काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

अत्र व्रीडादीनाम् । 'व्यानम्रा दयितानने मुकुलिता मातङ्गचर्माम्बरे सोत्कम्पा भुजगे निमेषरहिता चन्द्रेमृतस्यन्दिनि । मीलद्भूः सुरसिन्धुदर्शनविधौ म्लाना कपालोदरे' इत्यादि तु युक्तम् ॥ (२) रसस्य स्वशब्देन शृङ्गारादिशब्देन वा वाच्यत्वम् । क्रमेणो- दाहरणम्— तामनङ्गजयमङ्गलश्रियं किंचिदुच्चभुजमूललोकिताम् । नेत्रयोः कृतवतोस्य गोचरे कोप्यजायत रसो निरन्तरः ॥३२२॥

CHAPTER VII 281 आलोक्य कोमलकपोलतलाभिषिक्त व्‍यक्तानुरागसुभगामभिराममूर्तिम् । पश्यैष बाल्यमतिवृत्य विवर्तमानः शृङ्गारसीमनि तरङ्गितमातनोति ॥३२३॥ (३) स्थायिनो यथा संप्रहारे प्रहरणैः प्रहाराणां परस्परम् । ठणत्कारैः श्रुतिगतैरूत्साहस्तस्य कोप्यभूत् ॥३२४॥ (a) ‘ Tāmanaṅgajayamaṅgalaśriyaṁ Kiñchiduchchabhujamūlalokitām Netrayoḥ kṛtavatosya gochare Kopyajāyata raso nirantaraḥ ‘ When he got her within the range of his vision,— she, the auspicious glory of the victory of the Love-god, and having the slight elevation at the end of her arms rendered perceptible,—there became manifested in him a peculiar unimpeded passion.’ (b) ‘ Ālokya komalakapolatalābhiṣikta— Vyaktānurāgasubhagāmabhirāmamūrtim Pashyaiṣa bālyamativṛtya vivartamānaḥ Shṛṅgārasīmani taraṅgitamātanoti.’ ‘ See how this young man, just passed his boyhood, behaves,—striking like waves as it were, on the boundaries of the Erotic, on seeing her of beautiful form, graceful and exquisitely handsome, through the loveful blush on her soft cheeks.’ (3) Example of the ‘ mention by name ’ of the Latent Emotion— ‘ Samprahāre praharaṇaiḥ prahārāṇāṁ parasparam Ṭhaṇatkāraiḥ shrutigatairutsāhastasya kopyabhūt.’ ‘ When he heard the sound of weapons clashing in battle, there appeared in him a peculiar daring.’

282 KĀVYAPRAKĀŚA अत्रोत्साहस्य ।। (४) कर्पूरधूलिधवलद्युतिपूरधौत- दिङ्मण्डले शिशिररोचिषि तस्य यूनः । लीलाशिरोंशुकनिवेशविशेषक्लृप्ति- व्यक्तस्तनोन्नतिरभून्नयनाव्नौ सा ॥३२५॥ अत्रोद्दीपनालम्बनरूपाः शृङ्गारयोग्या विभावा अनुभाव- पर्यवसायिनः स्थिता इति कष्टकल्पना ।। (५) परिहरति रतिं मतिं लुनीते स्खलति भृशं परिवर्तते च भूयः । इति बत विषमा दशास्य देहं परिभवति प्रसभं किमत्र कुर्मः॥३२६॥ Here the mention of ‘utsāha’ (Daring) is defective. (4) ‘On the atmosphere being washed by the flood of the camphor-like bright light of the Moon,—she, having the appearance of her breasts brought about by a sportive manipulation of her veil, came within the range of the young man's vision.’ What are described here are the two kinds of excitants— (a) basic (in the shape of the woman) and (b) aggravative (in the shape of moonlight)—of the Erotic Passion ; and these do not serve to indicate the corresponding ensuants (in the young man, in the shape of thrilling and so forth) ; and it is with some difficulty that they become compre- hended. This is what is meant by the ensuants being ‘far-fetched.’ (5) ‘He shuns pleasure, interrupts his thoughts, trembles and rolls about ; thus, Oh ! a violent condition is attacking his body ; what shall we do ?’ What are described here are the ensuants (certain effects produced in the young man) ; and it is only with some difficulty that one can comprehend that the loved woman

