काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IV 95 सायं स्नानमुपासितं मलयजेनाङ्गं समालेपितं यातोस्ताचलमौलिमम्बरमणिर्विस्रब्धमत्रागतिः । आश्चर्यं तव सौकुमार्यमभितः क्लान्तासि येनाधुना नेत्रद्वन्द्वममीलनव्यतिकरं शक्नोति तेनासितुम् ॥७९॥(६) अत्र वस्तुना कृतपुरुषपरिचया क्लान्तासीति वस्तु अधुनापद- द्योत्यं व्यज्यते । तदप्राप्तिमहादुःखविलीनाशेषपातका । तच्चिन्ताविपुलाह्लादक्षीणपुण्यचया तथा ॥ ८० ॥ चिन्तयन्ती जगत्सूतिं परब्रह्मस्वरूपिणम् । निरुच्छ्वासतया मुक्तिं गतान्या गोपकन्यका ॥८१। (७) (6) [Suggestion of perceptible process—by word—founded on the force of meaning—of fact by self-existent fact]— ‘In the evening thou hadst recourse to bath and anoin- ted thy body with sandal-paste ; the ethereal gem has passed the crest of the setting mount ; and thy coming here has been unflurried ; [thus there being no external cause for fatigue], astonishing then is thy tenderness by virtue of which thou art at this time so completely ex- hausted that thy eyes cannot help being closed frequently.’ Here the fact that ‘thou art exhausted by reason of having met a paramour’ is suggested, through the impli- cation of the term ‘at this time’, ‘adhunā’. (7) [Suggestion of perceptible process—by word—founded on the force of meaning—of figure by a self-existent fact]— ‘Meditating upon the Origin of the World, the in- carnation of supreme Brahma (i. e. ‘Kṛṣṇa), another milk- maid had her breath suspended and obtained beatitude ; all her sins being dissolved by the great suffering caused

96 KĀVYAPRAKĀŚA अत्र जन्मसहस्रैरुपभोक्तव्यानि दुष्कृतसुकृतफलानि वियोग- दुःखचिन्तनाह्लादाभ्यामनुभूतानीत्युक्तम् । एवं चाशेषचय- पदद्योत्ये अतिशयोक्ती । क्षणदासावक्षणदा वनमवनं व्यसनमव्यसनम् । बत वीर तव द्विषतां पराङ्मुखे त्वयि पराङ्मुखं सर्वम् ॥८२॥ (८) अत्र शब्दशक्तिमूलविरोधाङ्गेनाथान्तरन्यासेन 'विधिरपि त्वामनुवर्तते' इति सर्वपदद्योत्यं वस्तु । by her not meeting him, and the store of her spiritual merit exhausted in the deep joy of contemplating upon Him.' What is meant here is that the sins and spiritual merit, the fruition of which would ordinarily extend over thou- sands of lives, were passed through merely by the pangs of separation and the joy of contemplation ; and thus the figure of Hyperbole is suggested by the two terms 'all' and 'store' (by the fact of the girl having attained beati- tude). (8) [Suggestion of perceptible process—by word—based on force of meaning of fact by self-existent figure]— ‘O heroic king! When you become contrary to your ene- mies, every thing of theirs becomes contradictory—Kṣaṇadā [(a) night] becomes akṣaṇadā [(a) non-night, (b) uneasy], vana (forest) becomes a-vana [(a) non-vana, (b) shelter], and vyasana (occupation) becomes a-vyasana [(a) non-vyasana, (b) sheep-tending]. [i.e. They pass uncomfortable nights, fly to the forest and take to the tending of sheep].’ Through the implication of the term ‘everything’ the fact that ‘even Fate follows your lead’ is suggested by the Figure of ‘Transition’, which subserves the figure

