काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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.

CHAPTER IV 77 तत्र अलङ्कारोथ वस्त्वेव शब्दाद्यत्रावभासते ॥ ३८ ॥ प्रधानत्वेन स ज्ञेयः शब्दशक्त्युद्भवो द्विधा । वस्त्वेति, अनलंकारं वस्तुमात्रम् । आद्यो यथा उल्लास्य कालकरवालमहाम्बुवाहं देवेन येन जरठोर्जितगर्जितेन । निर्वापितः सकल एव रणे रिपूणां धाराजलैस्त्रिजगति ज्वलितः प्रतापः ॥ ५४ ॥ Suggestion based upon the force of the word is of two kinds,—according as what is principally represented by the word is (a) a figure of speech or (b) a bare matter of fact. 38. ‘Bare matter of fact,’—i. e. the simple statement of a fact, without any ornamental figure of speech. (a) As an example of the former we have the follow- ing— ‘Ullāsya kālakarabālamahāmbuvāhaṁ Devena yena jaraṭhorjitagarjitena Nirvāpitaḥ sakala eva raṇe ripūṇāṁ Dhārājalaistrijagati jvalitaḥ pratāpaḥ.’ Here the literal meaning of the sentence would be distinctly irrelevant ; hence with a view to avoiding this, it has to be assumed that what is intended is to describe the similarity between the directly mentioned subject (the king) and the one only indirectly implied (Indra) ; and thus what comes to be suggested here is the figure of speech known as ‘Simile’. The full meaning of the sentence being ‘Just as Indra brings up the cloud, dark and fresh, and accompanied by fierce thundering, extinguishes, by means of torrents of rain, the heat of the destructive fires pervading over the three worlds,—in the same manner has this king

78 KĀVYAPRAKĀŚA अत्र वाक्यस्यासंबद्धार्थाभिधायकत्वं मा प्रसाङ्क्षीदिति प्राकरणिकाप्राकरणिकयोरुपमानोपमेयभावः कल्पनीय इत्य- त्रोपमालंकारो व्यङ्ग्यः । तिग्मरुचिरप्रतापो विधुरनिशाकृद्विभो मधुरलीलः मतिमानतत्तववृत्तिः प्रतिपदपक्षाग्रणीर्विभाति भवान् ॥५५॥ अत्रैकैकस्य पदस्य द्विपदत्वे विरोधाभासः । with a fierce roar, lifted his sharp sword, and by means of its flickering edge, has destroyed the glory of his enemies, which was extending over the three worlds.’ And this suggestion is held to be ‘ based upon the force of the word,’ because the words used here lend them- selves to the above interpretation only because they have double meanings; and this effect would be lost if they were replaced by their synonyms.] (Another example of the same)—(a) Tigmaruchirapratāpo, (b) Vidhuraniśākṛd vibho, (c) madhuralīlaḥ, (d) ‘ Matimānatattvavṛttiḥ, and (e) Pratipadapakṣāgraṇīrvibhāti bhavān.’ Here, if each of the five terms (a, b, c, d and e) is re- solved into two terms, we get the suggestion of the figure of speech known as ‘ Seeming Contradiction.’ [‘ Vibho bhavān vibhāti,’ ‘ O’ Lord, you are resplendent’, is the principal sentence, the other five terms are epithets of ‘ bhāvan ’. (a) ‘ Tigmaruchirapratāpaḥ ’, When taken as one word, means ‘ he whose splendour is tigma, fierce, and ruchira, sweet ’ ; but when it is resolved into two words, it means ‘ tigmaruchiḥ, with fierce splendour’ and ‘apratāpaḥ, wanting in splendour, which expresses two contra- dictory qualifications ;—(b) ‘ vidhuraniśākṛt,’ taken as one word, means ‘ capable of bringing about the niśā, extinction, of his vidhura, enemies ;’ but when resolved into two words, it means ‘ vidhuḥ’ the moon, and ‘ aniśākṛt, not the night making moon,’ an apparent contradiction; (c) ‘madhurlīlaḥ’, when taken as one word, means ‘he whose līlā, operations, are madhura, sweet, pleasing ’ ; but when resolved into words, it means ‘ madhu’ the spring-time,’ and alīlaḥ,

