काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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वाक्यं रसादिमत् काव्यम्—(utterance embodying emotion is poetry), accord- ing to a quotation in Alaṁkāra Shekhara. It is only a matter of con- jecture whether he belonged to the genuine Sūtra period of Sanskrit literature—the period immediately following Vyāsa, the great or- ganiser of Sanskrit learning The outlines and the elementary principles of Sāhitya are given in the Agni Purāna also as now extant, but as to the authorship, authenticity and antiquity of the work grave doubts are entertained by those learned in these matters. As regards Bharata, a tradition says that the Kārikās (memorial verses), of the Kāvya-Prakāça, themselves are the work of Bharata, and that Mammata wrote only the prose portion of the text in the form of a commentary. But another tradition, as also the fact that Mammata refers to Bharata in one place, in the fourth Chapter of the work, in support of the doctrine stated in the Kārikā, goes against this. The truth, as usual, probably lies between, and Mammata seems to have made large use of the Sūtras of Bharata in fashioning his verses, and has perhaps incorporated therein large pieces of them bodily, thus giving rise to the first mentioned tradition. Mammata himself was undoubtedly a Brāhmana of Kashmir and lived and wrote his famous work certainly before the 12th century A. C., about the time when English literature was just beginning to be born. The earliest commentary on his work now available and apparently the earliest in fact also, is, that of Mānikya-Chandra, and that is expressedly dated by Mānikya-Chandra himself, in the colophon, with the Saṁvat year 1216, corresponding with 1159 A. C. At the same time there is no reason to believe that the author of the Kāvya- Prakāsha lived earlier than the eleventh century A. C.; for he quotes a verse in his 10th Chapter from Bhoja, who reigned in the earlier half of that century, for a tradition has it that his younger brother Uvvata attended the court of this very Bhoja at his capital Avanti for some time; and he was probably the medium of the quotation. It is easy to understand that the Court-Pandit should have gladly seized on the first opportunity that offered of paying an elegant com- pliment to the literary merits of his really deserving master, by securing for a production of his a gratifying reference and quotation in the masterpiece of his famous brother, and of, at the same time, and by the same stroke of policy, obtaining for that masterpiece an introdu-

XII ction under the most favourable circumstances to the court of his royal patron. Mammaṭa was a member of a true Pandit family ; he was the son of Jayyaṭa, the joint author with Vāmana of the celebrated grammatical treatise, the Kāshikā; and the brother of Kayyaṭa, the author of the standard gloss on Patañjali's Great Commentary and of the above- mentioned Uvvaṭa, the author of a Bhāshya on the Vedas and other Vedic works, which, however, have been superseded by the later works of Sāyaṇa and Mādhava. Mammata is said, by Bhīmasena in the opening verses of his commentary on the Kāvya-Prakāsha to have travelled to Benares for purposes of study. The times of Mammaṭa seem to have been times of a general outburst of literature and learn ing in Kashmir, which had most likely something to do with the Buddhist literature and learning, then on its way out of India to its present Tibetan home across the Himālayas. A lot of literary names ending with the characteristic syllable ṭa are to be found in the books of this period, Vajjraṭa, Rudraṭa, Bhallaṭa, Vābhaṭa, Allaṭa, &c. How these outbursts and revivals travel about from place to place is a phe- nomenon which is observable in the literary history of ancient and modern Europe also. Sāhitya in India appears to have passed on from Kashmir to Mithilā, and thence to Bengal ; it is now almost confined to the Deccan. The mention of Allaṭa leads us to the fact that the Kāvya-Prakāsha could not be completed by Mammaṭa, notwithstanding the inevitable maṅgalācharaṇa, the propitiation of the appropriate Goddess of Speech. Apparently in accordance with the very satisfactory ex- planation of the ingenious Naiyāyika, the past evil karma of Mammaṭa's previous births was too voluminous to be dispelled by the amount of maṅgalācharaṇa he made, and so the thread of his life broke short ! But it broke short when he was in sight of his goal ; and he has prac- tically completed his work. About a third of the last chapter on Figures,—or rather as they are more becomingly named in Sanskrit, Ornaments of Speech—which third amounts roughly to a tenth of the whole work,—was written by Allaṭa, from the second half of the 118th verse onwards, (page 244 of the translation*). This is expressly stated by Anand in his commentary entitled the Nidarshana on the Kāvya-Prakāsha, who again, in explaining the last verse of the work *Not in the present edition.