.. CHAPTER IV 97 तुह वल्लहस्स गोसम्मि आसि अहरो मिलाणकमलदलो । इअ णववहुआ सोऊण कुणइ वअणं महिसँमुहं ॥८३॥ (९) अत्र रूपकेण त्वयास्य मुहुर्मुहुः परिचुम्बनं तथा कृतं येन म्लानत्वमिति मिलाणादिपदद्योत्यं काव्यलिङ्गम् । एषु स्वतः- संभवी व्यञ्जकः । राईसु चंदधवलासु ललिअमप्फालिऊण जो चावं । एकच्छत्तं विअ कुणइ भुअणरज्जं विजंभंतो ॥८४॥ (१०) अत्र वस्तुना येषां कामिनामसौ राजा स्मरस्तेभ्यो न कश्चि- दपि तदादेशपराङ्मुख इति जाग्रद्भीरुपभोगपरैरेव तैर्निशाति- of ‘Contradiction’, which is based on the force of the words with double meanings, which cannot be replaced by others. (9) Suggestion of perceptible process,—based on the force of meaning—of Figure by self-existent Figure.]— “In the morning your lover’s lips were withered lotus-leaves,”—on hearing this, the young bride cast her face towards the ground.” The Figure of ‘Metaphor’ involved in the term ‘withered lotus-leaves’ suggests the ‘Poetic Reason’, in the implication that ‘your lover’s lips looked faded on account of your having continued to kiss him fre- quently (till the very morning).’ In these examples the suggestive factor is self-existent. (10) [Suggestion of perceptible process—based on the force of meaning—of fact by imaginary fact.]— ‘He who, brandishing his beautiful bow, during moon-lit nights, brings the three worlds under his own undisputed sway.’ The (imaginary) fact (of Cupid’s undisputed sway over the world), expressed by the term ‘sway over the three worlds’, suggests the fact that ‘not a single one of those 7

98 KĀVYAPRAKĀŚA वाह्यते इति भुअणरज्जपदद्योत्यं वस्तु प्रकाश्यते । निशितशरधियार्पयत्यनङ्गो दृशि सुदृशः स्वबलं वयस्यराले । दिशि निपतति यत्र सा च तत्र व्यतिकरमेत्य समुन्मिषन्त्यवस्थाः ॥ ॥८५॥ (११) अत्र वस्तुना युगपदवस्थाः परस्परविरुद्धा अपि प्रभवन्तीति व्यतिकरपदद्योत्यो विरोधः । वारिज्जंतो वि पुणो संदावकदत्थिएण हिअएण । थणहरवअस्सएण विसुद्धजाई ण चलइ से हारो ॥८६॥ (१२) अत्र विशुद्धजातित्वलक्षणहेत्वलंकारेण हारोनवरतं कम्पमान persons over whom Cupid has his sway ever goes against his orders, hence they spend the nights in wakeful dalliance.’ (11) Suggestion of perceptible process—of Figure by an imaginary Fact.]— ‘Regarding it as his sharp arrow, the Bodiless God (Cupid) lends all his force to the glance of the beautiful- eyed woman at her saucy age ; whenever on whatever side it falls, it produces quite an admixture of conditions.’ The Figure of ‘Contradiction’,—in the implication that ‘even mutually incompatible conditions appear simultaneously’—involved in the term ‘admixture’, is suggested by the (imaginary) fact (of Cupid lending his forces to the arrow and bringing about mixed conditions). (12) [Suggestion of perceptible process—of a fact by an imaginary Figure.]— ‘Even though forbidden by the heart suffering from pain (due to the impediment to embrace caused by the presence of the ornament), the necklace, being of pure breed, does not abandon its friends, the breasts.’ The (imaginary) Figure of ‘Poetic Reason’ involved

CHAPTER IV 99 एवास्ते इति ण चलइ-पदद्योत्यं वस्तु । सो मुद्धसामलंगो धम्मिल्लो कलिअललिअणिअदेहो । तीए खंधाहि बलं गहिअ सरो सुरअसंगरे जअइ ।।८७।। (१३) अत्र रूपकेण मुहुर्मुहुराकर्षणेन तथा केशपाशः स्कन्धयोः प्राप्तो यथा रतिविरतावप्यनिवृत्ताभिलाषः कामुकोभूदिति खंध-पदद्योत्या विभावना ।। एषु कविप्रौढोक्तिमात्रनिष्पन्नशरीरः ।। णवपुण्णिमामिअंकस्स सुहअ को तं सि भणसु मह सच्चं । का सोहग्गसमग्गा पओसरअणिव्व तुह अज्ज ।।८८।। (१४) in the epithet ‘being of pure breed’ (which accounts for the constancy of the heart) suggests the Fact that ‘the necklace remained constantly scintillating’, which is expressed by the phrase ‘abandons not.’ (13) [Suggestion of perceptible process—of a Figure by an imaginary Figure]— ‘Cupid has, as it were, regained his beautiful body in the shape of the black and lovely tresses of the girl, and having borrowed strength from here shoulder, trium- phs in the battle of dalliance.’ The Figure of ‘Peculiar Causation’, involved in the word ‘shoulder’, and implying that ‘when the lover pulled the locks frequently they fell upon her shoulder in such a ravishing way that, even at the close of the intercourse, the man’s passion did not cease’,—is sugges- ted by the Metaphor (involved in the comparing of ‘dalli- ance’ to ‘battle’ and of ‘Cupid’ to the ‘tresses’). In the last four examples the suggestion is reared en- tirely by the imaginary assertion of the poet. (14) [Suggestion of fact by fact, founded upon the assertion of an imaginary person.]—

