काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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

CHAPTER IV 115 एवमन्येषामपि बोद्धव्यम् । वर्णरचनानां व्यञ्जकत्वं गुणस्वरूपनिरूपणे उदाहरिष्यते अपिशब्दात् प्रबन्धेषु नाटकादिषु । एवं रसादीनां पूर्वगणितभेदाभ्यां सह षड् भेदाः । भेदास्तदेकपञ्चाशत् व्याख्याताः ॥ (c) 'maulau'; and yet there is something distinctly charm- ing in the use of the forms used by the poet ; and it is in these forms that there lies the said suggestiveness. Suggestion by other (parts of words) may be similarly explained. The suggestiveness of Letters and Style is going to be described in the section dealing with Qualities (under Chapter VIII). Thus, along with the two kinds previously enumerated, there are six varieties of Suggestion of Passion and the rest. [i. e. As suggested by (1) Sentence, (2) Word, (3) Part of Word, (-4) Style, (5) Letter and (6) Context]. Thus there are fifty-one varieties. These have been already described. (A) That where the expressed meaning is not intended has two varieties—(a) That in which the expressed meaning is transferred into another and (b) in which it is entirely ignored, and each of these belonging to word and meaning, make up Four varieties ;—(B) that where the expressed meaning is intended to be subservient to another, and the suggestive process is imperceptible, belongs to word, sentence, part of word, style, letters and context, makes up six varieties ;— (c) The same where the suggestive process is perceptible has forty-one varieties as follows :—2 varieties of that, based on word and each belong- ing to word and sentence, make four,—12 varieties of that based on meaning and each belonging to word, sentence and context, make thirty-six; and one variety of that based on both word and meaning; and 4+6+41 make 51.

116 KĀVYAPRAKĀŚA तेषां चान्योन्ययोजने ॥ ४३ ॥ संकरेण त्रिरूपेण संसृष्ट्या चैकरूपया । न केवलं शुद्धा एवैकपञ्चाशद्भेदा भवन्ति । यावत्तेषां स्वप्रभेदैरेकपञ्चाशता संशयास्पदत्वेनानुग्राहकतयैकव्यञ्जकानु- प्रवेशेन चेति त्रिविधेन संकरेण परस्परनिरपेक्षरूपयैकप्रकारया संसृष्ट्या चेति चतुर्भिर्गुणने । वेदखाब्धिवियच्चन्द्राः शुद्धभेदैः सह शरेषुयुगखेन्दवः ॥ ४४ ॥ By the mutual combination of these, in the three forms of commixture and one form of uniform conjunction, they come to the number made up of (a) the Vedas (4), (b) the sky (0), (c) the oceans (4). (d) the sky (0) and the moon (1) [i. e. 10404]. There are not only the 51 simple varieties ; each of these 51 has its own 51 varieties, and each of these combines with the other in three ways (in which there is mutual dependency)—viz. (1) where it is doubtful which one is the predominant factor, (2) where one dis- tinctly helps the other (and is hence the predominant fac- tor, and (3) where both form part of a single suggestive factor—and also in one another way (in which both are independent of each other) ; and thus by multiplying by 4 the fifty-one times fifty-one varieties) the number be- comes 10404. These mixed varieties along with the (51) pure varie- ties make the number— made up of—(a) arrows (5), (b) arrows (5), (c) age-cycles (4), (d) sky (0) and (e) the Moon (1)—i. e. 10455.

