काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VII 201 पदैकदेशे यथासंभवं क्रमेणोदाहरणम् अलमतिचपलत्वात्स्वप्नमायोपमत्वात् परिणतिविरसत्वात्संगमेनाङ्गनायाः । इति यदि शतकृत्वस्तत्त्वमालोचयाम- स्तदपि न हरिणाक्षीं विस्मरत्यन्तरात्मा ॥१९७॥ अत्र त्वादिति । यथा वा तद्गच्छ सिद्धयै कुरु देवकार्यमर्थोयमर्थान्तरलभ्य एव । अपेक्षते प्रत्ययमङ्गलब्ध्यै बीजाङ्कुरः प्रागुदयादिवाम्भः ॥१९८॥ having reddened the earth with their blood (raktabhūvaḥ), their bodies tossed about by jackals (śivāliṅgitamūrtayaḥ), they lie down with their life and organs all gone (gatāsukhāḥ), through the destruction of their body (vigrahakṣapaṇena)'.] The text has said that ‘ some of those defects occur in parts of words also ;’ the following are the examples— (1) [ The ‘ Disagreeable to the ear ’] ‘ Alamatichapalatvāt Svapnamāyopamatvāt Pariṇativirasatvāt ...............ātmā ’ “ Have done with this association with women, which is extremely fickle, resembling dreamy illusion, and leads to unpleasant consequences ;”—even though this truth I ponder over hundreds of times, yet my inner soul for- gets not the fawn-eyed one ’. Here the repetition of the syllable ‘ tvāt ’ is ‘ unpleasant to the ear ’. Another example of the same— ‘ Tad gachchha siddhyai.........labdhyai.........vāmbhaḥ ’. ‘ Thus you go forward to success, do the work of the gods ; this end in view, which can be attained only

202 KĀVYAPRAKĀŚA अत्र द्धयै ब्ध्यै, इति कटु ॥ यश्चाप्सरोविभ्रममण्डनानां संपादयित्रीं शिखरैर्बिभर्ति । बलाहकच्छेदविभक्तरागामकालसंध्यामिव धातुमत्ताम् ॥१९९॥ अत्र मत्ताशब्दः क्षीबार्थे निहतार्थः ॥ आदावञ्जनपुञ्जलिप्तवपुषां श्वासानिल्लोल्लासित- प्रोत्सर्पद्विरहानलेन च ततः संतापितानां दृशाम् । संप्रत्येव निषेकमश्रुपयसा देवस्य चेतोभुवो भल्लीनामिव पानकर्म कुरुते कामं कुरङ्गेक्षणा ॥२००॥ through something else, stands in need of an operative agent, just as the sprouting of the seed, before it appears, needs water’. Here the repetition of ‘ddhyai’ and bdhai is ‘unpleasant to the ear’. (2) [The ‘suppressed meaning’]— ‘Yashchāpsaro..................dhātumattām’. ‘Who bears on his (snowy) summits a supply of (red) minerals which help in making up the coquettish toilet of celestial women,—as if it were the red hue of the suddenly falling evening, interspersed with pieces of (white clouds)’. The term ‘mattā’ (which forms part of the word ‘dhātumattā’) is better known in the sense of ‘intoxica- ted,’ (which suppresses the sense of the possessive, which is intended). (3) [‘The useless’.]— Ādāvañjana...................dṛśāṁ : ............kurute kāmaṁ kuraṅgekṣaṇā’ ‘Her eyes having been painted with collyrium, and then heated by the fire of the pangs of separation formed by the hot sighs, the fawn-eyed one is now sprinkling her tears, and thereby is doing, as it were,the sharpening of the arrows of the Love-god’.

CHAPTER VII 203 अत्र दृशामिति बहुवचनं निरर्थकम् कुरङ्गेक्षणाया एकस्या एवोपादानात् । न चालसवलितैरित्यादिवत् व्यापारभेदाद्- बहुत्वम् व्यापाराणामनुपात्तत्वात् । न च व्यापारेऽत्र दृक्शब्दो वर्तते । अत्रैव 'कुरुते' इत्यात्मनेपदमप्यनर्थकम् । प्रधानक्रिया- फलस्य कर्त्रसंबन्धे कर्त्रभिप्रायक्रियाफलाभावात् ॥ चापाचार्यस्त्रिपुरविजयी कार्तिकेयो विजेयः शस्त्रव्यस्तः सदनमुदधिर्भूरियं हन्तकारः ।