100 KĀVYAPRAKĀŚA अत्र वस्तुना मयीवान्यस्यामपि प्रथममनुरक्तस्त्वं न तत इति णवेत्यादि-पओसेत्यादिपदद्योत्यं वस्तु व्यज्यते ॥ सहि णवणिहुवणसमरम्मि अंकवालीसहीए णिबिडाए । हारो णिवारिओ विअ उच्छेरन्तो तदो कहं रमिअं ॥८९॥ (१५) अत्र वस्तुना हारच्छेदानन्तरमन्यदेव रतमवश्यमभूत् तत्कथय कीदृगिति व्यतिरेकः कहंपदगम्यः ॥ ‘O beautiful one, tell me truly how you are related to the moon newly risen on the fullmoon night, and who is the lady that enjoys your love as the early evening does that of the moon.’ [During the early part of the evening the full moon appears ‘red’; this redness, is regarded figuratively, as representing the moon’s love towards the evening; it is fleeting, disappearing with the advent of night ; and the indignant wife insinuates that her husband’s love for his new found lady will be as fleeting.] The fact (described in the verse) suggests the fact that ‘you are attached to this other lady only now in the beginning, and you will not remain so much longer, just as it was in my case,’—this suggestion being based upon the terms ‘newly risen’, ‘early evening.’ (15) [Suggestion of perceptible process—of Figure by fact asserted by the fanciful assertion of an imaginary person.]— ‘O friend’! When in the battle of dalliance, your necklace snapped, on being restrained (from intruding) by your fast friend in the shape of the lover’s embrace,— in what manner did your enjoyment proceed?’ The figure of ‘Dissimilitude’, indicated by the term ‘in what manner’, and implying that ‘after the snapping of the necklace, the form of the enjoyment must have been peculiarly sweet’,—is suggested by the fact (des- cribed in the verse).

CHAPTER IV 101 पविसंती घरवारं विवलिअवअणा विलोइऊण पहं । खंधे घेत्तूण घडं हा हा णट्ठोत्ति रुअसि सहि किंति ॥९०॥ अत्र हेत्वलंकारेण संकेतनिकेतनं गच्छन्तं दृष्ट्वा यदि तत्र गन्तुमिच्छसि तदा अपरं घटं गृहीत्वा गच्छेति वस्तु किंति-पद- द्योत्यम् । यथा वा विहलंखलं तुमं सहि दट्ठूण कुडेण तरलतरदिट्ठिं । वारप्फंसमिसेण अ अप्पा गुरुओत्ति पाडिअ विहिण्णो॥९१॥(१६) अत्र नदीकूले लतागहने कृतसंकेतमप्राप्तं गृहप्रवेशावसरे पश्चादागतं दृष्ट्वा पुनर्नदीगमनाय द्वारोपघातव्याजेन बुद्धिपूर्वं व्याकुलतया त्वया घटः स्फोटित इति मया चिन्तितं तत्किमिति (16) [Suggestion of perceptible process—of a fact by a figure resting upon the fanciful assertion of an imaginary person.]— ‘O friend ! You were entering your house-door, with the jar on your shoulders, and turning your face and looking towards the road, you say “ the jar is broken ” and are weeping :—why is this ?’ The Figure of ‘ Poetic Reason ’ (implying ‘ you are weeping because the jar is broken’), suggests the follow- ing fact—‘ on seeing your lover going to the place of appointment, if you wish to go there, then you take up another jar and go there ’, which is implied by the ex- pression ‘ why is this ’. Another example of the same— ‘ The jar, seeing that you were exhausted and your eyes were unsteady, thought itself too heavy for you, and therefore, it has broken itself under the pretext of having struck against the door.’ The Figure of ‘concealment ’, involved in the expre- ssion ‘ under the pretext of having struck against the door ’,