xiii refers to the same fact in this wise, “ although this 10th chapter has been written by two authors, still the appreciating I will miss no pleasure of true excellence, indeed the general experience is that the mango fruit bred out of crossed varieties is even more luscious (than the fruit of either of its original parents).” Other commenta- tors also interpret the shloka above referred to, to the same effect Of commentaries and glosses on the Kāvya Prākāsha the number is legion. Verses current amongst the Pandits refer to this fact thus— काव्यप्रकाशस्य कृता गृहे गृहे टीका तथाप्येष तथैव दुर्गमः ॥ (commentaries on the Kāvya-Prakāsha have been done up in every house, and yet it remains as difficult to understand as ever !) Or again— काव्यप्रकाशे टिप्पण्यः सहस्रं सन्ति तथापि । (although there are thousands of glosses on the Kāvya-Prakāsha still, &c. &c.). There is no other Sanskrit work so much be-commen- ted, except perhaps the Paribhāshendu-Shekhara of Nāgesha Bhatta It might be worth mention in this connection that Vishwanātha Kavirāja, the author of the other most famous work on Sāhitya, referred to at the outset of this preface, thought fit to write an elaborate com- mentary on the Kāvya-Prakāsha after composing his own independent work, as is evident from the frequent references to the latter in the former. Indeed the work seems to have excited a most singular emulation amongst all classes of writers to show their appreciation of it by means of comments; famous Naiyāyikas like Jagadīsha and Gadādhara, leaders in Vyākaraṇa like Nāgesha Bhatta, renowned Tāntrikas like Gokula-Nātha and Kalyāna Upādhyāya, have all tried their hands at it. This gives us an idea of the high honour in which the Kāvya-Prakāsha has always been held throughout India, as an authority on its subject, and as a work, the careful study of which is indispensable to every Pandit who aspires to be regarded as a “ Sāhityāchārya ”. A very full account of principal commentaries* on the work is *Though no less than forty-six commentaries are enumerated, there, three more commentaries have been found of which no men- tion is made : (1) By one “ Paṇḍita-Rāja ” (identified by Pandits with Raghunandana Rāya, the renowned disciple of Mahesha Thakk- ura. This commentary begins thus : रघुवंशजलधिचन्द्रं रावणवनदन्तिपारीन्द्रम् ।

X V to be found in the elaborate Sanskrit Introduction (from which many of the facts stated above have been taken) to his edition of it, (with his own—the latest, perhaps the best, and certainly the fullest commentary), by the eminently learned Mahāmahopadhyāya Pandit Vāmanāchārya Zhalkīkar of Poona. In bringing the above remarks to a conclusion, I have to thank the gentlemen who have, in one way or another, helped me in the मीतामुदितमयूरीमुदिरमुदारमहं कलये ॥ १ ॥ मौलौ निधाय पाणी वाणीमनिशं नमस्कृत्य । पण्डित- राजः कुरुते टीकां काव्यप्रकाशस्य ॥ २॥ इयताऽपि बुद्धिविभवेन मोहतो यदमूष्य भावशतवर्णनोधमः । अपि सत्सु सत्सु गुणभावगौरवादवधेहि बाणिकरवाणि साहसम् ॥३॥ वलिशादपि वक्रहृदः कुलिशादपि कठिनकर्माण.। गरलादपि मर्मभिदो ये केचन तान्नमस्कार्मं ॥४॥ हरमौलिगलितगङ्गावीचिविचित्रिताशया सुधिय. । मत्कृतिमतिदीर्घकृपादृक्पातसुधारसेन सिञ्चन्तु ॥ ५ ॥ प्रथमत. प्रेक्षावत्प्रवृत्तिनिमित्तत्वेन प्रयोजनाभिधेयसम्बन्धस्याभिधातुमुचितस्यानभिधाभाद् भारतीस्तुतिमत्यात्मकमङ्गलस्य समाप्तौ व्यभि- चारात् फलान्तरस्याभावात् ... प्रथमश्लोकमवतारयति ग्रन्थान्तरम्भ इति ।। and ends thus : उल्लासमुपसंहरति तदेत इति । इतीति ग्रन्थसमाप्तौ ॥ इति महामहोपाध्याय श्रीमत्पण्डितराजविरचिता- काव्यप्रकाशटीकाया दशमोल्लासः ॥ The MS. found is dated शाके १५५९ (A. C. 1637) (2) By Mahāmahopādhyāya Gokula-Nātha Upādhyāya. This begins thus • नत्वा परमात्मानं श्रीगोकुलनाथशर्मणा रचिता । काव्यप्रकाशिकायटीका प्रीत्यै सूनामस्तु ॥ १ ॥ कारिकानिबद्धमङ्गलश्लोकानुवचना देवानुषङ्गिकविघ्नध्वंससिद्धौ वृत्तिकारो न मङ्गलम् प्रणीतवान् न चोपनिबबन्ध । किन्तु कारिकाप्रबन्धमारिप्समानस्य ग्रन्थकृत प्रथमम् मङ्गलमाचरतो निबध्नतश्च निष्फलकर्मकर्तृ त्वादनवधेयवचमत्वशङ्कामपाकर्तुमवतारयन्नानुषङ्गिकमङ्गलसम्पत्तये मौल- म्पद्यमनुवदति ग्रन्थेत्यादिना जयतीत्यन्तेत । अधिकरणसमूहः शास्त्रम् . . . ॥ The MS. found does not extend to the end.¹ (3) By Kallyāna Upādhyāya—only fragments of this work have been found. In a foot-note in connection with commentary No 25, the Sanskrit Introduction says that it is by Vāchaspati Mishra, the "सर्वतन्त्रज्ञः" I venture to point out that this is an oversight : because the Vāchas- pati Mishra, who is generally styled 'सर्वतन्त्रज्ञ'—the author of "Bha- matī" &c.—is much older than Mammaṭa, and further, this author has enumerated all his works at the end of "Bhāmatī" where no mention is made of any commentary on the Kāvya-Prakāsha. The Vāchaspati Mishra who wrote a commentary on the Kāvya-Prakāsha, is the legist, the author of a series of Dharmasāshstra works—Āchāra- chintāmaṇi, &c. [ 1. Fragment extending up to the chapter V edited by Kavi- shekhara Badarinatha Jha and published by the Sanskrit University, Varanasi 1961. ]