CHAPTER IV. 117 तत्र दिङ्मात्रमुदाह्रियते । खणपाहुणिआ देअर जायाए सुहअ किंपि दे भणिआ । रुअइ पडोहरवलहीघरम्मि अणुणिज्जउ वराई ॥१९१॥ अत्रानुनयः किमुपभोगलक्षणेऽर्थान्तरे संक्रमितः किमनुरण- न्न्यायेनोपभोगे एव व्यङ्ग्ये व्यञ्जकः इति संदेहः । स्निग्धश्यामलकान्तिलिप्तवियतो वेल्लद्बलाका घनाः वाताः शीकरिणः पयोदसुहृदामानन्दकेकाः कलाः । कामं सन्तु दृढं कठोरहृदयो रामोऽस्मि सर्वं सहे वैदेही तु कथं भविष्यति ह हा हा देवि धीरा भव ॥१९२॥ These are illustrated only partially— ‘ O brother ! Has the girl, a guest for the moment, been told something by your wife ? She is weeping behind the house ; go, console the poor creature ’. Here it is doubtful whether the ‘ consoling ’ is meant to be transformed into something else, in the form of dalliance, (thus making the suggestion one of ‘ transferred denotation ’), or it itself suggests, in the manner of an echo, the dalliance (making the suggestion one in which the expressed meaning, while applicable, is subservient to another meaning). ‘ The clouds have overspread the sky with dense black lustre, and are adorned with lines of cranes ; the wind is blowing in sprays ; there is joyous shrieking of the friends of clouds (Peacocks).—Let all these be ! I am surely Rāma of the hard heart and shall bear all ; but how will Vaidehī be keeping ? Ah ! O Lady, bear up with fortitude !’ Here (a) in the terms ‘ overspread ’ and ‘ friends of clouds ’ we have the ‘ conjunction ’ (mutually indepen-

118 KĀVYAPRAKĀŚA अत्र लिप्तेति पयोदसुहृदामिति च अत्यन्ततिरस्कृतवाच्ययोः संसृष्टिः । ताभ्यां सह रामोस्मीत्यर्थान्तरसंक्रमितवाच्यस्या- नुग्राह्यग्राहकभावेन रामपदलक्षणैकव्यञ्जकानुप्रवेशेन चार्थान्तरसं- क्रमितवाच्यरसध्वन्योः संकरः । एवमन्यदप्युदाहार्यम् ॥ इति काव्यप्रकाशे ध्वनिनिर्णयो नाम चतुर्थ उल्लासः ॥ ४ ॥ dent) of the two suggestions (where the expressed mean- ing is entirely ignored) ;—and (b) again with these two there is ‘commixture’ with the suggestion in the expression ‘I am Rāma’, whose expressed meaning is transformed into something else (i. e. disregard for himself, who is known to be the receptacle of constant sufferings); in which commixture (of the second kind) the two factors help each other,—and another ‘commixture’ (of the third kind) of the suggestion (by the whole sentence) of the ‘erotic in privation’ and that (by the single word ‘rāmaḥ’) of ‘self-abnegation’, in both of which the Expressed meaning is transformed, and both of which form part and parcel of what is indicated by the single word ‘rāmaḥ’. The other varieties may be similarly illustrated. 43-44. [Here ends the chapter IV entitled Description of Suggestion of the Kāvyaprakāśa.]

अथ पञ्चम उल्लासः एवं ध्वनौ निर्णीते गुणीभूतव्यङ्ग्यप्रभेदानाह । अगूढमपरस्याङ्गं वाच्यसिद्धयङ्गमस्फुटम् । सन्दिग्धतुल्यप्राधान्ये काक्वाक्षिप्तमसुन्दरम् ॥ ४५ ॥ व्यङ्ग्यमेवं गुणीभूतव्यङ्ग्यस्याष्टौ भिदाः स्मृताः । कामिनीकुचकलशवत् गूढं चमत्करोति । अगूढं तु स्फुटतया वाच्यायमानमिति गुणीभूतमेव । CHAPTER V POETRY OF SUBORDINATE SUGGESTION (POETRY OF INTERMEDIATE ORDER). Suggestive Poetry having been described, the author proceeds to describe the varieties of 'Poetry of Subordinate Suggestion'— There are eight varieties of the Poetry of Subordinate Suggestion, according as the suggested meaning is—(1) obvious, (2) subservient to something else, (3) subservient to the accom- plishment of the 'expressed' meaning, (4) abstruse, (5) of doubtful prominence (in comparison to the expressed meaning), (6) of equal importance (with the expressed meaning), (7) rendered manifest by intonation, or (8) not beautiful. Like the breasts of a young girl, suggestion has a charm only while it is concealed ; when it is not concealed, it becomes too obvious and hence as prosaic as the expressed meaning ; this is what is meant by its being 'subordinate'.

