काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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).

CHAPTER V 125 असोढा तत्कालोल्लसदसहभावस्य तपसः कथानां विश्रम्भेष्वथ च रसिकः शैलदुहितुः । प्रमोदं वो दिश्यात् कपटबटुवेषापनयने त्वराशैथिल्याभ्यां युगपदभियुक्तः स्मरहरः ॥१२२॥ अत्रावेगधैर्ययोः संधिः ॥ पश्येत्कश्चिच्चल चपल रे का त्वराहं कुमारी हस्तालम्बं वितर ह ह हा व्युत्क्रमः क्वासि यासि । इत्थं पृथ्वीपरिवृढ भवद्विद्विषोरण्यवृत्तेः कन्या कंचित् फलकिसलयान्याददानाभिधत्ते ॥१२३॥ Another example— ‘May the Destroyer of Kāma (Śiva) ordain your happiness,—He who, being unable to bear any longer the zealousness of Pārvatī’s austerities, and fondly grati- fied at her confidently loving manner of address, was seized simultaneously by both precipitancy and languor’. Here we have the ‘Conjunction’ of the feelings of Flurry and Equanimity, (which is ‘subordinate’ to the poet’s feeling of devotion to the king). Another example— ‘“O impetuous one! Some one might be looking! Move aside.—What is the hurry?—I a virgin!—Offer me the support of your arms.—Ah! Ah! this perverted order of things!—Where are you? Whither are you going?”—O Lord of the earth, thus does the daughter of your enemy who has retired to the forest address some man while she is collecting fruits and leaves’. Here there is the ‘Commixture’ of the feelings of Apprehension (‘some one might be looking’), Calmness (‘what is the hurry?’), Remembrance (‘I, a virgin’), Lan-

126 KĀVYAPRAKĀŚA अत्र शङ्कासूयाधृतिस्मृतिश्रमदैन्यविबोधौत्सुक्यानां शबलता । एते च रसवदाद्यलंकाराः । यद्यपि भावोदयभावसंधिभाव- शबलत्वानि नालंकारतया उक्तानि तथापि कश्चित् ब्रूयादि- त्येवमुक्तम् । यद्यपि स नास्ति कश्चिद्विषयः यत्र ध्वनिगुणीभूतव्यङ्ग्ययोः स्वप्रभेदादिभिः सह संकरः संसृष्टिर्वा नास्ति तथापि प्राधान्येन व्यपदेशा भवन्तीति क्वचित्केनचिद्व्यवहारः । guor (‘offer me the support of your arms’), Depression (‘Ah, ah’), Determination (‘what a perverted order of things’), and Longing (‘whither are you going?’),— (which is ‘subordinate’ to the poet’s regard for the king). These [(1) Passion, (2) Feeling, (3) Aberration of Passion, (4) Aberration of Feeling, (5) Manifestation of Feeling, (6) Conjunction of Feeling and (7) Commixture of Feeling—as ‘subordinate’ to another Passion or Feel- ing] are what are known as the Figures of Speech [called (1) the Sentimental, (2) the Agreeable, (3) the Forcible, (4) the Quiescent, (5) Manifested Feeling, (6) Conjunct Feeling and (7) Commingled Feeling respectively]. Though as a matter of fact, ‘Manifested Feeling’, ‘Conjunct Feeling’ and ‘Commingled Feeling’ (the last three of those just mentioned) have nowhere been spoken of as ‘Figures’, yet, we have made the above assertion (including these also) in view of the possibility of some one describing them as such. Though there is no single case where there is no commixture of both ‘Suggestive Poetry’ and ‘Poetry of Subordinate Suggestion’ and their respective varieties— where one or the other is the more prominent or where both are of equal importance [and hence no example can