xv translation. First among these comes Pandit Jayadeva Mishra, Professor of Vyākaraṇa in the “Darbhanga Pāṭhashālā,” Benares, from whom I got my first lessons in Kāvya-Prakāsha, and then Rai Bahadur Pramadā Dāsa Mittra of Benares, already mentioned, who not only encouraged me in the work, but also took upon himself the trouble of correcting an important portion of it. My thanks are also due to my honoured tutor, late Mr. Arthur Venis, M. A., Principal of the Queen’s College, Benares, without whose encouraging words and example, I should probably have never ventured upon literary work, and to whose kind help is due the publication of the present trans- lation. The last person, but not the least, whom I cannot leave un- mentioned, is Babu Govinda-Dāsa of Benares, who has ever been the guiding spirit of literary life DARBHANGA $\quad\quad\quad\quad\quad\quad\quad\quad$ GANGĀNĀTHA JHĀ. April, 1918

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KĀVYAPRAKĀSHA CONTENTS Text with translation, etc. Page काव्यप्रकाशकारिकापाठः १–१२ पाठान्तरचक्रम् १२–१६ CHAPTER I Invocation इष्टदेवतापरामर्श : . 1 Contrast between the Creation of Brahma and that of the Poet’s Speech. ब्रह्मनिर्मितिकविनिर्मितिभेद . 1 Effects of Poetry : Fame Etc काव्यप्रयोजनम् 2 Cause of Poetry : Genius, &c काव्यकारणम् .. 3 Definition of Poetry काव्यलक्षणम् .. 4 Divisions of Poetry • (a) “ Dhvani ” काव्यभेदा (क) ध्वनि. . 6 (b) Poetry of Subordinate Suggestion (ख) गुणीभूतव्यङ्ग्यकाव्यम् 7 (c) Third Class Poetry—“ Fanciful ” (ग) चित्रकाव्यम् .. 7 CHAPTER II Three kinds of Words शब्दस्य त्रयो भेदाः वाचकलाक्षणिकव्यञ्जकाः .. 9 A Fourth Kind (according to some) चतुर्थ तात्पर्याख्यः .. 9 Suggestion belonging to all meanings सर्वेषा व्यञ्जकत्वम् .. 10 , Expressive Word defined वाचक लक्षणम् .. 12 Fourfold Convention चतुर्भेद. संकेत. .. 12 The “ Individualistic ” and “ Class ” Theories Contrasted जातिव्यक्तिभेदः .. 12 Divisions of Upādhi उपाधिभेदौ .. 13 ‘ Denotation ’ Defined अभिधालक्षणम् . .. 17 Indication Defined लक्षणालक्षणम् .. 17 Examples of Indication लक्षणायाः उदाहरणानि .. 17 Different Kinds of ‘ Indication ’ लक्षणाभेदाः .. 19 What is Pure Indication शुद्धालक्षणा .. 19

