेदस्थायिभावोऽस्ति शान्तोऽपि नवमो रसः । यथा अहौ वा हारे वा कुसुमशयने वा दृषदि वा मणौ वा लोष्टे वा बलवति रिपौ वा सुहृदि वा । तृणे वा स्त्रैणे वा मम समदृशो यान्ति दिवसाः क्वचित्पुण्यारण्ये शिव शिव शिवेति प्रलपतः ॥ ४४ ॥ रतिर्देवादिविषया व्यभिचारी तथाञ्जितः ॥ ३५ ॥ भावः प्रोक्तः आदिशब्दान्मुनिगुरुनृपपुत्रादिविषया । कान्ताविषया तु व्यक्ता शृङ्गारः । The Quietistic is the ninth Passion, of which Self-disparage- ment is the basic feeling. Example.— ‘May my days pass in some sacred forest, while I am muttering Śiva, Śiva, with an equal eye towards a snake or a necklace, a flower-bed or a stone-slab, a jewel or a clod of earth, a powerful enemy or a friend, a straw or a woman !’ [Having provided a full account of ‘Passion,’ the author proceeds to define ‘Emotion’ and the other subdivisions of ‘suggestion with imperceptible sequence,’ mentioned in Text 26.] ‘Love’ (and the other feelings) towards a god or such other beings, as also a ‘Variant’ when suggested (as a primary factor), is described as ‘Bhāva’, ‘Emotion’. [The ‘Basic Feeling,’ when not sufficiently developed into ‘Passion,’—e.g. when the feeling of Love is towards a god or some such superior being,—it is known simply as ‘Emotion,’ Bhāva, as distinguished from the ‘Latent Emotion,’ Sthāyī Bhāva.] ‘Such other beings’ refers to sages, preceptors, king, son and so forth; when Love is manifested towards a woman, it becomes the ‘Erotic’ passion.

CHAPTER IV 71 उदाहरणम् कण्ठकोणविनिविष्टमीश ते कालकूटमपि मे महामृतम् । अप्युपात्तममृतं भवद्वपुर्भेदवृत्ति यदि मे न रोचते ॥ ४५ ॥ हरत्यघं संप्रति हेतुरेष्यतः शुभस्य पूर्वाचरितैः कृतं शुभैः । शरीरभाजां भवदीयदर्शनं व्यनक्ति कालत्रितयेपि योग्यताम् ॥४६॥ एवमन्यदप्युदाहार्यम् । अञ्जितव्यभिचारी यथा जाने कोपपराङ्मुखी प्रियतमा स्वप्नेद्य दृष्टा मया मा मां संस्पृश पाणिनेति रुदती गन्तुं प्रवृत्ता पुरः । नो यावत्परिरभ्य चाटुशतकैराश्वासयामि प्रियां भ्रातस्तावदहं शठेन विधिना निद्रादरिद्रीकृतः ॥ ४७ ॥ Example (of the said ‘Emotion’)— (a) ‘O Lord ! Even the deadly poison, though hidden within Thy throat, is pure nectar to me ; while nectar itself (in the shape of the moon), even though held high (on Thy head), pleases me not, as it does not form part of Thy body’,—(Love towards a God). (b) ‘It destroys sin at the present time, it is the cause of forthcoming blessings, and is brought about by (and indicative of) virtuous acts of the past : thus does your visit to all corporeal beings bear testimony to their ex- cellent character at all the three periods of time’. —(Love towards a sage, Nārada). Example of the Variant suggested (as the predominant factor).— ‘ My best loved one was seen by me to-day in a dream, having her face turned away through anger, weeping and saying “don’t, don’t touch me with your hand,” and proceeding to go away ; as soon as I was going to em-

अत्र विधिं प्रत्यसूया । तदाभासा अनौचित्यप्रवर्त्तिताः । तदाभासा रसाभासा भावाभासाश्च । तत्र रसाभासो यथा स्तुमः कं वामाक्षि क्षणमपि विना यं न रमसे विलेभे कः प्राणान् रणमखमुखे यं मृगयसे । सुलग्ने को जातः शशिमुखि यमालिङ्गसि बलात् तपःश्रीः कस्यैषा मदननगरि ध्यायसि तु यम् ॥ ४८ ॥ अत्रानेककामुकविषयमभिलाषं तस्याः स्तुम इत्याद्यनुगतं बहुव्यापारोपादानं व्यनक्ति ।

भावाभासो यथा राकासुधाकरमुखी तरलायताक्षी सा स्मेरयौवनतरङ्गितविभ्रमाङ्गी । तत् किं करोमि विदधे कथमत्र मैत्रीं तत्स्वीकृतिव्यतिकरे क इवाभ्युपायः ॥ ४९ ॥ अत्र चिन्ता अनौचित्यप्रवर्तिता । एवमन्येऽप्युदाहार्याः ॥ भावस्य शान्तिरुदयः सन्धिः शबलता तथा ॥ ३६ ॥