102 KĀVYAPRAKĀŚA नाश्वसिषि तत्समीहितसिद्धये व्रज अहं ते श्वश्रूनिकटे सर्वं समर्थयिष्ये इति द्वारस्पर्शनव्याजेनेत्यपहृत्या वस्तु । जोण्हाइँ महुरसेण अ विइण्णतारुण्णच्छुअमणा सा । वुड्ढावि णवोढव्विअ परवहुआ अहह हरइ तुह हिअअं॥९२॥ (१७) अत्र काव्यलिङ्गेन वृद्धां परवधूं त्वमस्मानुज्झित्वाभिलषसीति त्वदीयमाचरितं वक्तुं न शक्यमित्याक्षेपः परवहूपदप्रकाश्यः । suggests the following fact—‘you had made an appoint- ment with your lover that you would meet him in the bower on the river-bank,—you went there but he was not there ; so you returned ; but entering the house you found that he had come to the place after you had left ;— so in order to be able to return to the river you have in- tentionally broken the jar under the pretext of striking against the door ;—all this I have understood ; why then don't you take heart ? Go and fulfil your desires, I justify everything to your mother-in-law.’ (17) Suggestion of perceptible process—of figure by figure based upon the fanciful assertion of an imaginary person. ‘What a pity that your concubine captivates your heart, like a young girl, even though she is an old hag, to whose mind youthful sensuality is lent by moonlight and wine’. The figure of ‘Poetic Reason’ (involved in the state- ment that the fact of her being the concubine, and not your wife, is the reason why she captivates your heart) suggests the figure of ‘Hint’, on the following implica- tion—‘you neglect young girls like myself and go after old women who are the wives of other men,—this conduct of yours is simply inexplicable’ ; all this being indicated by the word ‘concubine’.

CHAPTER IV 103 एषु कविनिबद्धवक्तृप्रौढोक्तिमात्रनिष्पन्नशरीरः ॥ वाक्यप्रकाशे तु पूर्वमुदाहृतम् ॥ शब्दार्थोभयशक्त्युद्भवस्तु पदप्रकाश्यो न भवतीति पञ्चत्रिंशद्भेदाः ॥ प्रबन्धेऽप्यर्थशक्तिभूः ॥ ४२ ॥ यथा गृध्रगोमायुसंवादादौ । अलं स्थित्वा श्मशानेस्मिन् गृध्रगोमायुसंकुले । कङ्कालबहले घोरे सर्वप्राणिभयंकरे ॥ ९३ ॥ In these last examples the suggestion is based entirely upon the fanciful assertion of a person portrayed by the poet. Suggestion manifested by a sentence has already been exemplified before (in the commentary on Text 24)— ‘Tvāmasmi vachmi etc.’ That arising from both word and meaning is never manifested by a word ; hence there are thirty-five varieties of Suggestion. [Eighteen manifested by sentence and seventeen manifested by word.] That (suggestion) which is based upon the force of meaning occurs in Context also.—(42). As is found in the following dialogue of the Vulture and the Jackal.— Says the vulture to the men (who have brought the dead body of a boy to the cremation ground and are mourning over it) whom it is anxious to send away, while it is yet day, in order to enable it to feed upon the body which it could do during the day only— ‘There is no necessity for staying in this horrible crematorium crowded with vultures and jackals, abound- ing in skeletons, frightful and full of terror to all living

104 KĀVYAPRAKĀŚA न चेह जीवितः कश्चित् कालधर्ममुपागतः । प्रियो वा यदि वा द्वेष्यः प्राणिनां गतिरीदृशी ॥ ९४ ॥ इति दिवा प्रभवतो गृध्रस्य पुरुषविसर्जनपरमिदं वचनम् ॥ आदित्योयं स्थितो मूढाः स्नेहं कुरुत सांप्रतम् । बहुविघ्नो मुहूर्तोयं जीवेदपि कदाचन ॥ ९५ ॥ अमुं कनकवर्णाभं बालमप्राप्तयौवनम् । गृध्रवाक्यात्कथं मूढास्त्यजध्वमविशङ्किताः ॥ ९६ ॥ इति निशि विजृम्भमाणस्य गोमायोर्जनव्यावर्तननिष्ठं च वचनमिति प्रबन्ध एव प्रथते ॥ beings; when once one has fallen a victim to death, one never revives, whether one be loved or hated; such is the end of all living beings'. This is followed by the following from the jackal who can feed on the body only when night has arrived and who tries to dissuade the people from going away early— 'O foolish men! the sun is still up; satisfy your affections yet; the present may be an inauspicious mo- ment, and it is just possible the dead may come back to life after sometime; how is it that like fools you are with- out any hesitation, merely on the word of the vulture, leaving behind this boy of golden complexion who has scarcely attained youth?' Exactly what is meant by the two speakers here is indicated only by the context. The other eleven varieties of this suggestion (through Context) are not illustrated here; as that would make our work too prolix; they can be easily followed from the definition itself.