[In sharpening a weapon, the mechanic smears it with acid and ashes, then heats it and then sprinkles water over it ;—the eyes being the love-god's arrows these arrows are sharpened in the manner described.] Here the plural number in ‘dṛśām’ is ‘useless’ or meaningless, as only one ‘fawn-eyed girl’ is spoken of. It is true that in certain cases,—e. g., in the verse ‘alasava- litaiḥ etc.,’—the plural number is used in view of the multi- plicity or manifoldness of functions ; but in the present instance it cannot be due to any such manifoldness ; as no such manifold functions are mentioned ; nor does the term ‘dṛk’ (‘eye’) denote any functions. Then again, in this same verse the Ātmanepada ending in ‘kurute’ is also ‘useless’, because the effect of the action connoted does not belong to the subject (‘woman’), and hence the condition necessary for the use of the Ātma- nepada ending—that the result of the action should pertain to the subject—is not fulfilled. (4) [The ‘Inexpressive’] ‘Chāpāchāryas....’ ............................chandrahāsaḥ.’ ‘Your preceptor in archery is the victor of the three cities (Śhiva), Kārtikeya is your subduable, the ocean,

204 KĀVYAPRAKĀŚA अस्त्येवैतत् किमु कृतवता रेणुकाकण्ठबाधां बद्धस्पर्धस्तव परशुना लज्जते चन्द्रहासः ॥२०१॥ अत्र विजेय इति कृत्यप्रत्ययः क्तप्रत्ययार्थवाचकः ॥ अतिपेलवमतिपरिमितवर्णं लघुतरमुदाहरति शठः । परमार्थतः स हृदयं वहति पुनः कालकूटघटितमिव ॥२०२॥ अत्र पेलवशब्दः ॥ यः पूयते सुरसरिन्मुखतीर्थसार्थ- स्नानेन शास्त्रपरिशीलनकीलनेन । सौजन्यमान्यजनिनिरूजितमूर्जितानां सोयं दृशोः पतति कस्यचिदेव पुंसः ॥२०३॥ forced back by your weapons, is your abode, and the earth is for you an object to be given away ; though all this is so, yet my sword Chandrahāsa is ashamed at being pitted against your axe which cut off Reṇukā’s head !’ The verbal potential affix (‘yat ’) in ‘vijeya ’ has been used in the sense of the past participle affix ‘kta ’, which sense it can never have. [What is meant is that Kartikeya has been subdued by you, while the word used is ‘vijeya’ which means ‘subduable’.] (5) [The ‘ Indecorous ’]— (a) ‘ Atipelava........ghaṭitamiva ’ ‘ A rogue always speaks very little, and that softly and gently; in reality ‘however’ he has his heart full of poison.’ Here the term ‘ pelava ’ is ‘ indecorous ’ (being the name in the Lāṭa language of a secret part of the human body). (b) ‘ Yaḥ pūyate........puṁsaḥ ’ ‘ Rare is the person before whose eyes comes a great man like this, who is sanctified by bathing in the Gaṅgā and other sacred places, and also by the consolidation of

CHAPTER VII 205 अत्र पूयशब्दः ॥ विनयप्रणयैककेतनं सततं योभवदङ्ग तादृशः । कथमद्य स तद्वदीक्ष्यतां तदभिप्रेतपदं समागतः ॥२०४॥ अथ प्रेतशब्दः ॥ कस्मिन् कर्मणि सामर्थ्यमस्य नोत्तपतेतराम् । अयं साधुचरस्तस्मादञ्जलिर्बध्यतामिह ॥२०५॥ अत्र किं पूर्वं साधुः उत साधुषु चरतीति संदेहः ॥ this knowledge of the scriptures,—of noble and respectable birth, the personified spirit of all that is spirited.’ The term ‘pūyā’ is ‘indecorous’ (as it denotes pus). (c) ‘Vinaya......tadabhipretapadaṁ samāgataḥ’. ‘O friend! he who used to be the one receptacle of humility and love,—how can be looked upon as the same, when he has attained the position he desired (of becoming the lover of another woman)?’ Here the term ‘preta’ is ‘indecorous’ (as it denotes the ‘departed dead’). (6) [The ‘Ambiguous’]— ‘Kasmin karmaṇi sāmarthyam...ayam sādhucharaḥ...iha’. ‘In what action does his capacity not shine?—And he is of virtuous character; so salute him.’ The exact meaning of the part (‘chara’) of the word ‘Sādhucharaḥ’ is ‘ambiguous’;—‘chara’ is an affix denoting ‘something that is past’, and in that sense ‘Sādhucharaḥ’ means ‘who was good in the past’; on the other hand, ‘chara’ may be a noun derived from the root ‘chara’ (to behave), in which case the compound ‘Sādhucharaḥ’ would mean ‘he who behaves virtuously’