120 KĀVYAPRAKĀŚA अगूढं यथा यस्यासुहृत्कृततिरस्कृतिरेत्य तप्त- सूचीव्यधव्यतिकरेण युनक्ति कर्णौ । काञ्चीगुणग्रथनभाजनमेष सोस्मि जीवन्न संप्रति भवामि किमावहामि ॥११३॥ अत्र जीवन्नित्यर्थान्तरसंक्रमितवाच्यस्य । उन्निद्रकोकनदरेणुपिशङ्गिताङ्गा गायन्ति मञ्जु मधुपा गृहदीर्घिकासु । एतच्चकास्ति च रवेर्नवबन्धुजीव- पुष्पच्छदाभमुदयाचलचुम्बि बिम्बम् ॥११४॥ अत्र चुम्बनस्यात्यन्ततिरस्कृतवाच्यस्य । (1) Example of obvious suggestion— ‘ In former times the taunts of an enemy always appeared in my ears like piercing hot needles,—and now that same I have been reduced to this position that I am entrusted with the work of knitting the girdle-zones of ladies ! Even though existing, I am not alive ! What can I do ?’ Here the suggestion lies in the term ‘existing,’ which has its expressed meaning of ‘living’ transformed into some- thing else (i. e., ignominious existence) [and this is too ‘obvious’ to be charming]. Another example— ‘ Among the house-hold pools, the black bees, are humming sweetly, their bodies rendered tawny with the dust of the full-blown red lotus ; and here shines the Sun, bright as the petals of the Bandhujīva flower, kissing the Rising Mount.’ Here the suggestion of dawn lies in the term ‘kissing’,

CHAPTER V 121 अत्रासीत् फणिपाशबन्धनविधिः शक्त्या भवद्देवरे गाढं वक्षसि ताडिते हनुमता द्रोणाद्रिरत्राहृतः । दिव्यैरिन्द्रजिदत्र लक्ष्मणशरैर्लोकान्तरं प्रापितः केनाप्यत्र मृगाक्षि राक्षसपतेः कृत्ता च कण्ठाटवी ॥११५॥(१) अत्र केनाप्यत्रेत्यर्थशक्तिमूलानुरणनरूपस्य । 'तस्याप्यत्र' इति युक्तः पाठः । अपरस्य रसादेर्वाच्यस्य वा (वाक्यार्थीभूतस्य) अङ्गं रसादि अनुरणनरूपं वा । यथा which has its expressed meaning entirely ignored, [and this is too 'obvious'.] Another example— 'Here occurred the act of being bound in the serpentine noose ; here was the Droṇa mountain brought by Hanu- man when your younger brother-in-law was wounded by the missile in his chest ; here was Indrajit sent to the re- gions of the dead by the celestial arrows of Lakṣmaṇa ; and O fawn-eyed one, here was cut down by some one the line of heads of the Demon-king.' Here the suggestion of the speaker himself lies in the term 'by some one', where the suggestive reverberation is based upon the force of the meaning. [And this is too 'ob- vious'.] 'Tasyāpyatra' (of that) would be the better reading (in which case the suggestion would not be too obvious or subordinated). (2) Example of that Passion (Emotion and so forth) which is 'subservient to—a mere echo of—' something else'—i. e., of another Passion (Emotion and so forth), or of the expressed meaning, denoted by a sentence,—