xvii Inclusive Indication उपादानलक्षणा .. .. 19 Indicative Indication लक्षणलक्षणा .. . 21 Superimponent Indication सारोपा लक्षणा .: . 22 Intro-susceptive Indication साध्यवसाना लक्षणा . .. 23 Qualitative Indication गौणी लक्षणा 23 Difference between Pure and Qualitative Indications गौणशुद्धलक्षणयोर्भेदः 26 Six Kinds of Indication षड्विधा लक्षणा .. .. 27 Indication based on Motive is endowed with Suggestive Meaning. प्रयोजनमूला लक्षणाया. व्यङ्ग्यसहितत्वम् .. . 27 ‘ Suggestion ’ either Abstruse or Explicit गूढागूढव्यङ्ग्यत्वम् . 27 Examples of both द्वयो उदाहरणानि . .. 28 ‘ Indication ’ of three kinds लक्षणाया. त्रैविध्यम् .. 29 Indicative Word Defined लाक्षणिकशब्द. .. 29 Suggestion in the comprehension of the Motive लक्षणामूलकव्यञ्जना- व्यवस्थापनम् 30 Reasons for admitting of such Suggestion व्यञ्जनाग्रहणे को हेतुः .. 30 It cannot be Denotation अभिधा न .. .. 30 It cannot be Indication लक्षणा न .. . 31 Why not Indication ? कथ न लक्षणा .. 31 Admission of Indication leads to a Regressus ad infinitum .. अनवस्थादोषः स्यात् 32 Motive does not accompany the Indicated Meaning .. प्रयोजनेन सहित लक्षणीयं न 33 Reasons for the Assertion तद्धेतुः .. .. 33 Definition of Suggestion based on Denotation अभिधामूला व्यञ्जना 34 The Different Causes of Suggestion व्यञ्जनाहेतवः .. .. 34 Examples उदाहरणानि .. .. 35 The Suggestive Word Defined व्यञ्जकशब्दलक्षणम् .. .. 39 Meaning Auxiliary to Suggestion शब्दस्य व्यञ्जकतायामर्थस्य सहकारिता 39 CHAPTER III Suggestiveness Defined व्यञ्जकतालक्षणम् .. .. 40

xviii Suggestion Defined व्यञ्जनालक्षणम् .. .. 40 Suggestion due to the special character of the Speaker, &c. वक्त्रादीना वैशिष्ट्ये व्यञ्जनाया उदाहरणानि (1) Of the Speaker वक्तुः .. 41 (2) Of the Person Spoken to बोद्धव्यस्य . 41 (3) Of Intonation काको 42 (4) Of the Sentence वाक्यस्य .. . 43 (5) Of the Expressed Meaning वाच्यार्थस्य . 43 (6) Of Presence of another अन्यसन्निधेः 44 (7) Of Context प्रस्तावस्य . .. 44 (8) Of Place देशस्य .. 45 (9) Of Time &c. कालादीनाम् 45 Suggestiveness of a Combination of the aforesaid specialities वक्त्रादीना मिथःसयोगे .. 47 Words help the Suggestiveness of Meaning अर्थव्यञ्जकताया शब्दस्य साहाय्यम् .. 47 CHAPTER IV Justification of taking up Divisions of Poetry काव्यभेदाभिधानसमर्थनम् 48 Two kinds of Suggestive Poetry काव्यभेदौ .. .. 48 (1) Suggestive Poetry based on Indication, where the Direct Meaning is transferred to another .. अर्थान्तरसङ्क्रमितवाच्यः 48 (2) Where the Direct Meaning is altogether neglected .. अत्यन्ततिरस्कृतवाच्य 49 Suggestion based on Denotation विवक्षितान्यपरवाच्य. .. 50 The two kinds of "Vivakshitānyaparavāchya" तद्‌भेदौ .. 50 I That in which The Order of Sequence is not perceptible .. असंलक्ष्यक्रमव्य ङ्ग्यः 51 Rasa Defined. रसस्वरूपम् .. . 52 Bharata’s Sūtra भरतसूत्रम् . 52 Bhattalollata’s Interpretation of Bharata भट्टलोल्लटमतम् .. 52 Shaṅkuka’s Interpretation of Bhārata शङ्कुकमतम् .. 53

XIX Bhattanāyaka's Interpretation of Bharata भट्टनायकमतम् .. 56 Abhinavagupta's Interpretation of Bharata अभिनवगुप्तमतम् 57 The Eight Rasas Enumerated अष्टौ रसाः . . 62 (a) The Erotic शृङ्गारः . 63 Erotic in Enjoyment सम्भोगशृङ्गार 63 Of Privation विप्रलम्भशृङ्गारः . 64 Of Longing अभिलाषः . 64 Of Separation विरह 64 Of Jealousy ईर्ष्या 65 Of Residence Abroad प्रवासः 65 Of Curse शापः 65 (b) The Comic हास्य 66 (c) The Pathetic करुण 66 (d) The Furious रौद्र . 67 (e) The Heroic वीरः 67 (f) The Frightful भयानक . 67 (g) The Disgustful बीभत्स . 68 (h) The Marvellous अद्भुत. . 68 The Permanent Emotions Underlying the Rasas स्थायिभावाः 68 The Thirty-Three Accessary Emotions Enumerated व्यभिचारिभावा . 69 The Ninth Rasa—The Quietistic नवमो रसः—शान्त .. 70 Bhāva (Emotion) Defined भावः .. 70 The Aberrations of Rasa and Bhāva रसाभासभावाभासौ . 72 Allayment. Manifestation, Mixture and Variegation of Emotions. भावस्य शान्तिरुदयः संधिः शबलता च . .. 73 (1) Allayment of Emotion भावशान्तिः .. 73 (2) Manifestation of Emotion भावोदयः .. 74 (3) Conjunction of Emotion भावसंधिः .. 75 (4) Admixture of Emotion भावशबलता . .. 75 Allayment, etc. sometimes the Predominent Factor .. भावाशान्त्यादीना क्वचित् प्राधान्यम् 75