206 KĀVYAPRAKĀŚA समुच्यतेस्य भूपालमौलिमालामहामणेः । सुदुर्लभं वचोबाणैस्तेजो यस्य विभाव्यते ॥२०६॥ अत्र वचःशब्देन गीःशब्दो लक्ष्यते । अत्र खलु न केवलं पूर्वपदम् यावदुत्तरपदमपि पर्यायपरिवर्तनं न क्षमते । जलध्यादा- वुत्तरपदमेव वडवानलादौ पूर्वपदमेव ॥ (7) [‘The meaning having to be guessed’]— ‘Kimuchyate……vachobāṇaiḥ...vībhāvyate.’ ‘What is to be said to this central crest-jewel of kings !— whose splendour is such as is difficult even for the gods to attain !’ Here the term ‘vachaḥ’ (in ‘vachobāṇaiḥ’) is meant to indicate its synonym ‘gīḥ’ (which gives the word ‘gīr- bāṇa’,—which is one of the names of the gods), and thus the meaning of the compound ‘vachobāṇaiḥ’ is such as can be ‘guessed’ with difficulty]. In fact the compound word ‘gīrbāṇa’ (as a name of the gods) is such that it is not only the first term of the com- pound that does not admit of being replaced by a synonym; the second term also does not admit of being so replaced [i.e. just as we cannot have ‘vachobāṇa’ so also we cannot have ‘gīḥ-śara’]. As compound names where the second term does not admit of being replaced by a synonym, we have such words as ‘jaladhi’ (ocean) and the like (which become entirely altered in sense by being trans- formed into ‘jaladhara’, which means cloud); and as ins- tances of compound names in which the first term does not admit of being replaced by a synonym, we have such words as ‘vāḍavānala’ (the submarine fire) [which, when changed into ‘aśvānala’ does not mean the same thing].

CHAPTER VII 207 यद्यप्यसमर्थस्यैवाप्रयुक्तादयः केचन भेदाः तथाप्यन्यैरा- लंकारिकैर्विभागेन प्रदर्शिता इति भेदप्रदर्शनेनोदाहर्तव्या इति च विभज्योक्ताः ॥५२॥ प्रतिकूलवर्णमुपहतलुप्तविसर्गं विसन्धि हतवृत्तम् । न्यूनाधिककथितपदं पतत्प्रकर्षं समाप्तपुनरात्तम् ॥ ५३ ॥ अर्धान्तरैकवाचकमभवन्मतयोगमनभिहितवाच्यम् । अपदस्थपदसमासं संकीर्णं गर्भितं प्रसिद्धिहतम् ॥ ५४ ॥ भग्नप्रक्रममक्रमममतपरार्थं च वाक्यमेव तथा । ( १ ) रसानुगुणत्वं वर्णानां वक्ष्यते । तद्विपरीतं प्रतिकूलवर्णम । Though the words classed as 'unconventional' and the rest are only sub-classes of what is 'incapable of giving sense', yet they have been described separately, because some rhetoricians have treated of them as separate and hence it was thought proper to cite separate examples of them. 52. That sentence is defective which (1) contains discordant letters, (2) has the visarga blunted, (3) has the visarga deleted, (4) involves an unharmonious euphony, (5) involves a marred metre, (6) is deficient in words, (7) is redundant in words, (8) contains repeated words, (9) has its excellence receding, (10) resumes the concluded, (11) has a word isolated in a distinct half, (12) is devoid of intended connection, (13) omits a necessary statement, (14) has a word misplaced, (15) has a compound misplaced, (16) is confused, (17) is parenthetical, (18) is opposed to usage, (19) has its uniformity broken, (20) has no uniformity and (21) has an undesirable second meaning. (1) It is going to be explained later on (Ch. VIII) how certain letters are in consonance with the delinea- tion of certain particular Passions ; and letters that are