CHAPTER IV 79 अमितः समितः प्राप्तैरुत्कर्षैर्हर्षद प्रभो । अहितः सहितः साधुयशोभिरसतामसि ॥ ५६ ॥ अत्रापि विरोधाभासः । निरूपादानसंभारमभित्तावेव तन्वते । जगच्चित्रं नमस्तस्मै कलाश्लाघ्याय शूलिने ॥ ५७ ॥ अत्र व्यतिरेकः । devoid of beauty,’ a contradiction ;—(d) ‘matimānatattvavṛttiḥ’, taken as one word, means ‘who acts with mati, intelligence, and māna, magnanimity ;’ but when resolved into two terms, it means ‘matimān, intelligent’ and ‘atattvavṛttiḥ, acting blankly,’ an apparent contradiction ;—(e) ‘pratipadapakṣāgraṇīḥ’, as one term, means the ‘agraṇīḥ, of your pakṣa, party, pratipada, at each step’ ; but when it is resolved into two terms, it means ‘pratipat, the first day of the fortnight, and ‘apakṣāgraṇīḥ, not the opening day of the fortnight’, an apparent contradiction.] [Here also the suggestion of ‘Seeming Contradiction’ would be lost if other synonyms were substituted ; hence it is held to be ‘based upon the force of words’.] [Another example of the same kind] ‘Amitaḥ samitaḥ prāptairutkarṣairharṣada prabho Ahitaḥ sahitaḥ sādhu-yaśobhirasatāmasi.’ Here also Seeming Contradiction is the figure suggested. [The meaning is ‘prabho, O Lord, harṣada, you who are the giver of joy, (harṣam dadāti) and also the destroyer of joy (harṣam dyati),— through the glories attained in battle (samitaḥ) you are ‘amitaḥ’ immea- sureably great, (you are both samitaḥ, measureable, and amitaḥ, immea- sureable) ; being endowed, sahitaḥ, with good fame, you are the ahitaḥ, enemy, of all wicked men.’ The epithets are so chosen as to imply, in their second intention, an apparent contradiction.] [Another example of the same kind.] ‘Salutation to that Trident-bearer whose art is so praiseworthy that he paints the mundane picture without aboard and without the painting brush or other accessories:’

80 KĀVYAPRAKĀŚA अलंकार्यास्यापि ब्राह्मणश्रमणन्यायेनालंकारता । वस्तुमात्रं यथा पंथिअ ण एत्थ सत्थरमत्थि मणं पत्थरत्थले गामे । उण्णअपओहरं पेक्खिऊण जइ वससि ता वससु ॥ ५८ ॥ अत्र यद्युपभोगक्षमोसि तदा आस्स्वेति व्यज्यते । शनिरशनिश्च तमुच्चैर्निहन्ति कुप्यसि नरेन्द्र यस्मै त्वम् । यत्र प्रसीदसि पुनः स भात्युदारोनुदारश्च ॥ ५९ ॥ Here the figure of speech suggested is the Vyatireka, Dissimilitude (between the god described and the ordinary painter.) Though in the examples cited the figure suggested is the predominant factor, and hence something to be embellished (alaṅkārya ; and for that reason, it cannot be right to call it, as the text has done, an alaṅkāra, an em- bellishment, a figure of speech), yet it is so called on the analogy of the expression ‘ brāhmaṇaśramaṇa.’ [When one has become a ‘ śramaṇa,’ a Buddhist monk, he has no- caste ; and yet the expression ‘ brāhmaṇa śramaṇa ’ is used in the sense ‘ the monk that was, under other circumstances, a Brāhmaṇa ’ ; similarly in the case in question, what is meant by the suggested mea- ning being a figure, an ‘ alaṅkāra,’ is that, under other circumstances, —i. e. when expressed directly by the word and not only suggested,—it. would be so, even though in the instances cited it is not so.] (b) The following is the example of that where what is suggested is a bare matter of fact.— ‘ O traveller, in this village of stones, there is not a bedding to be had ; yet, seeing the rising clouds (unnata- payodhara, my blossoming breasts), if you decide to lodge here, you may do so.’ Here what is suggested is—‘ if you are fit to enjoy my company, then you may stay here.’