CHAPTER IV 105 अन्ये त्वेकादश भेदा ग्रन्थविस्तरभयान्नोदाहृताः स्वयं तु लक्षणतोनुसर्तव्याः ॥ अपिशब्दात्पदवाक्ययोः ॥४२॥ पदैकदेशरचनावर्णेष्वपि रसादयः । तत्र प्रकृत्या यथा रइकेलिहिअणिवसणकरकिसलअरुद्धणअणजुअलस्स । रुद्दस्स तइअणअणं पव्वइपरिचुंबिअं जअइ ॥ ९७ ॥ अथ जयतीति न तु शोभते इत्यादि । समानेपि हि स्थगन- व्यापारे लोकोत्तरेणैव व्यापारेणास्य पिधानमिति तदेवोत्कृष्टम् । ‘Also’;—this means that the said suggestion is found in word and sentence also. 42. Passion (Emotion, Aberrations of Passion, Aberrations of Emotion, Allayment of Emotion, Conjunction of Emotions and Admixture of Emotions) are (suggested imperceptibly) also (a) by parts of words, (b) by style and (c) by individual letters. (a) Example of suggestion by the base of a word— Ratikelihṛtanivasanakarakisalayaruddhanayanayugalasya. Rudrasya tṛtīyanayanaṁ pārvatīparichumbitañjayati. ‘The two eyes of Śiva having been closed by her two lotus-like hands when she was deprived of her cloth,— His third eye being (closed by being) kissed by Pārvatī scores a triumph.’ Here the suggestion of the Erotic ‘Passion’ lies in the use of the root ‘ji’ in the verb ‘jayati’, ‘scores a triumph’, in preference to the verb ‘shobhate’, ‘appears beautiful’; —the implication of the particular root being that, ‘though the action of being closed was common to all the three eyes, yet there is a distinct superiority in the third eye, the manner of whose closing was entirely unique.’

106 KĀVYAPRAKĀŚA यथा वा प्रेयान् सोयमपाकृतः सशपथं पादानतः कान्तया द्वित्राण्येव पदानि वासभवनाद्यावन्न यात्युन्मनाः । तावत्प्रत्युत पाणिसंपुटगलन्नीविनिबन्धं धृतो धावित्वेव कृतप्रणामकमहो प्रेम्णो विचित्रा गतिः ॥९८॥ अत्र पदानीति न तु द्वाराणीति ॥ तिङ्सुपोर्यथा पथि पथि शुकचञ्चूचारुराभाङ्कुराणां दिशि दिशि पवमानो वीरुधां लासकश्च । नरि नरि किरति द्राक् सायकान् पुष्पधन्वा पुरि पुरि विनिवृत्ता मानिनीमानचर्चा ॥ ९९ ॥ Another example of the same kind of suggestion— Preyān soyamapākṛtaḥ saśapathaṁ pādānataḥ kāntayā. Dvitrāṇyeva padāni vāsabhavanād yāvanna yātyunmanāḥ. Tāvat pratyuta pāṇisampuṭagalannīvibandhandhṛto. Dhāvitveva kṛtapraṇāmakamaho premṇo vichitrā gatiḥ. ‘Though when the lover lay adjuringly at her feet, he was rejected by his beloved, yet no sooner does he, in a dejected mood, go two or three steps out of the love- chamber, than she runs up to him with her loosened cloth held in her hands and falling on his feet, embraces him.’ Here the suggestion (of loving anxiety) lies in the use of the noun ‘pada’ (steps) instead of ‘dvāra’ (gates.) [The suggestion being that she was so anxious that he may not go away that she could not bear his moving away even a few steps to the door of the room itself.] Suggestion by verbal and nominal affixes— Pathi pathi śukachañchūchārurābhāṅkurāṇāṁ Dishi dishi pavamāno vīrudhāṁ lāsakaścha. Nari nari kirati drāk sāyakān puṣpadhanvā Puri puri vinivṛttā māninīmānacharchā.

CHAPTER, IV 107 अत्र किरतीति किरणस्य साध्यमानत्वं निवृत्तेति निवर्तनस्य सिद्धत्वं तिङा सुपा च तत्रापि क्तप्रत्ययेनातीतत्वं द्योत्यते । यथा वा लिखन्नास्ते भूमिं बहिरवनतः प्राणदयितो निराहाराः सख्यः सततरुदितोच्छूननयनाः । परित्यक्तं सर्वं हसितपठितं पञ्जरशुकैः तवावस्था चेयं विसृज कठिने मानमधुना ॥१००॥ ‘On every way-side there is the sheen of sprouts re- sembling the parrot’s beak ; on every side the breeze is making the creepers dance ; on every male is the Flower- bowed God showering his arrows ; and in every town has ceased the very talk of self-restraint on the part of affronted women.’ The present tense form ‘kirati,’ ‘is showering,’ indi- cates, by the conjugational affix, that the act of showering arrows is still only in the course of accomplishment, and the past-participle form ‘vinivṛttā,’ ‘has ceased,’ indicates by the nominative ending, that the action of ceasing has become a thing accomplished already ; and further, the past-participle affix ‘kta’ (in ‘vinivṛttā) indicates that the action (of ceasing) is past. [And the suggestion here is that the circumstances described are so effective in exciting the Erotic Passion that they accomplish their purpose even before they are themselves accomplished.] Another example of the same— Likhannāste bhūmim vahiravanataḥ prāṇadayito Nirāhārāḥ sakhyaḥ satataruditochchhūnanayanāḥ. Parityaktam sarvam hasitapaṭhitam pañjaraśukais- Tavāvasthā cheyam visṛja kaṭhine mānamadhunā.