CHAPTER V 127 जनस्थाने भ्रान्तं कनकमृगतृष्णान्धितधिया वचो वैदेहीति प्रतिपदमुदश्रु प्रलपितम् । कृतालंकाभर्तुर्वदनपरिपाटीषुघटना मयाप्तं रामत्वं कुशलवसुता न त्वधिगता ॥१२४॥ अत्र शब्दशक्तिमूलानुरणनरूपो रामेण सहोपमानोपमेय- भावो वाच्याङ्गतां नीतः । be cited as a pure unmixed example of any one kind],—yet we classify the examples as of one or the other, according as one or the other happens to be the prominent factor ; and this is done in accordance with the principle that appellations are applied to things in accordance with what happens to be their most prominent element. [ Example of Suggested Figure subservient to the expressed meaning]— Janasthāne bhrāntaṁ kanakamṛgatṛṣṇāndhitadhiyā Vacho vai-dehīti pratipadamudaśru pralapitam Kṛtā-laṅkābharturvadanaparipāṭīṣughaṭanā Mayāptaṁ rāmatvaṁ kuśalavasutā na tvadhigatā ‘I wandered among men’s haunts [in the Janasthāna for- est], with my mind blinded by a miragic solicitude for gold [by a desire for the golden deer] ;—at every step, with tearful eyes, I said the words “ Please give me ” [“ O Vai- dehī ”) ;—enough attempt was made by me at flattering the meanly rich people [I directed my arrows at the serried heads of the king of Laṅkā] ;—thus though I attained the position of Rāma, yet I did not obtain perfect affluence [the mother of Kuśa and Lava, Sītā].’ Here the similitude between the speaker and Rāma, which is suggested through the force of the reverberating

128 KĀVYAPRAKĀŚA आगत्य संप्रति वियोगविसंष्ठुलाङ्गी मम्भोजिनीं क्वचिदपि क्षपितत्रियामः । एतां प्रसादयति पश्य शनैः प्रभाते तन्वङ्गि पादपतनेन सहस्ररश्मिः ॥१२५॥ (२) अत्र नायकवृत्तान्तोऽर्थशक्तिमूलो वस्तुरूपो निरपेक्ष- रविकमलिनीवृत्तान्ताध्यारोपेणैव स्थितः ॥ वाच्यसिद्ध्यङ्गं यथा भ्रममर्तिमलसहृदयतां प्रलयं मूर्च्छा तमः शरीरसादम् । मरणं च जलदभुजगर्जं प्रसह्य कुरुते विषं वियोगिनीनाम् ॥१२६॥ echo of the words (with double meanings), has been made subservient to the expressed meaning. [Since all that the suggested similitude does is to justify the assertion 'I have attained the position of Rāma'.] [Example of the 'Suggestion of Fact' being made subservient to the expressed meaning]. ' See, O delicate lady, the Sun, having passed the night somewhere else, is propitiating the Lotus withered through separation from him, by falling at her feet.' Here the fact of the lover (propitiating his lady-love),— which is suggested by the force of the meaning of the word,—appears merely as an imposition upon (as lending additional charm to) the entirely different fact of the Lotus (blooming on the contact of the Sun's rays). (3) Example of ' suggestion subservient to the accom- plishment of the expressed meaning,'— ' The rain (poison) emanating from the serpent-like clouds forcibly brings about, in ladies separated from

CHAPTER V 129 अत्र हालाहलं व्यङ्ग्यं भुजगरूपस्य वाच्यस्य सिद्धिकृत् । यथा वा गच्छाम्यच्युत दर्शनेन भवतः किं तृप्तिरुत्पद्यते किं त्वेवं विजनस्थयोर्हतजनः संभावयत्यन्यथा । इत्यामन्त्रणभङ्गिसूचितवृथावस्थानखेदालसाम् आश्लिष्यन् पुलकोत्कराञ्चिततनुर्गोपीं हरिः पातु वः ।।१२७।। (३) अत्राच्युतादिपदव्यङ्ग्यमामन्त्रणेत्यादिवाच्यस्य । एतच्चैकत्र एकवक्तृगतत्वेन अपरत्र भिन्नवक्तृगतत्वेनेत्य- नयोर्भेदः ॥ अस्फुटं यथा their lovers, vertigo, apathy, lassitude, insensibility, coma, stupefaction, physical prostration and death.’ Here the suggestion of ‘poison’ only serves to com- plete the expressed meaning (serpent) of the term ‘bhujaga.’ Another example— “O Achyuta (Immovable One), I am going ; is any satisfaction to be obtained from merely looking at you ? In fact, if we remain together in this solitary place, wret- ched people will think quite otherwise ;”—after the cow- girl signified her depression and languor due to her futile stay by the special form of address, Kṛṣṇa embraced her and the hairs on his body were thrilled ;—may Kṛṣṇa, in this condition, protect you.’ Here the suggestion (of unperturbability) made by the term ‘achyuta’ (‘looking on’ and so forth) only serves to help in the fulfilment of what is expressed by the expression “having signified....form of address.” The difference between the two examples just cited lies in the fact that the former consists of the speech 9