CHAPTER VII 283 अत्र रतिपरिहारादीनामनुभावानां करुणादावपि संभवा- त्कामिनीरूपो विभावो यत्नतः प्रतिपाद्यः ॥ (६) प्रसादे वर्तस्व प्रकटय मुदं संत्यज रुषं प्रिये शुष्यन्त्यङ्गान्यमृतमिव तें सिञ्चतु वचः । निधानं सौख्यानां क्षणमभिमुखं स्थापय मुखं न मुग्धे प्रत्येतुं प्रभवति गतः कालहरिणः ॥३२७॥ अत्र शृङ्गारे प्रतिकूलस्य शान्तस्यानित्यताप्रकाशनरूपो विभावस्तत्प्रकाशितो निर्वेदश्च व्यभिचारी उपात्तः॥ णिहुअरमणम्मि लोअणपहम्मि पडिए गुरुअणमज्झम्मि । सअलपरिहारहिअआ वणगमणं एव्व महइ वहू ॥३२८॥ is the excitant; specially as the ensuants described are such as could be due to the Passion of Pathos also. [This is what is meant by the excitant being 'farfetched'] (6a) 'Do be propitiated; O my love! give expression to joyfulness and give up anger; let thy nectarine voice sprinkle my withering limbs. Just for a moment keep your face, the very fount of felicity, before me. O lovely damsel, past opportunities never come again.' What is described here is : (1) an excitant, in the shape of the man's expression of the notion of the impermanence of pleasures, and also (2) a variant emotion, in the shape of self-disparagement,—both of which are concomitants helpful to the Quietistic Passion, but adverse to (and marring the effect of) the Erotic (which is the Passion described). [Thus, this is an example of the admission of adverse concomitants in the shape of discordant excitant and variants.] (6b) 'Her eyes having fallen upon her lover, while she was among her elders, she withdraws her heart from all work and is anxious to proceed to the forest.'

284 KĀVYAPRAKĀŚA अत्र सकलपरिहारवनगमने शान्तानुभावौ । इन्धनाद्या- नयनव्याजेनोपभोगार्थं वनगमनं चेत् न दोषः ॥ (७) दीप्तिः पुनः पुनर्यथा कुमारसंभवे रतिविलापे ॥ (८) अकाण्डे प्रथनं यथा वेणीसंहारे द्वितीयेऽङ्केनेकवीरक्षये प्रवृत्ते भानुमत्या सह दुर्योधनस्य शृङ्गारवर्णनम् । (९) अकाण्डे छेदो यथा वीरचरिते द्वितीयेऽङ्के राघवभार्गव- योर्धाराधिरूढे वीररसे 'कङ्कणमोचनाय गच्छामि' इति राघ- वस्योक्तौ ॥ The ensuants depicted here are the losing of interest in all work and proceeding to the forest; and both of these are helpful to the quiestistic Passion (and adverse to the Erotic.) [Thus this is a case of the 'admission of adverse concomitants', in the shape of the ensuant.] There would be nothing objectionable if there were something to indicate that the desire to proceed to the forest was for the purpose of meeting the lover, under the pretext of fetching fuel and such things. (7) As an example of 'Repeated Heightening' we have 'Rati's Lament' in the Kumārasambhava. (8) An example of 'untimely introduction' we have in the Second Act of the Veṇīsaṁhāra, where, while the slaughter of numerous heroes is proceeding, the poet proceeds to describe the loving dalliances of Duryodhana with Bhānumatī. (9) An example of 'untimely interruption' we have in the Second Act of the Mahāvīracharita, where the Heroic sentiment between Rāma and Parashurāma having reached the highest pitch, Rāma says—' I am going to unfasten the nuptial bracelet.'