108 KĀVYAPRAKĀŚA अत्र लिखन्निति न तु लिखतीति तथा आस्ते इति न तु आसीत इति अपि तु प्रसादपर्यन्तमास्ते इति भूमिमिति न तु भूमाविति न हि बुद्धिपूर्वकमपरं किंचिल्लिखतीति तिङ्सुब्बि- भक्तीनां व्यङ्ग्यम् । सम्बन्धस्य यथा गामारुहम्हि गामे वसामि णअरट्ठिइं ण जाणामि । णाअरिआणं पइणो हरेमि जा होमि सा होमि ॥१०१॥ ‘ The beloved of thy life sits outside, depressed, scratch- ing the ground ; thy friends with eyes swollen by constant weeping, have been without food ; all amusing talk has been given up by the parrots in the cages ; thy own con- dition is this ; even now, O cruel one, give up thy sense of dignity injured.’ Here we have (a) the form ‘likhan’ (‘scratching,’ the present participle in which suggests the continuity of an aimless act) and not ‘likhati’ (‘writes,’ in the present tense, which would indicate writing with a purpose) ;— again (b) ‘āste’ (‘stays’) which suggests that the man will continue to so stay till reconciliation, and not ‘āsīta’ (‘is seated,’ which would indicate an accomplished act, without regard to anything else);—again (c) ‘bhūmim’ (with the Accusative ending), —which suggests that he is scratching the ground aimlessly—and not ‘bhūmau’ (with the locative ending, which would indicate that the act was done with some purpose.) Thus we have here suggestion by verbal and nominal affixes. Example of suggestion by relationship (denoted by the genitive ending)— I am born in the village and live in the village, and know not the ways of the city ; whatever I am, I capture the husbands of city-women.’

CHAPTER IV 109 अत्र नागरिकाणामिति षष्ठ्याः । रमणीयः क्षत्रियकुमार आसीत् इति कालस्य । एषा हि भग्नमहेश्वरकार्मुकं दाशरथिं प्रति कुपितस्य भार्गवस्योक्ति । वचनस्य यथा । ताणं गुणग्गहणाणं ताणुक्कंठाणं तस्स पेम्मस्स । ताणं भणिआणं सुंदर एरिसिअँ जाअमवसाणं ॥१०२॥ अत्र गुणग्रहणादीनां बहुत्वं प्रेम्णश्चैकत्वं द्योत्यते ॥ पुरुषव्यत्ययस्य यथा The suggestion here lies in the genitive ending in ‘of city-women,’ ‘nāgarīkāṇāṁ.’ [The use of the expression ‘husbands of city-women,’ instead of city-men, suggests the extreme cleverness of the speaker, who is able to capture, not the ordinary men of the city, but those men of the city who have acquired much cleverness by their connection with the very clever ‘city-women.’] In the sentence ‘lovely was this Kṣattriya boy,’ the suggestion lies in the tense ; it is said by the enraged Bhārgava with reference to Rāma who has broken the bow of Shiva. [The suggestion by the use of the Past Tense being that the boy is as good as already killed by me and exists no more.] The following is an example of suggestion by num- ber— ‘O beautiful one ! such has been the end of those appreciations of good qualities, of those longings, of that love and of those conversations !’ What is suggested here (by the plural number in ‘appreciations’, ‘longings’ and ‘conversations’ and the singular number in ‘love’) is that though the appreciation and the rest (which aroused the love) have been many