xx II Suggestive Poetry of Perceptible order of Sequence .. is Three-fold संलक्ष्यक्रमव्यङ्ग्यध्वनिः 76 Suggestion arising from the power of the Word शब्दशक्त्युत्थध्वनिः 77 Of figure of speech by Word शब्दशक्त्युत्थालकारध्वनि. 77 Of fact by word शब्दशक्त्युद्भववस्तुध्वनिः .. 80 Suggested Meaning arising from power of Meaning अर्थशक्त्युद्भवध्वनि 81 I The Self-Existent स्वतः सम्भवी .. 81 II That created by the Poet's Imagination कविप्रौढोक्तिसिद्ध .. 81 III Created by a character portrayed by the Poet कविनिबद्धनायकोम्भित 81 Example of the first kind of the Self-Existent स्वतः सम्भविनः .. उदाहरणानि 82 —Fact suggested by Fact वस्तुना वस्तुध्वनिः 82 ,, ,, ,, 2nd kind ,, Figure suggested Matter वस्तुना अलंकारध्वनि. 83 ,, ,’ ,, 3rd king ,, Fact by Figure अलंकारेण वस्तुध्वनिः 83 ,, ,, ,, 4th kind ,, Figure by Figure अलंकारेण .. अलंकारध्वनिः 83 Example of the 1st kind of that which is established by the Poet’s Assertion. कविप्रौढोक्तिसिद्धानामुदाहरणानि— Fact by Fact वस्तुना वस्तुध्वनिः .. 84 ,, ,, ,, 2nd king ,, Figure by Fact वस्तुना अलंकारध्वनिः 84 ,, ,, ,, 3rd kind ,, Fact by Figure अलंकारेण वस्तु- ध्वनिः 85 ,, ’ ,, 4th kind ,, Figure by Figure अलंकारेण .. अलंकारध्वनि. 85 Example of the 1st kind of that created by a character portrayed by the poet:—कविनिबद्धनायकोम्भितस्योदाहरणानि .. Fact by Fact वस्तुना वस्तुध्वनिः 86

XXI ” ” ” 2nd kind ” Figure by Fact वस्तुना अलकार- ध्वनि 87 ” ” ” 3rd kind ” Fact by Figure अलकारेण वस्तु- ध्वनि 87 ” ” 4th kind ” Figure by Figure अलकारेण अलकार- ध्वनि. 88 Only one kind of Suggestive Meaning due to both Word and Meaning शब्दार्थोभयशक्त्युत्थध्वनिः . 89 Eighteen-foldness of Suggestive Poetry ध्वनेरष्टादश भेदा˙ .. 90 Rasa and other forms, etc. counted as one रसादीना एक एव भेद 90 In a Sentence, we have Suggestion due to both Word and Meaning वाक्ये ह्युत्थ. .. . 91 In Words, these and others पदेप्यन्ये . 91 (1) Having the Expressed Meaning transferred to another अर्थान्तरसक्रमितवाच्यध्वनि. 92 (2) Having the Expressed Meaning Entirely Ignored अत्यन्ततिरस्कृतवाच्यध्वनि 92 (3) Having the Suggestion of imperceptible sequence असंलक्ष्य- क्रमव्यङ्ग्यध्वनिः 92 (4) Suggestion of perceptible process by Words संलक्ष्यक्रमव्यङ्ग्य- ध्वनि˙; founded on the power of a Word शब्दशक्तिमूल. : of Figure by Fact वस्तुना अलकारध्वनि . 94 (5) Suggestion of perceptible process : by Words : founded on the power of Word · of Fact by Fact वस्तुना वस्तुध्वनि 94 (6) Suggestion of perceptible sequence : by Word अर्थशक्तिमूल : founded on the power of Sense स्वत सम्भवी:, Self-Existent of Fact by Fact वस्तुना वस्तुध्वनि 95 (7) ‘ ” of Figure by Fact वस्तुना अलकारध्वनि .. 95 (8) ” of Fact by Figure अलकारेण वस्तुध्वनि˙ 96 (9) ” of Figure by Figure अलंकारेण अलकारध्वनि .. 97 (10) Suggestion of perceptible process : by Words : founded on the bold assertion of the Poet : कविप्रौढोक्तिनिष्पन्नः .. ‘ Fact by Fact वस्तुना वस्तुध्वनिः .. 97