130 KĀVYAPRAKĀŚA अदृष्टे दर्शनोत्कण्ठा दृष्टे विच्छेदभीरुता । नादृष्टेन न दृष्टेन भवता लभ्यते सुखम् ।।१२८।। (४) अत्रादृष्टो यथा न भवसि वियोगभयं च यथा नोत्पद्यते तथा कुर्या इति क्लिष्टम् ।। संदिग्धप्राधान्यं यथा हरस्तु किंचित्परिवृत्तधैर्यश्चन्द्रोदयारम्भ इवाम्बुराशिः । उमामुखे बिम्बफलाधरोष्ठे व्यापारयामास विलोचनानि ।।१२९।।५ अत्र परिचुम्बितुमैच्छदिति किं प्रतीयमानं किं वा विलोचनव्यापारं वाच्यं प्रधानमिति संदेहः ।। of only one speaker (the poet) while the latter consists of the speeches of two persons (the poet and the cow- girl). (4) Example of the Abstruse Suggestion. ‘ While you are not seen, there is longing to see you, and when you are seen, there is fear of separation ; there is no comfort either on seeing you or not seeing you.’ What is sugested here is that ‘ you should act in such a way that you may not remain unseen and yet there may be no fear of separation,’—and this is not very clear (abs- truse). (5) Example of the suggestion ‘ of doubtful promi- nence.’— ‘ Śiva, having his equanimity slightly perturbed, like the ocean at the appearance of the moon, directed his eyes towards Pārvatī’s face with bimba-like lips.’ Here it is doubtful whether prominence attaches to the suggested meaning that ‘ he wished to kiss her.’ or to the expressed meaning that ‘ the eyes were turned towards the face.’

तुल्यप्राधान्यं यथा ब्राह्मणातिक्रमत्यागो भवतामेव भूतये । जामदग्न्यस्तथा मित्रमन्यथा दुर्मनायते ॥१३०॥ (६) अत्र जामदग्न्यः सर्वेषां क्षत्रियाणामिव रक्षसां क्षणात् क्षयं करिष्यतीति व्यङ्ग्यस्य वाच्यस्य च समं प्राधान्यम् ॥ काक्वाक्षिप्तं यथा मथ्नामि कौरवशतं समरे न कोपात् दुःशासनस्य रुधिरं न पिबाम्युरस्तः ॥ संचूर्णयामि गदया न सुयोधनोरू संधिं करोतु भवतां नृपतिः पणेन ॥१३१॥ (७) अत्र मथ्नाम्येवेत्यादि व्यङ्ग्यं वाच्यनिषेधसहभावेन स्थितम् ॥

132 KĀVYAPRAKĀŚA असुन्दरं यथा वाणीरकुञ्जउड्डीणसउणिकोलाहलं सुणंतीए । घरकम्मवावडाए बहुए सीअन्ति अंगाइं ॥१३२॥ (८) अत्र दत्तसंकेतः कश्चिल्लतागहनं प्रविष्ट इति व्यङ्ग्यात् सीदन्त्यङ्गानीति वाच्यं सचमत्कारम् ॥ एषां भेदा यथायोगं वेदितव्याश्च पूर्ववत् ॥ ४६ ॥ यथायोगमिति “व्यज्यन्ते वस्तुमात्रेण यदालंकृतयस्तदा । ध्रुवं ध्वन्यङ्गता तासां काव्यवृत्तेस्तदाश्रयात् ॥” इति ध्वनिकारोक्तदिशा वस्तुमात्रेण यत्रालंकारो व्यज्यते न तत्र गुणीभूतव्यङ्ग्यत्वम् । (8) Example of the ‘not beautiful’ suggestion— “When she heard the chatter of parrots flying from the Vetasa-bower, on account of her being engaged in her house-hold work, her limbs began to writhe.’ Here the directly expressed meaning—that ‘her limbs are suffering (from her deep longing for her lover)’ is more charming than the suggested meaning (that into the bower has entered a lover with whom she had made an engagement]. The varieties of these (eight kinds of Poetry of Sub-ordinate Suggestion should be understood to be, as far as possible, like those of what has gone before (i. e. Suggestive Poetry).—(46). ‘As far as possible.’—This has been added with a view to the fact that there is no ‘subordination of suggestion’ in a case where a Figure is manifested by a mere Fact;—as has been declared by the author of the Dhvani in the following passage—“Whenever Figures