CHAPTER VII 285 (१०) अङ्गस्याप्रधानस्यातिविस्तरेण वर्णनम् । यथा हय- ग्रीववधे हयग्रीवस्य ॥ (११) अङ्गिनोननुसंधानम् । यथा रत्नावल्यां चतुर्थेऽङ्के बाभ्रव्यागमने सागरिकाया विस्मृतिः ॥ (१२) प्रकृतयो दिव्या अदिव्या दिव्यादिव्याश्च वीररौद्र- शृङ्गारशान्तरसप्रधाना धीरोदात्तधीरोद्धतधीरललितधीर- प्रशान्ताः उत्तमाधममध्यमाश्च । तत्र रतिहासशोकाद्भुतानि अदिव्योत्तमप्रकृतिवत् दिव्येष्वपि । किं तु रतिः संभोगशृङ्गार- रूपा उत्तमदेवताविषया न वर्णनीया । तद्वर्णनं हि पित्रोः संभोग- वर्ण निमवात्यन्तमनुचितम् । (10) 'Excessive Dilatation of the Subordinate Factor' we find in the lengthy description of Hayagrīva in the Hayagrīvavadha—Kāvya. (11) 'Neglect of the Principal Factor' we find in the Fourth Act of the Ratnāvalī, where, on the approach of Bābhravya, Sāgarikā, the heroine, is completely ignored. (12) 'Characters' are of three kinds—Divine, Non- divine, (Human) and Humo-divine. Each of these again is (a) firm-noble, (b) firm-haughty, (c) firm-gay, and (d) firm-calm, according as they are under the influence respectively of (a) the Heroic, (b) the Furious, (c) the Erotic and (d) the Quietistic Passions. [Thus there are 12 kinds]. Each of these again is either High, Medium or Low.—Now among these, Love, Mirth, Grief and Wonder are found in Divine as well as Human characters ; but it is not right to describe the Erotic Love-dalliances of a High-Divine character ; in fact such a description would be as highly improper as that of the love-dealings of one's own parents.

286 KĀVYAPRAKĀŚA क्रोधं प्रभो संहर संहरेति यावद् गिरः खे मरुतां चरन्ति । तावत्स वह्निर्भवनेत्रजन्मा भस्मावशेषं मदनं चकार ॥३२९॥ इत्युक्तवत् भ्रुकुट्यादिविकारवर्जितः क्रोधः सद्यःफलदः स्वर्गपाताल गगनसमुद्रोल्लङ्घनाद्युत्साहश्च दिव्येष्वेवं । अदिव्येषु तु यावदवदानं प्रसिद्धमुचितं वा तावदेवोपनिबन्धव्यम् । अधिकं तु निबध्यमानमसत्यप्रतिभासेन 'नायकवद्वर्त्तितव्यं न प्रति- नायकवत्' इत्युपदेशे न पर्यवस्येत् । दिव्यादिव्येषु उभयथापि । Further, it is only in the case of Divine characters that there can be either such heroism as involved in the under- taking of a journey to the Heavens or the nether regions, the jumping over the ocean and so forth, or such anger as is immediately effective, though not accompanied by any visible physical signs as the curvature of the brows and so forth ; such anger, for instance, as is delineated in the following verse— ‘ “O Lord, withdraw your wrath—do please with- draw it”,—by the time that these words of the gods go forth into the skies, the fire emanating from the eye of Shiva reduced the Love-god to ashes’. In the case of non-divine or human characters only such activity should be described as is known from past experience to have been possible ; if more than this were attributed to a human character, it would bear the stamp of untruth, and as such, fail to lead up to exhortation (which is the aim of poetry) that ‘one should behave like the hero, and not like his opponent’.—Lastly in the case of humo-divine cha- racters, both the above kinds of actions may be described. This being the right course to adopt, if things are attributed to the Divine and other characters, or to the Firm-noble and the rest, which are not in keeping with the