xxii (11) ,, Figure by Fact वस्तुना अलंकारध्वनिः .. 98 (12) ,, Fact by Figure अलंकारेण वस्तुध्वनिः .. 98 (13) ,, Figure by Figure अलंकारेण अलंकारध्वनिः .. 99 (14) Suggestion of perceptible process : by Word : founded on the assertion of a character portrayed by the Poet : कवि- निबद्धवक्तृप्रौढोक्तिनिष्पन्नः Fact by Fact वस्तुना वस्तुध्वनिः 99 (15) ,, Figure by Fact वस्तुना वस्तुध्वनि· 100 (16) ,, Fact by Figure अलंकारेण वस्तुध्वनि .. 101 (17) ,, Figure by Figure अलंकारेण अलंकारध्वनिः 102 Suggestion in a Prabandha-Context प्रबन्धे अर्थशक्त्युद्भवध्वनि 103 Suggestiveness of the Particles of Words पदैकदेशध्वनि· 105 (1) Suggestion by the base of a Word प्रकृत्या . 105 (2) ,, of Inflexion and Declension तिङ्‌सुपोः . 106 (3) ,, by the Genitive Case-termination सबन्धस्य . 108 (4) ,, of Number वचनस्य .. . 109 (5) ,, of Person पुरुषव्यत्ययस्य .. 110 (6) ,, of the Irregular Order of Words पूर्वनिपातस्य 110 (7) ,, of the Peculiar Case Affix विभक्तिविशेषस्य . 111 (8) ,, of the Nominal Affix तद्धितस्य .. 111 (9) ,, of the Preposition उपसर्गस्य .. . 112 (10) ,, of the Nipāta निपातस्य . 112 (11) ,, of the Pronouns, Substantives and Numbers सर्वनामप्रातिपादिकवचनानाम् 113 (12) ,, of Affixes, Compounds, etc. प्रत्ययसमासादीनाम् 114 Total—51 Forms of Suggestion एकपञ्चाशद् भेदाः .. 115 These by Various Combinations come to 10,404 संकरेण संसृष्ट्या सह १०४०४ भेदाः 116 Grand Total : 10,455 शुद्धभेदैः सह १०४५५ भेदाः 116 Examples उदाहरणानि ... 117 Comixture of Dubiousness ... .. 117 Mutual Subserviency ... ... 118

Poetry of Subordinate Suggestion described गुणीभूतव्यङ्ग्यम् .. 119 (1) The Explicit (Obvious) Subordinate Suggestion अगूढम् .. 119 .... (a) having the Expressed Meaning transferred to another object अर्थान्तरसक्रमितवाच्यस्य . 120 ,, (b) in which the Expressed Meaning is altogether neglected अत्यन्ततिरस्कृतवाच्यस्य 120 ,, (c) based on the power of Meaning अर्थशक्ति- मूलानुरणनरूपस्य 121 (2) Subservient to some thing else (a) Rasa to Rasa रसो रसस्य .. 122 ,, (b) Rasa to Emotion रसो भावस्य .. 122 ,, (c) Emotion to Emotion भावो भावस्य .. 123 ,, (d) Semblance of Rasa and Emotion to Emotion रसाभासभावाभासौ भावस्य . 123 ,, (e) Allayment of Emotion to Emotion भावशान्ति भावस्य 124 ,, (f) Appearance of Emotion to Emotion भावोदयः भावस्य 124 ,, (g) Mixture of Emotion to Emotion भावसन्धिः भावस्य 125 ,, (h) Variegation of Emotion to Emotion भाव- शबलता भावस्य 125 ,, (i) Suggested Figure, a part of Expressed Meaning अनुरणनरूपस्य अलङ्कारस्य वाच्याङ्गता 127 ,, (j) Suggested matter a part of Expressed Meaning तद्रूपस्य वस्तुनो वाच्याङ्गता .. 128 (3) Suggestion, part of the development of the suggested meaning वाच्यसिद्ध्यङ्गम् . 128 (4) Abstruse Subordinate Suggestion क्लिष्टम् .. 130 (5) Of Doubtful Predominance सन्दिग्धप्राधान्यम् . .. 130 (6) Of Equal Prominence तुल्यप्राधान्यम् . .. 131 (7) Rendered manifest by Intonation काक्वाक्षिप्तम् .. .. 131 (8) The Not-Beautiful असुन्दरम् .. .. 132