122 KĀVYAPRAKĀŚA अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरूजघनस्पर्शी नीवीविस्रंसनः करः ॥११६॥ अत्र शृङ्गारः करुणस्य । कैलासालयभाललोचनरुचा निर्वर्तितालक्तक- व्यक्तिः पादनखद्युतिर्गिरिभुवः सा वः सदा त्रायताम् । स्पर्धाबन्धसमृद्धयेव सुदृढं रूढा यया नेत्रयोः कान्तिः कोकनदानुकारसरसा सद्यः समुत्सार्यते ॥११७॥ अत्र भावस्य रसः । अत्युच्चाः परितः स्फुरन्ति गिरयः स्फारास्तथाम्भोधय- स्तानेतानपि बिभ्रती किमपि न क्लान्तासि तुभ्यं नमः । ‘ This is that same hand which used to pull (my) girdle-zone, press the plump breasts, touch the navel, the thighs and the hips and loosen the cloth-knot.’ Here the Erotic is ‘ subservient ’ to the Pathetic. [It is the speech of the wife of a hero in the Mahābhārata war, addressed on seeing the dead body of her husband]. Another example— ‘ May the sheen of the foot-nails of Pārvatī ever protect you,—the red paint wherein has become heightened by the (red) light emanating from the eye on the forehead of Śiva (who has fallen upon her feet for the purpose of propitiating her) ; and this sheen, urged by emulation as it were, speedily and steadily sets aside the red-lotus-like lustre of her eyes (by depriving them of the redness due to her anger which has ceased upon her husband falling at her feet)’. Here the Passion (Erotic) is ‘ subservient ’ to the Emo- tion (the poet’s devotion to the goddess).

आश्चर्य्येण मुहुर्मुहुः स्तुतिमिति प्रस्तौमि यावद्भुव- स्तावद्बिभ्रदिमां स्मृतस्तव भुजो वाचस्ततो मुद्रिताः॥११८॥ अत्र भूविषयो रत्याख्यो भावो राजविषयस्य रतिभावस्य । बन्दीकृत्य नृप द्विषां मृगदृशस्ताः पश्यतां प्रेयसां श्लिष्यन्ति प्रणमन्ति लान्ति परितश्चुम्बन्ति ते सैनिकाः । अस्माकं सुकृतैर्दृशोर्निपतितोस्यौचित्यवारान्निधे विध्वस्ता विपदोखिलास्तदिति तैः प्रत्यर्थिभिः स्तूयसे॥११९॥ अत्र भावस्य रसाभासभावाभासौ प्रथमार्धद्वितीयार्धद्योत्यौ ।

124 KĀVYAPRAKĀŚA अविरलकरवालकम्पनैर्भ्रुकुटीतर्जनगर्जनैर्मुहुः । ददृशे तव वैरिणां मदः स गतः क्वापि तवेक्षणे क्षणात् ॥१२०॥ अत्र भावस्य भावप्रशमः । साकं कुरङ्गकदृशा मधुपानलीलां कर्तुं सुहृद्भिरपि वैरिणि ते प्रवृत्ते । अन्याभिधायि तव नाम विभो गृहीतं केनापि तत्र विषमामकरोदवस्थाम् ॥१२१॥ अत्र त्रासोदयः । tion (for the king, on the part of his enemies)—implied in the second half—are ‘ subservient ’ to the (poet's) feeling of veneration for the king. Another example— ‘ The haughtiness of your enemies was seen in the constant brandishing of swords, in the curvature of the eye-brows and in frequent roaring ; but at sight of you, it instantly disappeared’. The ‘ Allayment of the Feeling ’ (of pride) is sub- servient to the (poet's) feeling (of veneration for the king). Another example— ‘ On the occasion of your enemy setting about a drinking revelry in the company of the fawn-eyed girl and his friends,—your name, even though mentioned by some one in another connection, filled him with dis- tress’. Here the ‘ appearance of the feeling of fear ’ (is subservient to the poet’s feeling of veneration for the king).