CHAPTER VII 287 एवमुक्तस्यौचित्यस्य दिव्यादीनामिव धीरोदात्तादीनामप्यन्यथा- वर्णनं विपर्ययः । तत्रभवन् भगवन्नित्युत्तमेन न अधमेन मुनिप्रभृतौ न राजादौ भट्टारक-इति नोत्तमेन राजादौ प्रकृतिविपर्यया- पत्तेर्वाच्यम् । एवं देशकालवयोजात्यादीनां वेषव्यवहारादिकमु- चितमेवोपनिवन्धव्यम् ।। (१३) अनङ्गस्य रसानुपकारकस्य वर्णनम् । यथा कर्पूर- मञ्जर्य्या नायिकया स्वात्मना च कृतं वसन्तवर्णनमनादृत्य बन्दि- वर्णितस्य राज्ञा प्रशंसनम् ।। “ईदृशाः” इति । नायिकापादप्रहारादिना नायककोपादिवर्णनम् । above-mentioned proprieties,—it involves the ‘perver- sion’ (of the characters). Similarly there is ‘perversion of character’ also in the case of the infringement of such rules as the following :—(a) such forms of address as ‘tatrabhavān’ and ‘bhagavān’ are to be used only by the higher, and never by the lower characters,—and these too, only with reference to sages, and never to kings ;—(b) the address ‘bhaṭṭāraka’ is to be used, in reference to kings, only by such characters as do not belong to the higher order.—Similarly too the dress and actions of the characters are to be described in due accordance with the time, place, age, caste and such other circumstances. [And if this is not done, it involves ‘perversion of character.’] (13) An example of ‘what is not germane’,—i. e., not helpful in the delineation of the Passion concerned,—we have in the Karpūramañjarī, where the king ignores the description of the spring by the heroine and also that by himself, and goes on to praise that by the bard.

288 KĀVYAPRAKĀŚA उक्तं हि ध्वनिकृता “अनौचित्यादृते नान्यद् रसभङ्गस्य कारणम् । औचित्योपनिबन्धस्तु रसस्योपनिषत्परा ॥” इति ॥६०-६२॥ इदानीं क्वचिददोषा अप्येते इत्युच्यन्ते । न दोषः स्वपदेनोक्तावपि संचारिणः क्वचित् । यथा औत्सुक्येन कृतत्वरा सहभुवा व्यावर्तमाना ह्रिया तैस्तैर्बन्धुवधूजनस्य वचनैर्नीताभिमुख्यं पुनः । दृष्ट्वाग्रे वरमात्तसाध्वसरसा गौरी नवे संगमे संरोहत्पुलका हरेण हसता श्लिष्टा शिवायास्तु वः ॥३३०॥ ‘ Such ’ (in the text) is meant to include such descriptions as that of the Lover getting angry at being struck by the feet of his loved one and so forth. (In regard to Defects) the Author of the Dhvani has made the following declaration— ‘ Apart from impropriety, there is nothing that mars the Passion ; as Propriety is the highest secret of the right delineation of the Passion’. 60-62. In certain cases the said Defects are not defective. This is what is explained next. In some cases the ‘ mention by name ’ of a variant emotion is not a defect. For example, in the following— ‘ Autsukyena kṛtatvarā sahabhuvā vyāvartamānā hriyā Taistairbandhuvadhūjanasya vachanairnītābhimukhyaṁ punaḥ Dṛṣṭvāgre varamāttasādhvasarasā gaurī nave saṁgame Saṁrohatpulakā hareṇa hasatā śliṣṭā śivāyāstu vaḥ’.

CHAPTER VII 289 अत्रौत्सुक्यशब्द इव तदनुभावो न तथा प्रतीतिकृत् । अत एव 'दूरादुत्सुकम्' इत्यादौ व्रीडाप्रेमाद्यनुभावानां विवलितत्वादी- नामिवौत्सुकत्वानुभावस्य सहसा प्रसरणादिरूपस्य तथा प्रति- पत्तिकारित्वाभावादुत्सुकमिति कृतम् ॥ संचार्यादेर्विरुद्धस्य बाध्यस्योक्तिर्गुणावहा ॥ ६३ ॥ ‘Hastening through longing, turning back from in- born modesty, carried before her husband by the exhor- tations of her female relatives, showing some fear on seeing her husband before her,—may Gaurī, on the occasion of her first meeting, embraced by smiling Shiva, and with her hairs thrilling, ordain your welfare !’ Here the variant emotion of Autsukya, ‘Longing’, is mentioned by name, because the mere mention of the ensuants (the effects of the emotion) would not have been equally significant [as the said effects might be due to causes other than Longing; hence the mention of the name of ‘Autsukya’ is not regarded as a defect.] Similarly in the verse—‘Dūrādutsukamāgate &c.’ (see above stanza No 29), though the poet has described the emotions of modesty, affection and the rest, through their respective ensuants, in the form of ‘turning aside’ and so forth, yet the emotion of ‘Longing’ has been mentioned by name ‘utsuka’, because the mere mention of its ensuants, in the form of approaching nearer, would not be equally expressive of what is intended. The mentioning of ‘adverse concomitants’ in the form of variant emotions (excitants and ensuants) is conducive to excellence, when they are spoken of as suppressed. 63. That is, when they are mentioned in such a manner as to indicate that they are to be understood as being 19