xx v Divisions of the Poetry of Subordinate Suggestion follow those of Suggestive Peotry. गुणीभूतव्यङ्ग्यानां ध्वनिवद् भेदाः .. 132 Combination of the Various kinds of Poetry Suggestive and those of the Poetry of Subordinate Suggestion संसृष्टिसंकरैः योगः .. 133 Suggestion as a process of Signification, necessary, apart from all other processes. रसादिलक्षणार्थस्य व्यङ्ग्यत्वम् .. 135 Points of Difference between the Direct (Expressed) and Indirect (Suggested) Significations वाच्यव्यङ्ग्ययोर्भेदः .. 149 CHAPTER VI Fanciful Word and Meaning शब्दचित्रार्थचित्रयोः स्वरूपम् 161 Fanciful Word शब्दचित्रम् . . 162 Fanciful Meaning अर्थचित्रम् .. . 163 CHAPTER VII Definition of Defect दोषलक्षणम् .. . 165 Defects of the Word पददोषाः . 165 (1) The Unpleasant to the ear श्रुतिकटु 166 (2) Lacking Correctness च्युतसंस्कृतिः 166 (3) 'Unconventinal' अप्रयुक्तम् . . 168 (4) Incapable of giving sense असमर्थम् . 168 (5) Suppressed Meaning निहतार्थम् . 169 (6) Improper Signification अनुचितार्थम् . 169 (7) Useless निरर्थकम् . .. 170 (8) Not-expressive अवाचकम् 170 (9) Three fold Indecorousness त्रिविधम् अश्लीलम् . 173 (10) Ambiguousness सन्दिग्धम् . . 174 (11) Unintelligibility अप्रतीतम् .. 175 (12) Vulgar ग्राम्यम् .. .. 175 (13) That of which the meaning has to be guessed out नेयार्थम् 176 (14) Obscure क्लिष्टम् .. .. 177 (15) Non-discrimination of the Predicate अविमृष्टविधेयांशम् .. 177

xxv (16) Repugnant Implication विरुद्धमतिकृत् .. .. 181 Unmelodiousness in Compounds समासगत श्रुतिकटु .. .. 183 Defects of sentence (all the above except "Lack of Correctness "." Incapability of giving sense" and "Use- lessness ".) वाक्यदोषाः .. .. 184 Defects occurring in parts of words पदांशगतदोषाः.. .. 201 The Defects occurring in a sentence only वाक्यदोषाः . 207 (1) Discord of Letters प्रतिकूलवर्णम् .. .. 207 (2) and (3) The Blunted Visarga and the Rejected Visarga उपहतविसर्गलुप्तविसर्गं च . 210 (4) Cacaphony विसन्धि .. . 210 (5) Unrhythmical हतवृत्तम् . . 213 (6) Deficiency in Word न्यूनपदम् . . 215 (7) Redundant Word अधिकपदम् .. . 216 (8) Repetition of Words कथितपदम् .. .. 217 (9) Falling off of Excellence पतत्प्रकर्षम् .. .. 217 (10) Resumption of the Concluded समाप्तपुनरात्तम् .. .. 218 (11) Isolation, in the second half of a Shloka of an expressive word required in the first half अर्धान्तरैकवाचकम् .. 219 (12) Want of Intended Connection अभवन्मतयोगम् .. .. 219 (13) Omission of a Necessary Statement अनभिहितवाच्यम् .. 225 (14) Misplacement of a Word अस्थानस्थपदम् . . 227 (15) Misplaced Compound अपदस्थपदसमासम् . . 228 (16) Confusion संकीर्णम् .. .. 229 (17) The Parenthetical गर्भितम् .. .. 230 (18) Opposed to Usage प्रसिद्धिहतम् .. .. 231 (19) Violation of the Uniformity of Expression भग्नप्रक्रमम् .. 232 (20) Absence of order (Syntactical Irregularity अक्रमम् :. 239 (21) Undesirable Second Intention अमतपरार्थम् .. .. 241 Defects of sense Enumerated अर्थदोषाः .. .. (1) Irrelevant अपुष्टार्थः .. .. 241 (2) Obscure कष्टार्थः .. .. 243 (3) Contradictory or Inconsistent व्याहतार्थः .. .. 244