74 KĀVYAPRAKĀŚA क्रमेणोदाहरणम् तस्याः सान्द्रविलेपनस्तनतटप्रश्लेषमुद्राङ्कितं किं वक्षश्चरणानतिव्यतिकरव्याजेन गोपाय्यते । इत्युक्ते क्व तदित्युदीर्य सहसा तत् संप्रमाष्टुं मया साश्लिष्टा रभसेन तत्सुखवशात्तन्व्या च तद्विस्मृतम् ॥५०॥ अत्र कोपस्य । एकस्मिन् शयने विपक्षरमणीनामग्रहे मुग्धया सद्यो मानपरिग्रहग्लपितया चाटूनि कुर्वन्नपि । आवेगादवधीरितः प्रियतमस्तूष्णीं स्थितस्तत्क्षणं मा भूत्सुप्त इवेत्यमन्दवलितग्रीवं पुनर्वीक्षितः ॥ ५१ ॥ अत्रौत्सुक्यस्य । उत्सिक्तस्य तपःपराक्रमनिधेरभ्यागमादेकतः सत्संगप्रियता च वीररभसोत्फालश्च मां कर्षतः । वैदेहीपरिरम्भ एष च मुहुश्चैतन्यमामीलयन् आनन्दी हरिचन्दनेन्दुशिशिरस्निग्धो रुणद्ध्यन्यतः ॥ ५२ ॥ the embrace of her sandal-painted breasts ?"—After she had said this, I said 'where is it ?'—and embraced her suddenly and quickly, for the purpose of wiping off the mark; and the tender one forgot all about it under the fervent bliss ensuing from that embrace'. Here we have the 'allayment' of Anger. (b) 'When the young woman lying on the same bed had her indignation aroused on the naming of her rival, she firmly disdained him with all his advances and loving assurances; and he, having lain silent for a moment, the girl looked back upon him, fearing that he might go to sleep'.

CHAPTER IV 75 अत्रावेगहर्षयोः । क्वाकार्यं शशलक्ष्मणः क्व च कुलं भूयोपि दृश्येत सा दोषाणां प्रशमाय न श्रुतमहो कोपेपि कान्तं मुखम् । किं वक्ष्यन्त्यपकल्मषाः कृतधियः स्वप्नेपि सा दुर्लभा चेतः स्वास्थ्यमुपैहि कः खलु युवा धन्योधरं धास्यति ॥ ५३ ॥ अत्र वितर्कोत्सुक्यमतिस्मरणशङ्कादैन्यधृतिचिन्तानां शबलता । भावस्थितिस्तूक्ता उदाहृता च ॥ ३६ ॥ मुख्ये रसेपि तेऽङ्गित्वं प्राप्नुवन्ति कदाचन । Here we have the ‘manifestation’ of Impatience. (c) ‘On one side attract me my love for good com- pany and sudden outburst of heroism on seeing this recep- tacle of austerity and prowess ; on the other, the exquisite embrace of Sītā, cooling and soft like celestial sandal and like the moon, lulls my consciousness and keeps me back’. Here we have the ‘conjuncture’ of Flurry and Joy. (d) ‘Where on one side is this unblemished lunar dynasty, and where, on the other, this improper act?— May she be seen again ! Our learning is meant to be a check upon evil tendencies ;—her face lovely even in anger ! What shall the wise and pure ones say?—She is difficult to be got at even in a dream ! O, heart, be calm ;—what blessed young man will kiss her lips !’ Here we have the ‘admixture’ of Trepidation, Im- patience, Resolve, Recollection, Anxiety, Depression, Serenity and Painful Reflection. The mere presence of ‘emotion’ has already been described and illustrated (vide above—‘Jāne kopapa- raṅmukhī etc.’) 36. Though it is Passion that is the predominant factor, yet these also acquire predominance sometimes.

76 KĀVYAPRAKĀŚA ते भावशान्त्यादयः । अङ्गत्वं राजानुगतविवाहप्रवृत्तभृत्यवत् ॥ अनुस्वानाभसंलक्ष्यक्रमव्यङ्ग्यस्थितिस्तु यः ॥ ३७ ॥ शब्दार्थोभयशक्त्युत्थस्त्रिधा स कथितो ध्वनिः । शब्दशक्तिमूलानुरणनरूपव्यङ्ग्यः, अर्थशक्तिमूलानुरणनरूप- व्यङ्ग्यः, उभयशक्तिमूलानुरणनरूपव्यङ्ग्यश्चेति त्रिविधः ॥३७॥ ‘These’—i. e., the Allayment (Manifestation, Conjun- cture and Admixture) of Emotions. ‘Predominance’.—This occasional predominance is like that of the King’s servant whose marriage is attended by the King (who, for the time, occupies a position subordi- nate to that of the servant). [Having described the suggestion ‘with imperceptible sequence,’ the author proceeds to describe that in which the sequence is percep- tible.] That suggestion in which the (suggested meaning has its sequence to the suggestive word) clearly perceptible, in the manner of a reverberating echo, has been said to be of three kinds— (1) that arising from the force of the word, (2) that arising from the force of the meaning, and (3) that arising from the force of both. 37. The three kinds are—(1) that in which the reverbera- ting suggested meaning is based on the force of the word, (2) that in which the suggested meaning is based upon the force of the meaning, and (3) that in which the suggested meaning is based upon the force of both. [Whether in a certain case the suggestion proceeds from the word or from its expressed meaning is determined by the possibility or otherwise of its being got at even by the changing of the word : If it is found that the suggestion remains unaffected even when we substitute other synonyms of the word, then it is regarded as based upon the meaning, while if the slightest change in the word vitiates the suggestion, then it is regarded as based upon the word.] 37.