290 KĀVYAPRAKĀŚA बाध्यत्वेनोक्तिर्न परमदोषः यावत् प्रकृतरसपरिपोषकृत् । यथा 'क्वाकार्यं शशलक्ष्मणः क्व च कुलम्' इत्यादौ ॥३३१॥ अत्र वितर्कादिषु उद्गतेष्वपि चिन्तायामेव विश्रान्तिरिति प्रकृतरसपरिपोषः ॥ पाण्डु क्षामं वदनं हृदयं सरसं तवालसं च वपुः । आवेदयति नितान्तं क्षेत्रियरोगं सखि हृदन्तः ॥३३२॥ इत्यादौ साधारणत्वं पाण्डुतादीनामिति न विरुद्धम् ॥ सत्यं मनोरमा रामाः सत्यं रम्या विभूतयः । किं तु मत्ताङ्गनापाङ्गभङ्गलोलं हि जीवितम् ॥३३३॥ suppressed, such mention is not very defective; on the contrary, it serves to heighten the principal Passion depicted. As an example we have the verse ‘Kvākāryaṁ shashalaks- maṇaḥ &c’. (See above, stanza No. 53), where though the variants, ensuants and excitants, in the form of ‘argu- mentation’, ‘doubt’ and so forth (which are adverse to the Passion depicted) are mentioned as appearing, yet they are all represented as becoming merged into painful reflection, which tends to heighten the Passion depicted. Similarly, in the following verse— ‘O friend, thy face is pale and emaciated, and heart full of substance, and body languid; all this indicates the presence of an incurable disease of the heart’— though Paleness and the other effects mentioned are in a sense adverse to the Erotic Passion depicted (inasmuch as they can be the effects of the Pathetic Passion also); —yet, inasmuch as they are common (to the Erotic and to the Pathetic), they cannot be regarded as entirely ‘adverse.’

CHAPTER VII· 291 इत्यत्राद्यमर्धं बाध्यत्वेनैवोक्तम् । जीवितादपि अधिकमपाङ्ग- भङ्गस्यास्थिरत्वमिति प्रसिद्धभङ्गुरोपमानतयोपात्तं शान्तमेव पुष्णाति न पुनः शृङ्गारस्यात्र प्रतीतिस्तदङ्गाप्रतिपत्तेः । न तु विनेयोन्मुखीकरणमत्र परिहारः शान्तशृङ्गारयोर्नैरन्तर्यस्या- Similarly again, in the verse— ' It is true that women are heart-ravishing, and riches also are pleasing ; but life itself is as unsteady as the amorous glances of a love-intoxicated woman'.— The first half (though adverse to the Quietistic Passion meant to be depicted) is spoken of only as something that is suppressed or negated by the second half ; the sense thus being that—'the glances' are more unsteady or transient than 'life' ; and this mention of a parallel, which is universally known to be transitory, only serves to heighten the Quietistic Passion ; which is what is de- picted here, and not the Erotic (as has been held by the author of the Dhvani) because we do not recognise in the verse any such accessories as would point to this latter passion.—It has been argued (in support of the view that the Erotic is the passion depicted here) that it is the Erotic that is meant to be depicted, but only with a view to engaging the attention of the pupil addressed (by the depicting of a more agreeable subject, and through that, leading him on to the Quietistic).—But this can not be right ; as there is such a large gap between the Erotic and the Quietistic (that one cannot lead on to the other).— Another explanation (in support of the view in question) is that the Erotic is depicted here with a view to lending a charm to the poetry.—But this also cannot be accepted ; because charm could be added to the poetry either through