xxvi (4) Tautophonous पुनरुक्त 244 (5) Irregular दुष्क्रमः 245 (6) Vulgar ग्राम्य 246 (7) Dubious सन्दिग्ध. 246 (8) Inconsequential निर्हेतु. 246 (9) Opposed to Popular Notations प्रसिद्धिविरोध 247 (10) Unscientific विद्याविरोध 248 (11) Monotonous and Wanting in Variety अनवीकृतः 250 (12) Too Unspecific सनियमपरिवृत्तः 251 (13) Too Specific अनियमपरिवृत्त 251 (14) Too unrestricted विशेषपरिवृत्त 252 (15) Too Unrestrected अविशेषपरिवृत्त 252 (16) Incomplete साकाङ्क्ष 253 (17) Misplaced अपदयुक्त. 254 (18) Mismatched सहचरभिन्न 254 (19) Of Repurnant Implication प्रकाशितविरुद्ध. 255 (20) Of Improper Predication विध्ययुक्त 255 (21) Having Improper Adjuncts अनुवादायुक्त 256 (22) Resuming the Concluded त्यक्तपुन स्वीकृत 257 (23) Indecorous अश्लील. 257 Exceptions to the aforesaid अपवादा 258 First Exception प्रथम अपवाद 261 Second Exception द्वितीय अपवाद 263 Third Exception तृतीय अपवादः 263 Fourth Exception चतुर्थ अपवाद 264 Defects of the Rasa रसदोषा 279 (1) Mention by Name of either the Rasa or the Accessory or Permanent Emotion व्यभिचारिण. रसस्य स्थायिभावस्य वा स्वशब्दोपादानम् .. .. 280 (2) For-fetched Indication of Excitants and Ensuants विभावानुभावयोः कष्टकल्पना .. 282 (3) Admission of Adverse Concommitants प्रतिकूलविभावा- दिग्रहः .. 283

xxvii (4) Repeated Heightening पुन पुनर्दीप्तिः .. 284 (5) Untimely Introduction अकाण्डे प्रथनम् .. 284 (6) Untimely Interruption अकाण्डेच्छेदः .. 284 (7) Excessive Dilation of Subordinate Factor अङ्गस्यातिविस्तृति 285 (8) Neglect of the Principal Factor अङ्गिनोननुसंधानम् .. 285 (9) Perversion of Characters प्रकृतीना विपर्ययः . 285 (10) Celebration of Unimportant Object अनङ्गस्याभिधानम् .. 287 Exceptions to the above अपवादाः .. 288 Laws governing the Admixture of Rasas रसविरोधपरिहारविधि. 292

CHAPTER VIII Excellences गुणाः Page Difference between ‘Excellences’ & ‘Ornaments गुणालकारविवेक .. 299 Varieties of Excellences गुणाना भेदा 305 Sweetness माधुर्यम् 305 Floridity ओज 306 Lucidity प्रसाद. 307 Coalescence 1 श्लेष 308 Smoothness 2 समाधि. ,, Magnificence 3 उदारता ,, Simplicity 4 प्रसाद ,, Sweetness 5 माधुर्यम् ,, Clearness of Meaning 6 अर्थव्यक्ति ,, Uniformity 7 साम्यम् ,, Softness 8 सौकुमार्यम् ,, Polish 9 कान्ति. ,, CHAPTER IX Verbal Figures of Speech शब्दालंकाराः Equivoque (two kinds) वक्रोक्ति द्वैविध्यम् 317 Equivoque Based on Punning वक्रोक्ति श्लेष . . 317 Equivoque Based On Intonation वक्रोक्तिः काक्वा . .. 317 Alliteration अनुप्रास . 319 Alliteration Chheka (Experts) छेकानुप्रास . . 320 Alliteration Vritti (Diction) वृत्त्यनुप्रासः . 320 Polished and Harsh Diction उपनागरिका-परुषा वृत्ति 320

11 Page Three Styles of Diction : Vaidarbhī, Gauḍī and pāñchālī तिस्रो वृत्तया-वैदर्भी, गौडी, पाञ्चाली च . .. 322 Coalescence or Pun श्लेष .. 330 Eight Kinds of Pun अष्टधा श्लेषः . 330 CHAPTER X The Ideal Figures of Speech अर्थालंकाराः Sımile (I) उपमा . 349 Complete Sımile पूर्णोपमा 350 Comparison Absolute (II) अनन्वय. 365 Reciprocal Comparison (III) उपमेयोपमा 365 Poetic Fancy (IV) उत्प्रेक्षा 366 Doubtful (V) ससन्देह . 367 Metaphor (VI) रूपकम् 369 Concealment (VII) अपह्नुति . 377 Paronomasia (VIII) श्लेष. . . 379 Modal Metaphor (IX) समासोक्ति. .. . 380 Illustration (X) निदर्शना .. . 381 Indirect Description (XI) अप्रस्तुतप्रशंसा . . 383 Hyperbole (XII) अतिशयोक्तिः .. 390 Typical Comparison (XIII) प्रतिवस्तूपमा .. .. 392 Exemplification (XIV) दृष्टान्त. . .. 393 Illuminator (XV) दीपकालंकारः . . 395 Equal Pairing (XVI) तुल्ययोगिता . .. 396 Dissimilitude (XVII) व्यतिरेकः . 396 Hint (XVIII) आक्षेप. 402 Peculiar Causation (XIX) विभावना . . 404 Peculiar Allegation (XX) विशेषोक्तिः . 404 Symmetrical (XXI) यथासंख्यम् . .. 405 Transition (XXII) अर्थान्तरन्यास . .. 406 Contradiction (XXIII) विरोधः .. .. 407