CHAPTER V 133 सालङ्कारैर्ध्वनेस्तैश्च योगः ] संसृष्ट्यलङ्कारैः । सालंकारैरिति तैरेवालंकारैः अलंकारयुक्तैश्च तैः। तदुक्तं ध्वनिकृता “स गुणीभूतव्यङ्ग्यैः सालंकारैः सह प्रभेदैः स्वैः। संकरसंसृष्टिभ्यां पुनरप्युद्द्योतते बहुधा ॥” इति । अन्योन्ययोगादेवं स्याद्भेदसंख्यातिभूयसी ॥ ४७ ॥ of Speech are suggested by a mere Fact, they only serve the purpose of making it regarded as ‘Suggestive Poetry’; because the existence of poetry rests upon those Figures (which, therefore, cannot be regarded as ‘Subor- dinate’ to the expressed meaning). 46. There is a combination of ‘Suggestive Poetry, with these (eight varieties of Poetry of Subordinate Suggestion) (a) as transformed into ‘Figures’ (the ‘sentimental,’ the ‘agreeable’ and so forth), and also (b) as accompanied (embellished) by (other) Figures (directly expressed),—this combination being per subserviency as also per equality. The term ‘sālaṅkāraiḥ’ is to be expounded as ‘alaṅkāraiḥ’—‘with these as themselves transformed into, assuming the character of, Figures of speech,’— and ‘alaṅkārayuktaiḥ,’ ‘with those as embellished by other figures of speech.’ The following declaration has been made by the author of the Dhvani :— ‘This (Suggestive Poetry),—combining, per sub- serviency and per equality, with its own varieties, as also with the varieties of Poetry of Subordinate Suggestion, along with the Figure of Speech,—appears in many forms’. Thus by mutual combination the number of its varieties becomes very large.—(47).

134 KĀVYAPRAKĀŚA एवमनेन प्रकारेण अवान्तरभेदगणनेतिप्रभूततरा गणना । तथाहि—शृङ्गारस्यैव भेदप्रभेदगणनायामानन्त्यम् । का गणना तु सर्वेषाम् । संकलनेन पुनरस्य ध्वनेस्त्रयो भेदाः । व्यङ्ग्यस्य त्रिरूपत्वात् । तथाहि—किंचिद्वाच्यतां सहते किंचित्त्वन्यथा । तत्र वाच्यतासहम् अविचित्रं विचित्रं चेति । अविचित्रं वस्तुमात्रं विचित्रं त्वलंकार- रूपम् । यद्यपि प्राधान्येन तदलंकार्यं तथापि ब्राह्मणश्रमण- न्यायेन तथोच्यते । रसादिलक्षणस्त्वर्थः स्वप्नेपि न वाच्यः । ‘Thus’,—in the manner described,—by counting all the sub-divisions,—the number becomes very large; e. g. the varieties of the Erotic Passion itself are endless,— not to speak of others. Thus, briefly, of Suggestive Poetry there are three varieties, there being three kinds of what is suggested (according as it happens to be a Fact or a Figure or Passion, Feeling and the rest);—of these again, some (i. e. Figure and Fact) are such as can be expressed also, while others (e. g. Passion and the rest) can never be expressed. Of those that can be also expressed, some are fanciful, while others are not fanciful; what is not fanciful is the mere fact, and what is fanciful is the Figure.—Though, in this connection the Figure (when suggested) is really what is itself embellished (and hence cannot be called a ‘figure’, ‘embellishment,’ in the exact sense of the term), yet it is called by the name of ‘figure,’ on the same principle as the Brāhmaṇa, who has become a mendicant and thereby has ceased to be a real Brāhmaṇa, is still called a ‘Brāhmaṇa’ in view of his having formerly been a Brāhmaṇa. Passion and the rest, however, cannot be regarded even in a dream to