208 KĀVYAPRAKĀŚA यथा शृङ्गारे अकुण्ठोत्कण्ठया पूर्णमाकण्ठं कलकण्ठि माम् । कम्बुकण्ठ्याः क्षणं कण्ठे कुरु कण्ठार्तिमुद्धर ॥२०७॥ रौद्रे यथा देशः सोयमरातिशोणितजलैर्यस्मिन् ह्रदाः पूरिताः क्षत्रादेव तथाविधः परिभवस्तातस्य केशग्रहः । तान्येवाहितहेतिघस्मरगुरूण्यस्त्राणि भास्वन्ति मे यद्रामेण कृतं तदेव कुरुते द्रोणात्मजः क्रोधनः ॥२०८॥ not in such consonance are called ‘discordant’. For example in the following delineation of the Erotic— ‘Akuṇṭhotkaṇṭhayā pūrṇamākaṇṭhaṁ kalakaṇṭhi mām Kambukaṇṭhyāḥ kṣaṇaṁ kaṇṭhe kuru kaṇṭhārtimuddhara.’ ‘O sweet-voiced one ! Do place me, who am full up to the throat with unimpeded longing, on the neck of the conch-necked one, and thereby remove the pangs of my neck’;— [The frequent repetition of the harsh letter ṇṭha is highly discordant with the sentiment depicted]. Or, in the following delineation of the Furious— ‘Deśaḥ soyamarātiśoṇitajalairyasmin hradāḥ pūritāḥ Kṣattrādeva tathāvidhaḥ paribhavastātasya keśagrahaḥ Tānyevāhitahetighasmaragurūṇyastrāṇi bhāsvanti me Yad rāmeṇa kṛtantadeva kurute droṇātmajaḥ krodhanaḥ’. ‘This land is the same where pools were filled (by Paraśurāma) with the blood of slaughtered enemies ; insult at the hands of a Kṣattriya, in the shape of the father’s locks being pulled, is also similar ; these resplendent weapons of mine also are similarly famous as being des- tructive of the weapons of enemies ; the wrathful son of

CHAPTER, VII 209 अत्र हि विकटवर्णत्वं दीर्घसमासत्वं चोचितम् । यथा प्रागप्राप्तनिशुम्भशांभवधनुर्द्वेधाविधाविर्भवत्- क्रोधप्रेरितभीमभार्गवभुजस्तम्भापविद्धः क्षणात् । उज्जवालः परशुर्भवत्वशिथिलस्त्वत्कण्ठपीठातिथि- र्येनानेन जगत्सु खण्डपरशुर्देवो हरः ख्याप्यते ॥२०९॥ यत्र तु न क्रोधस्तत्र चतुर्थपादाभिधाने तथैव शब्दप्रयोगः ॥ Droṇa is going to do precisely what was done by Paraśu- rāma '.— What would have been in consonance with the senti- ment depicted would be [not the soft letters and simple words used, but] harsh sounding letters and long com- pounds ; as in the following— ‘ Prāgaprāptaniśumbhaśāmbhava- dhanurdvedhāvidhāvirbhavat- Krodhapreritabhīmabhārgavabhuja- stambhāpaviddhaḥ kṣaṇāt Ujjvālaḥ parashurbhavatvashithilas- tvatkaṇṭhapīṭhātithir- Yenānena jagatsu khaṇḍaparashur- devo haraḥ khyāpyate ’. ‘ May this blazing and powerful axe of mine, by reason whereof the god Shiva is known as ‘the god of the broken axe,’ (He having bestowed a part of his axe to me), be the guest of the back of your neck,—being wielded by my pillar-like terrific arms urged into action by the wrath excited by the breaking of the ever unbent bow of Śiva ’;— [We find long compounds and harsh-sounding words] ; but in the last quarter of the verse, where no anger is expressed (but only a deferential reference to the God Shiva), we have words suited to the sentiment.

210 KĀVYAPRAKĀŚA (२) उपहत उत्त्वं प्राप्तो (३) लुप्तो वा विसर्गो यत्र तत् । यथा धीरो विनीतो निपुणो वराकारो नृपोत्र सः । यस्य भृत्या बलोत्सिक्ता भक्ता बुद्धिप्रभावितः ॥२१०॥ (४) विसंधि संधेर्वैरूप्यम् विश्लेषोश्लीलत्वं कष्टत्वं च । तत्राद्यं यथा राजन्विभान्ति भवतश्चरितानि तानि इन्दोर्द्युतिं दधति यानि रसातलेन्तः । धीदोर्बले अतितते उचितानुवृत्ती आतन्वती विजयसंपदमेत्य भातः ॥२११॥ (2) and (3) The following is an example of the ‘visarga blunted’,—i. e., transformed into ‘o’,—as also of the ‘visarga deleted’— ‘Dhīro vinīto nipuṇo varākāro nṛpotra saḥ—(2) Yasya bhṛtyā balotsiktā bhaktā buddhiprabhāvitāḥ’—(3) ‘This king is dignified, modest, efficient and of hand- some presence ; his dependants are strong in intelligence, devoted to their master and proud of their strength.’ [In the first half the visarga is transformed into ‘o’ no less than five times; and in the second half it is deleted thrice.] (4) The ‘Cacophonous’ is that which involves a dis- cordant euphony,—this discordance manifesting itself in three ways : (a) in disjunction, (b) in indecorousness and (c) in harshness. (a) The following is an example of the euphony of discordant disjunction— ‘Rājan...tāni indor......dhīdorbale atitate uchitānuvṛttī ātanvatī.........bhātaḥ’...