110 KĀVYAPRAKĀŚA रे रे चञ्चललोचनाञ्चितरुचे चेतः प्रमुच्य स्थिर- प्रेमाणं महिमानमेणनयनामालोक्य किं नृत्यसि । किं मन्ये विहरिष्यसे बत हतां मुञ्चान्तराशामिमाम् एषा कण्ठतटे कृता खलु शिला संसारवारानिधौ ॥१०३॥ अत्र प्रहासः । पूर्वनिपातस्य यथा येषां दोर्बलमेव दुर्बलतया ते संमतास्तैरपि प्रायः केवलनीतिरीतिशरणैः कार्यं किमुर्वीश्वरैः । and multifarious, the Love (aroused by them) is one and uniform. The following is an example of suggestion by the change of ‘Person.’ ‘O thou my heart, in whom has been aroused a hanker- ing after the fickle-eyed woman ! Why dost thou relin- quish that exalted position of lasting devotion and begin to dance at the sight of the fawn-eyed one ? I think—you will dally ! Ah ! give up this despicable desire ; this is a piece of stone tied to one’s neck in the ocean of the world.’ Here ridicule (is suggested by the sudden change into the First Person in ‘I think,’ ‘manye,’ according to Pāṇini’s rule 1.4.106 whereby the First Person singular affix added to the root ‘man’ to ‘think’ implies ridicule). The following is an example of suggestion by ‘irre- gular priority.’— Those men who have only the strength of arms have been regarded as weak ; what useful work again can be done by those kings who take shelter in mere statesman- ship ? O terrestrial Indra ! Those who, like you, have

CHAPTER IV 111 ये क्ष्माशक्र पुनः पराक्रमनयस्वीकारकान्तक्रमास्-- ते स्युर्नैव भवादृशास्त्रिजगति द्वित्राः पवित्राः परम् ॥१०४॥ अत्र पराक्रमस्य प्राधान्यमवगम्यते । विभक्तिविशेषस्य यथा प्रधनाध्वनि धीरधनुर्ध्वनिभृति विधुरैरयोधि तव दिवसम् । दिवसेन तु नरप भवानयुद्ध विधिसिद्धसाधुवादपदम् ॥१०५॥ अत्र दिवसेनेत्यपवर्गंतृतीया फलप्राप्तिं द्योतयति । भूयो भूयः सविधनगरीरथ्यया पर्यटन्तं दृष्ट्वा दृष्ट्वा भवनवलभीतुङ्गवातायनस्था । साक्षात्कामं नवमिव रतिर्मांलती माधवं यत् गाढोत्कण्ठालुलितलुलितैरङ्गकैस्ताम्यतीति ॥१०६॥ their actions guided by both valour and statesmanship (“parākramanaya”),—of those there may, or may not be, even two or three in all the three worlds !” Here the placing of ‘parākrama’ (valour) before ‘naya’ (statesmanship) in the compound [which is irregular in view of the rule that the shorter term should precede the longer] suggests the superior importance of Valour. Pradhanādhvani dhīradhanurdhvanibhṛti vidhurairayodhi tava divasam. Divasena tu narapa bhavānayuddha vidhisiddhasādhuvādapadam. ‘O protector of men ! in the battle resounding with the twanging of bows wielded by the brave, thy enemies fought all the day long; you, on the other hand, fought by the day in such a way as to win encomiums from all good men.’ The Instrumental ending in ‘divasena’ (‘by the day ’), which denotes ‘success’ (according to Pāṇini 2.3.6)), suggests that the king addressed attained the object for which he fought. ‘Seated in the high window of her mansion, whenever Mālatī, who resembles Rati, sees Mādhava, who is a new

112 KĀVYAPRAKĀŚA अत्रानुकम्पावृत्तेः करूपतद्धितस्य । परिच्छेदातीतः सकलवचनानामविषयः पुनर्जन्मन्यस्मिन्ननुभवपथं यो न गतवान् । विवेकप्रध्वंसादुपचितमहामोहगहनो विकारः कोप्यन्तर्जडयति च तापं च कुरुते ॥१०७॥ अत्र प्रशब्दस्योपसर्गस्य । कृतं च गर्वाभिमुखं मनस्त्वया किमन्यदेवं निहताश्च नो द्विषः । तमांसि तिष्ठन्ति हि तावदंशुमान् न यावदायात्युदयाद्रिमौलिताम् ॥१०८॥ personification of the Love-god himself, passing by the adjacent highway, she suffers from her poor limbs (aṅgakaiḥ) being charmingly affected by deep longings.’ Here the suggestion (of the fragility of the limbs due to the Erotic Passion) is made by the nominal affix ‘Ka’ (in ‘aṅgakaiḥ’) which signifies pitiableness. ‘An indescribable feeling benumbs and inflames my heart,—a feeling above all measure and beyond all power of expression, which has never in this life come within the range of experience, and which, owing to the entire destruction (‘pradhvaṁsāt’) of my discriminative faculty, has become deep and has brought about extreme stupor.’ Here the suggestion ( of the Erotic in privation ) is made by the prefix ‘pra’ (in ‘pradhvaṁsāt’, which means entire). ‘You turned your mind towards glory, and—what else?—our enemies were destroyed [kṛtañcha garvā- bhimukhaṁ manastvayā...nihatāshcha no dviṣaḥ];—Darkness prevails only so long as the sun does not reach the crest of the Rising Mount.’