CHAPTER IV 81 अविरुद्धावपि त्वदनुवर्तनार्थमेकं कार्यं कुरुत इति ध्वन्यते । अर्थशक्त्युद्भवोप्यर्थो व्यञ्जकः संभवी स्वतः ॥ ३९ ॥ प्रौढोक्तिमात्रसिद्धो वा कवेस्तेनोम्भितस्य वा । वस्तु वालंकृतिर्वेति षड्भेदोऽसौ व्यनक्ति यत् ॥ ४० ॥ वस्त्वलंकारमथवा तेनायं द्वादशात्मकः । स्वतःसंभवी न केवलं भणितिमात्रनिष्पन्नो यावद्बहिरप्यौ- चित्येन संभाव्यमानः । कविना प्रतिभामात्रेण बहिरसन्नपि निर्मितः कविनिबद्धेन वक्त्रेति वा द्विविधोऽपर इति त्रिविधः । [Another example of the same kind]— ‘ O King, when you are angry with a man, both Śani (the evil planet Saturn) and Aśani (the thunderbolt) strike him fiercely ; while when you are pleased with a man, he shines nobly (udāra) and has his wife obedient to him (anudārā)’. Here what is suggested is that even mutually con- tradictory forces (Śani—Aśani, and Udāra—Anudārā) co-operate in obeying your wishes. Inasmuch as the suggestive object ‘ based upon the force of the meaning’ is either (a) self-existent or (b) owing its existence to the bold assertion of the poet or (c) owing its existence to the bold assertion of some character portrayed by the poet ;— each of these three being either a figure of speech or a bare fact, it comes to be of six kinds (39-40) ; and since each of these suggests a figure or a fact, it comes to be of twelve kinds. (a) ‘ Self-existent’—Not only created by the words of the poet, but having a real existence in the world ; —(b) created by the poet’s imagination, and having no real existence in the external world ;—(c) created by the imagination of a speaker portrayed by the poet ;—these two non-existent varieties along with the former make the 6

82 KĀVYAPRAKĀŚA वस्तु वालंकारो वासाविति षोढा व्यञ्जकः । तस्य वस्तु वालं- कारो वा व्यङ्ग्य इति द्वादशभेदोर्थशक्त्युद्भवो ध्वनिः । क्रमेणोदाहरणम्— अलसशिरोमणि धुत्ताणं अग्गिमो पुत्ति धणसमिद्धिमओ । इअ भणिएण णअङ्गी पप्फुल्लविलोअणा जाआ ॥ ६० ॥ अत्र ममैवोपभोग्य इति वस्तुना वस्तु व्यज्यते । धन्यासि या कथयसि प्रियसंगमेपि विस्रब्धचाटुकशतानि रतान्तरेषु । नीवीं प्रति प्रणिहिते तु करे प्रियेण सख्यः शपामि यदि किंचिदपि स्मरामि ॥ ६१ ॥ three kinds. This being either a fact or a figure of speech, the suggestive object comes to be of six kinds. What is suggested by this is again either a fact or a figure. Thus suggestion ‘based upon the force of meaning’ has twelve varieties. Examples in due order— (1) “He is the most indolent, foremost among pro- ficient men, and O child, he is possessed of immense wealth;”—When this was said, she hung down her head and her eyes bloomed.—(The self-existent fact suggesting the self-existent fact). Here the mere fact—‘the person referred to is just the one suited for receiving my love’—is suggested (by the fact of the blooming of the girl’s eyes). (2) ‘Thou art really fortunate, that on meeting your lover, you can, even during the intervals of dalliance utter endless sweet and coquettish words ! O Friends, as for me I swear I do not remember anything after my beloved places his hand on the knot of my waist-cloth.’—(The self-existent fact suggesting a figure).