CHAPTER VII 211 यथा वा तत उदित उदारहारहारिद्युतिरुच्चैरुदयाचलादिवेन्दुः ।। निजवंश उदात्तकान्तकान्तिर्बत मुक्तामणिवच्चकास्त्यनर्घः ।।२१२।। ‘ O King ! thy deeds shine resplendent even in the nethermost regions, resembling the sheen of the moon ; and the power of thy intellect and arms, functioning in the right manner, brings about thy victory and glory and shines in the world ’. [Here the disjunction between ‘tāni’ and ‘indoḥ’, between ‘bale’ and ‘atitate’ and ‘uchitānuvṛtti’ and ‘ātanvati’ even though gramma- tically correct, is highly discordant’.] Or in the following— ‘ Tata udita udārahāra......nijavaṁsha- .........udātta...........narghaḥ’. ‘ That great man of the exquisitely fascinating splen- dour rises resplendent in his family, resembling the pearl (appearing from the bamboo) ; and having his resplendence enhanced by the beautiful pearl-necklace, he resembles the moon (whose sheen is like that of the flawless pearl) ’. [Here the visarga is deleted twice after ‘tataḥ’ and ‘uditaḥ.] In this connection it has to be borne in mind that there are two conditions under which the disjunction in euphony is grammatically permissible,—in the first place, there is the very wide rule which makes all euphonious combination purely optional, and secondly in the case of the preceding word being a noun with a dual termination ending in the vowel ‘ī’ or ‘ū’, where according to ‘Pāṇini (1.1.11 and 6.1.125), no conjunction takes place. Now if the disjunc- tion in euphony is of the former kind, then even a single instance makes the sentence defective ; while if it belongs

212 KĀVYAPRAKĀŚA संहितां न करोमीति स्वच्छया सकृदपि दोषः प्रगृह्यादिहेतुकत्वे त्वसकृत् ॥ वेगादुड्डीय गगने चलण्डामरचेष्टितः । अयमुत्तपते पत्री ततोत्रैव रुचिङ्कुरु ॥२१३॥ अत्र संधावश्लीलता ॥ उर्व्यसावत्र तर्वाली मर्वन्ते चार्ववस्थितिः । नात्रर्जु युज्यते गन्तुं शिरो नमय तन्मनाक् ॥२१४॥ (५) हतं लक्षणानुसरणेप्यश्रव्यम् । अप्राप्तगुरुभावान्तलघु रसान- नुगुणं च वृत्तं यत्र तत् हतवृत्तम् । क्रमेणोदाहरणम्-- to the latter class, then it renders the sentence defective if it occurs more than once. (b) ‘Vegā......chalaṇḍāmara.........ruchiṅkuru’ ‘This bird of unrestrained activity, flying in the sky with great force, finds it extremely hot ; so take your rest here.’ Here the euphonious combination (involved in the expressions ‘chalaṇḍāmara’ and ‘ruchiṅkuru’) lead to in- decorousness (in this that they give rise to sounds mani- festing the terms ‘laṇḍa’ and ‘chiṅku’ respectively, both of which are the names of certain private parts of the human body). (c) ‘Urvyasāvatra tarvālī marvante charvavasthitiḥ nātrārju............manāk’. ‘Hence on the outskirts of a sandy desert the ground is covered by a line of trees affording a nice resting place ; it is not right to go through it standing ; so just lower your head a little.’ [Here the euphonious combination becomes harsh.] (5) The ‘marred metre’ is of three kinds—(a) Though technically satisfying the formal conditions, it may be