CHAPTER IV 113 अत्र तुल्ययोगिताद्योतकस्य ‘च’ इति निपातस्य । रामोसौ भुवनेषु विक्रमगुणैः प्राप्तः प्रसिद्धिं परा- मस्मद्भाग्यविपर्ययाद्यदि परं देवो न जानाति तम् । बन्दीवैष यशांसि गायति मरुद्यस्यैकबाणाहति- श्रेणीभूतविशालतालविवरोद्गीर्णैः स्वरैः सप्तभिः ॥१०९॥ Here the suggestion of Heroic Passion is made by the Indeclinable ‘cha’ (‘and’), which implies the figure of ‘Equal Pairing’ [the simultaneity of the king's thinking of glory and the destruction of the enemies.] Rāmosau bhuvaneṣu vikramaguṇaiḥ prāptaḥ prasiddhiṁ parām Asmadbhāgyaviparyayād yadi paraṁ devo na jānāti tam. Bandīvaiṣa yaśāṁsi gāyati marud yasyaikabāṇāhati— Śreṇībhūtaviśālatālavivarodgīrṇaiḥ svaraiḥ saptabhiḥ. ‘Through his valour and other excellences, this Rāma has attained great renown in the worlds; through the reversal of our fortune, your majesty does not yet re- cognise him; his fame is being sung, as if by a bard, by the wind, in all the seven notes of music issuing forth from the holes made by the stroke of a single arrow in the seven huge palm-trees standing in a line.’ The passion of the Heroic is suggested here—(a) by the pronoun ‘asau’, ‘this’ (which indicates that the person is well-known), (b) by the basic noun ‘bhuvaneṣu’ ‘in the worlds’ (which mean that the person's fame is not confined to any particular province or country), (c) by the number in ‘guṇaiḥ’ (which means that he is famous not only for one or two qualities but for many), (d) by the use of the term ‘asmat’ (our) in preference to ‘tvat’ (your) or ‘mat’ (mine) [in the compound ‘asmadbhāgya’...], which implies that the misfortune is of all the persons 8

114 KĀVYAPRAKĀŚA अत्रासाविति भुवनेष्विति गुणैरिति सर्वनामप्रातिपदिकवच- नानां न त्वदिति न मदिति अपि अस्मदित्यस्य सर्वाक्षेपिणः भाग्यविपर्ययादित्यन्यथासंपत्तिमुखेन न त्वभावमुखेनाभिधानस्य । तरुणिमनि कलयति कलामनुमदनधनुर्भ्रुवोः पठत्यग्रे । अधिवसति सकलललनामौलिमियं चकितहरिणचलनयना ॥१९०॥ अत्र इमनिजव्ययीभावकर्मभूताधाराणां स्वरूपस्य तरुणत्वे, इति धनुषः समीपे, इति मौलौ वसतीति त्वादिभिस्तुल्ये, एषां वाचकत्वे, अस्ति कश्चित् स्वरूपस्य विशेषो यश्चमत्कारकारी स एव व्यञ्जकत्वं प्राप्नोति । concerned,—and (e) by the term ‘bhāgyaviparyayāt,’ ‘reversal of fortune,’ which means that it is not only that we have no fortune or luck, but that our fortune has taken an entirely wrong turn. Taruṇimani kalayati kalāmanumadanadhanurbhruvoḥ paṭhatyagre. Adhivasati sakalalalanāmaulimiyam chakitahariṇachalana- yanā. ‘On youthfulness being fully developed in vivacity, and the eye-brows having become instructed in liveliness under the guidance of Cupid’s Bow, she with eyes unsteady like that of the fawn occupies the highest position among damsels.’ Here the Erotic Passion is suggested by the form (a) of the ‘imanich’ affix (in ‘taruṇimani’), (b) of the Avyayī- bhāva compound (‘anumadanadhanuḥ’), (c) of the locative used accusatively (in ‘maulim’). The expressed meaning of each of these would be exactly the same as that res- pectively of (a) ‘taruṇatve’, with the nominal affix ‘tva’ (instead of ‘imanich’), (b) ‘madanadhanuṣaḥ samīpe,’ and