CHAPTER IV 83 अत्र त्वमधन्या अहं तु धन्येति व्यतिरेकालंकारः । दर्पान्धगन्धगजकुम्भकपाटकूट- संक्रान्तिनिघ्नघनशोणितशोणशोचिः । वीरैर्व्यलोकि युधि कोपकषायकान्तिः कालीकटाक्ष इव यस्य करे कृपाणः ॥ ६२ ॥ अत्रोपमालंकारेण सकलरिपुबलक्षयः क्षणात् करिष्यते इति वस्तु । गाढकान्तदशनक्षतव्यथासंकटादरिवधूजनस्य यः । ओष्ठविद्रुमदलान्यमोचयन्निर्दशन् युधि रुषा निजाधरम् ॥६३॥ अत्र विरोधालांकारेणाधरनिर्दशनसमकालमेव शत्रवो व्यापा- दिता इति तुल्ययोगिता मम क्षत्याप्यन्यस्य क्षतिर्निवर्ततामिति Here the meaning being—'I am fortunate, you are unfortunate'—we have the figure 'Dissimilitude' (sugges- ted by the facts described). (3) 'In whose hand the sword was seen by the heroes in battle, resembling the wrath-red glances of the goddess Kālī ; since it shone red through the thick blood on being struck against the hard surface of the forehead of redolent elephants blinded with intoxication.' (The self-existent figure suggesting a fact.) Here the fact that 'all the enemies would be killed in a trice' is suggested by the figure 'Simile'. (4) 'Who, biting with rage his own underlip in battle, freed the coral lips of his enemy’s wives from the pain arising from the deep wound inflicted by the teeth of their husbands.' (The self-existent figure suggesting a figure). Here the figure of 'Seeming Contradiction' (involved in the statement that the biting of the lips relieved the lips of pain) suggests either the figure of 'Equal Pairing,' in the implication that 'the enemies were killed at the very

84 KĀVYAPRAKĀŚA तद्बुद्धिरुत्प्रेक्ष्यते इत्युत्प्रेक्षा च । एषूदाहरणेषु स्वतःसंभवी व्यञ्जकः । कैलासस्य प्रथमशिखरे वेणुसंमूर्छनाभिः श्रुत्वा कीर्तिं विबुधरमणीगीयमानां यदीयाम् । स्रस्तापाङ्गाः सरसबिसिनीकाण्डसंजातशङ्का दिङ्मातङ्गाः श्रवणपुलिने हस्तमावर्तयन्ति ॥ ६४ ॥ अत्र वस्तुना येषामप्यर्थाधिगमो नास्ति तेषामप्येवमादि- बुद्धिजननेन चमत्कारं करोति त्वत्कीर्तिरिति वस्तु ध्वन्यते । केसेसु बलामओडिअ तेण अ समरम्मि जअसिरी गहिआ । जह कन्दराहिँ विहुरा तस्स दढं कंठअम्मि संठविआ ॥६५॥ moment in which the king bit his lips in rage',—or the figure 'Poetic Fancy', in the implication that 'the king desires to relieve the pain of others even by hurting himself'. In all these (four) examples, the suggestive factor is something that is really Self-existent. (5) 'Hearing his fame sung by the nymphs on the highest peak of mount Kailāsa, to the accompaniment of the melodies of the flute,—the Elephants of the quarters, casting side-long glances, mistake it to be the juicy lotus- root (on account of its pure whiteness), and hence extend their trunk to their ears (in order to reach the Fame which has reached the ears).' (A fact, the creation of the poet's fancy, suggests a fact). Here the fact that—'even such beings as do not com- prehend the meaning of the song sung are affected in the manner described,—such is the wonderful effect of your fame'—is suggested (by the imaginary fact of the elephants extending their trunks to the ears). (6) 'Victory was so forcibly held by her locks by the king that his discomfited enemies were drawn by the caves to their necks.'—(Figure suggested by a fact created by the poet's imagination).