CHAPTER VII 213 अमृतममृतं कः संदेहो मधून्यपि नान्यथा मधुरमधिकं चूतस्यापि प्रसन्नरसं फलम् । सकृदपि पुनर्मध्यस्थः सन् रसान्तरविज्जनो वदतु यदिहान्यत्स्वादु स्यात्प्रियादशनच्छदात् ॥२१५॥ अत्र ‘यदिहान्यत्स्वादु स्यात्’ इत्यश्रव्यम् । यथा वा जं परिहरिउं तीरइ मणअंपि ण सुन्दरत्तणगुणेण । अह णवरँ जस्स दोसो पडिपक्खेहिं पि पडिवण्णो ॥२१६॥ अत्र द्वितीयतृतीयगणौ सकारभकारौ । unpleasant to the ear, unmelodious,—(b) it may not have the last syllable of the foot elongated,—and (c) it may not be in harmony with the sentiment depicted. The following are the examples of each of these three. (a) ‘Amṛtam........vadatu yadihānyat svādu......chhadāt.’ What doubt is that nectar is really nectar; honey also is not otherwise ; the fruit of the mango also is very sweet and of pleasing flavour ; yet let any disinterested person, who is capable of appreciating the various kinds of flavours; say if anything in this world is sweeter than the lips of one’s beloved !’ In the fourth line the portion ‘yadihānyat svādu syāt’ (though formally correct) is not pleasant to the ear. Or again in the following— ‘Jaṁ pari........paḍivaṇṇo’. ‘That by reason of their very fascinating character affairs of love cannot be avoided is their one defect, which has been admitted even by their opponents’. Here the close proximity of the group of three letters ‘ha-ri-uṁ’—which is technically named ‘sa’ (i. e. the group of three in which, the first two letters are short and the third long),—to the next group, ‘tī—ra-i’—which is technically called ‘bha’ (i. e. one long letter followed by

214 KĀVYAPRAKĀŚA विकसितसहकारतारहारिपरिमलगुञ्जितपुञ्जितद्विरेफः । नवकिसलयचारुचामरश्रीहरति मुनेरपि मानसं वसन्तः ॥२१७॥ अत्र हारिशब्दः । हारिप्रमुदितसौरभेति पाठो युक्तः । यथा वा अन्यास्ता गुणरत्नरोहणभुवो धन्या मृदन्यैव सा संभाराः खलु तेन्य एव विधिना यैरेष सृष्टो युवा । श्रीमत्कान्तिजुषां द्विषां करतलात् स्त्रीणां नितम्बस्थलात् दृष्टे यत्र पतन्ति मूढमनसामस्त्राणि वस्त्राणि च ॥२१८॥ two short ones),—is unmelodious [as has been recognised by standard writers on metrics also]. (b) ‘Vikasitasahakāratārahāriparimala........................ ..............................................vasantaḥ’. ‘The spring bearing the fascinating fragrance of the blossoming mangoes, having swarms of black bees humm- ing about, and beautified by chowries in the shape of the fresh leaves of trees—captivates the heart of even the ascetic’. Here the metre is halting at ‘hāri’ [where the last vowel is not elongated]. The right reading would be ‘hāri—pramudita etc. etc.’ Or, as in the following— ‘Anyāstā............................vastrāṇi cha’. ‘Wonderful must have been the mines that produced these jewels of qualities ! wonderful too that blessed clay, as also the accessories, wherewith this young man has been created by God ! Since at his appearance, the weapons fall off from the hands of his rich and elegant enemies, and clothes slur away from the waists of beautiful women,— both of these having their hearts benumbed (the former through fear and the latter through love)’.

CHAPTER VII 215 अत्र ‘वस्त्राण्यपि’ इति पाठे लघुरपि गुरुतां भजते ॥ हा नृप हा बुध हा कविबन्धो विप्रसहस्रसमाश्रय देव । मुग्धविदग्धसभान्तररत्न क्वासि गतः क्व वयं च तवैते ॥२१९॥ हास्यरसव्यञ्जकमेतद्वृत्तम् (६) न्यूनपदं यथा तथाभूतां दृष्ट्वा नृपसदसि पाञ्चालतन्‍यां वने व्याधैः सार्धं सुचिरमुषितं वल्कलधरैः । विराटस्यावासे स्थितमनुचितारम्भनिभृतं गुरुः खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥२२०॥ [Here the short syllable ‘cha’ at the end is such as cannot take the long accent]. If the reading were ‘nyapi’ (instead of ‘ṇi cha’), the ‘pi’, even though short, could have taken the long accent (by virtue of its being preceded by the conjunct consonant “nya”). (c) ‘Hā nrpa.........tavaite’. ‘O king ! O wise one ! O patron of poets, the patron of hundreds of Brāhmaṇas ! O godlike one, jewel of the assembly of the learned and the wise ! Whereto have you gone ?—and where are we, your very own ?’ The metre adopted here is suited to the delineation of the Comic (and not of the Pathetic, to which it is employed here). (6) The following is an example of the ‘deficient in words’— ‘Tathābhūtāṁ dṛṣṭvā nṛpasadasi pāñchālatanayāṁ Vane vyādhaiḥ sārdhaṁ suchiramuṣitaṁ valkaladharaiḥ Virāṭasyāvāse sthitamanuchitārambhanibhṛtaṁ Guruḥ khedaṁ khinne mayi bhajati nādyāpi kuruṣu. (See translation above in Chapter III,)

216 KĀVYAPRAKĀŚA अत्रास्माभिरिति “खिन्न” इत्यस्मात्पूर्वमित्थमिति च ।। (७) अधिकं यथा स्फटिकाकृतिनिर्मलः प्रकामं प्रतिसंक्रान्तनिशातशास्त्रतत्त्वः । अविरुद्धसमन्वितोक्तियुक्तिः प्रतिमल्लास्तमयोदयः स कोपि ॥ ॥२२१॥ अत्र आकृतिशब्दः । यथा वा इदमनुचितमक्रमश्च पुंसां यदिह जरास्वपि मान्मथा विकाराः । यदपि च न कृतं नितम्बिनीनां स्तनपतनावधि जीवितं रतं वा ॥२२२॥ Here, in the first sentence the word ‘asmābhiḥ’ is wanting (without which the sentence is left without a nominative) ; similarly before ‘khinne’, the adverb ‘ittham’ ‘in this manner’ is wanting [the intended meaning being ‘he bears anger towards me, who have suffered in the manner described’]. (7) The following in an example of the ‘Redundant word’— ‘Sphaṭikākṛti......sa kopi’ ‘Truly marvellous is this King !—clean like the form of the rock-crystal, all the most abstruse principles of the sciences fully reflected in himself, his statements consistent and closely reasoned, and the source of the destruction of his adversaries.’ Here the term ‘ākṛti’ (‘form’) is entirely superfluous. Another example— ‘Idamanuchitam......... Yadapi cha na kṛtaṁ......rataṁ vā’. ‘It is improper and unnatural that men should evince sexual desires even in old age ; as also that of women, either life itself or sexual enjoyment was not made to end with the fall of their breasts’.

CHAPTER VII 217 अत्र कृतमिति । कृतं प्रत्युत प्रक्रमभङ्गमावहति । तथा च 'यदपि' च न कुरङ्गलोचनानाम्' इति पाठे निराकाङ्क्षैव प्रतीतिः ॥ (८) कथितपदं यथा अधिकरतलतल्पं कल्पितस्वापलीला- परिमिलननिमीलत्पाण्डिमा गण्डपाली । सुतनु कथय कस्य व्यञ्जयत्यञ्जसैव स्मरनरपतिलीलायौवराज्याभिषेकम् ॥२२३॥ अत्र लीलेति ॥ (९) पतत्प्रकर्षं यथा कः कः कुत्र न घुर्घुरारियतघुरीघोरो घुरेत्सूकरः कः कः कं कमलाकरं विकमलं कर्तुं करी नोद्यतः । Here the term 'kṛtam' is superfluous ; in fact its insertion breaks the uniformity (of the two statements). If the reading were 'yadapi cha na kuraṅgalochanānām', the intended sense would be quite complete. (8) The following is an example of the 'Repeated Word'— 'Adhikara......līlā— Smaranarapatilīlā......ṣēkam' 'The paleness of your cheek is waning on account of the pressure of your arms upon which it rested during sleep ; tell me, O beautiful one ! of what young man does this (cheek) indicate the coronation as the Prince of the sportings of King Cupid.' Here the word 'līlā' is needlessly repeated. (9) The following is the example of 'Receding Ex- cellence'— 'Kaḥ kaḥ kutra na ghurghurāyitaghurīghoro ghuret sūkaraḥ Kaḥ kaḥ kaṁ kamalākaraṁ vikamalaṁ kartuṁ karī nodyataḥ

218 KĀVYAPRAKĀŚA के के कानि वनान्यरण्यमहिषा नोन्मूलयेयुर्यतः सिंहीस्नेहविलासबद्धवसतिः पञ्चाननो वर्तते ॥२२४॥ (१०) समाप्तपुनरात्तं यथा क्रेङ्कारः स्मरकार्मुकस्य सुरतक्रीडापिकीनां रवः झङ्कारो रतिमञ्जरीमधुलिहां लीलाचकोरीध्वनिः । तन्व्याः कञ्चुलिकापसारणभुजाक्षेपस्खलत्कङ्कण- क्वाणः प्रेम तनोतु वो नववयोलास्याय वेणुस्वनः ॥२२५॥ Ke ke kāni vanānyaraṇyamahiṣā nonmūlayeyuryataḥ Siṁhīsnehavilāsabaddhavasatiḥ pañchānano vartate ’ ‘ What boar and where would not make the terrible ghur ghur sound ?—What elephant would not deprive the lotus-ponds of its lotuses ?—What wild buffalo would not uproot the forests ?—Now that the lion lies capti- vated by the love of the lioness !’ [Here the climax is not maintained to the end; it breaks off after the third line. The destructiveness of one animal is described in the first foot, greater destructiveness is described in the second foot, and still greater destructiveness is described in the third foot; this climax would have been rightly maintained, if the lion were described, in the last foot, as bringing greater destruction than that wrought by all the aforesaid animals. What is done on the other hand is that the fierce destructiveness of animals is toned down towards the end to the quiescent lying down of the lion under the captivating influence of feminine charms.] (10) The following is the example of ‘ Resuming the Concluded ’— ‘ Kreṅkāraḥ.........veṇusvanaḥ ’. ‘ Like unto the twang of Cupid’s bow, the sweet singing of the cuckoo of dalliance, the humming of bees in the blossom of love, the sound of the partridge of graceful sportiveness,—may the jingling of the slender

CHAPTER VII 219 (११) द्वितीयार्धगतैकवाचकशेषप्रथमाधं यथा मसृणचरणपातं गम्यतां भूः सदर्भा विरचय सिचयान्तं मूर्ध्नि घर्मः कठोरः । तदिति जनकपुत्री लोचनैरश्रुपूर्णैः पथि पथिकवधूर्भीरीक्षिता शिक्षिता च ॥२२६॥ (१२) अभवन् मतः (इष्टः) योगः (संबन्धः) यत्र तत् । यथा girl's bangles dropped in the shaking of her arms at the time of the attempt to remove her bodice, expand your love !—the jingling resembling the ring of the flute, played to the dancing of youthfulness !' [The last qualification is thrown in, after the sentence has been completed, without materially adding to the beauty of the descrip- tion.] (11) The following is an example of the 'Isolation, in the second part of a word required by the first half'— ' Masṛṇa............bhūḥ sadarbhā ................................................................ Taditi........................... ...................śikṣitā cha'. ' The ground is covered with grass-shoots, therefore, weak with soft foot-steps ; the sun is strong overhead, therefore place a piece of cloth on your head ;—thus was Jānakī on her way exhorted and looked upon with tearful eyes by the wives of fellow-travellers'. [The construction here is 'bhūḥ sadarbhā—'(the ground is covered with shoots) tat (therfore) gamyatām (walk with soft tread etc. etc.); and the term 'tat' which is required in the first half of the verse has been placed in the second half, with which it has no syntactical connection.] (12) The following is an example of what is 'devoid of intended connection', i.e. where the desired connection is wanting—

220 KĀVYAPRAKĀŚA येषां तास्त्रिदशेभदानसरितः पीताः प्रतापोष्मभि- र्लीलापानभुवश्च नन्दनवनच्छायासु यैः कल्पिताः । येषां हुंकृतयः कृतामरपतिक्षोभाः क्षपाचारिणां किं तैस्त्वत्परितोषकारि विहितं किंचित्प्रवादोचितम् ॥२२७॥ अत्र “गुणानां च परार्थत्वादसंबन्धः समत्वात्स्यात्” इत्युक्तनयेन यच्छब्दनिर्द्देश्यानामर्थानां परस्परमसन्वयेन यैरि- त्यत्र विशेषस्याप्रतीतिरिति । 'क्षपाचारिभिः' इति पाठे युज्यते समन्वयः । (a) ‘Yeṣāṁ tāstridashebhadānasaritaḥ pītāḥ pratāpoṣmabhiḥ Līlāpānabhuvashcha nandanavana- (b) chchhāyāsu yaiḥ kalpitāḥ (c) Yeṣāṁ huṁkṛtayaḥ kṛtāmarapati- kṣobhāḥ kṣapāchāriṇāṁ Kiṁ taistvatparitoṣakāri vihitaṁ kiñchit pravādochitam’. ‘By the fire of whose glory was dried the ichor-flow of the celestial elephants,—by whom were established drink- ing booths in the shady groves of the Nandana garden,— of which demons the slightest sound of displeasure brought up perturbation in the mind of the king of the gods,—what satisfactory act has been done by them which could be spoken of ?’ Here it is not comprehensible what is the antecedent (qualified and referred to) of the pronoun ‘yaiḥ’ (there being no noun with the instrumental ending),—it being not possible to co-ordinate it with ‘yeṣām’ and thus corre- late it with the ‘demons’ (kṣapāchāriṇāṁ’ with the