292 KĀVYAPRAKĀŚA भावात् । नापि काव्यशोभाकरणं रसान्तरादनुप्रासमात्राद्वा तथाभावात् ॥६३॥ आश्रयैक्ये विरुद्धो यः स कार्यों भिन्नसंश्रयः । रसान्तरेणान्तरितो नैरन्तर्येण यो रसः ॥ ६४ ॥ वीरभयानकयोरेकाश्रयत्वेन विरोध इति प्रतिपक्षगतत्वेन भयानको निवेशयितव्यः । शान्तशृङ्गारयोस्तु नैरन्तर्येण विरोध इति रसान्तरमन्तरे कार्यम् यथा नागानन्दे शान्तस्य जीमूत- वाहनस्य 'अहो गीतम् अहो वादित्रम्' इत्यद्भुतमन्तर्निवेश्य मलयवतीं प्रति शृङ्गारो निबद्धः । न परं प्रबन्धे यावदेकस्मिन्नपि वाक्ये रसान्तरव्यवधिना विरोधो निवर्तते । यथा some other Passion than the Erotic (i. e., through the Quietistic itself), or through mere Alliteration [so that for purposes of this charm also, it would not be necessary to introduce the Erotic]. 63. If one Passion is repugnant to another when found together in the same substratum, they should be delineated in different substrata ; and if one Passion is repugnant to another when appearing in close contiguity, they should be separated by some other Passion. 64. The Heroic and the Frightful are found to be repug- nant to one another, when found in the same person ; hence the Frightful is to be depicted as subsisting in the hero's opponent (while the Heroic belongs to the hero himself).—And between the Erotic and the Quietistic, there is incompatibility only when they appear in close contiguity ; hence a third Passion should be made to intervene between these two. For instance, in the Nāgā-

CHAPTER VII 293 भूरेणुदिग्धान् नवपारिजात- मालारजोवासितबाहुमध्या । गाढं शिवाभिः परिरभ्यमाणान् सुराङ्गनाश्लिष्टभुजान्तरालाः ।।३३४।। सशोणितैः क्रव्यभुजां स्फुरद्भिः पक्षैः खगानामुपवीज्यमानान् । संवीजिताश्चन्दनवारिसेकैः सुगन्धिभिः कल्पलतादुकूलैः ।।३३४।। (अ)।। विमानपर्यङ्कतले निषण्णाः कुतूहलाविष्टतया तदानीम् । निर्दिश्यमानान् ललनाङ्गुलीभिर्- वीराः स्वदेहान् पतितानपश्यन् ।।३३५।। nanda, when the Quietistic Jīmūtavāhana is described as falling in love with Malayavatī, the passion of Wonder is brought in between the two, by the sentences ‘what a song ! what music !’, This incompatibility is warded off in this manner not only as occurring in course of a complete poetic work, but also in the same sentence. For instance, in the following verse :— ‘ The heroic men, lying upon magnificent beds in the flying cars, their chests perfumed by the pollens of the fresh Pārijāta-garlands, embraced by celestial nymphs, and fanned by silken cloths made out of the celestial trees, wet and fragrant,—saw their own bodies rolling in the dust of the earth, pointed to by the damsels through curiosity, em- braced by jackals, and fanned by the flapping wings of the carnivorous birds dripping with blood’,—

294 KĀVYAPRAKĀŚA अत्र बीभत्सशृङ्गारयोरन्तर्वीररसो निवेशितः ।।६४।। स्मर्यमाणो विरुद्धोऽपि साम्येनाथ विवक्षितः । अङ्गिन्यङ्गत्वमाप्तौ यौ तौ न दुष्टौ परस्परम् ।। ६५ ।। अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरुजघनस्पर्शी नीवीविस्रंसनः करः ।।३३६।। एतद् भूरिश्रवसः समरभुवि पतितं हस्तमालोक्य तद्वधूर- भिदधौ । अत्र पूर्वावस्थास्मरणं शृङ्गाराङ्गमपि करुणं परि- पोषयति ।। दन्तक्षतानि करजैश्च विपाटितानि प्रोद्भिन्नसान्द्रपुलके भवतः शरीरे । दत्तानि रक्तमनसा मृगराजवध्वा जातस्पृहैर्मुनिभिरप्यवलोकितानि ।।३३७।। the Heroic has been made to intervene between the Disgustful and the Erotic. 64. Even if two Passions are incompatible, they do not mar each other,—(a) when one is merely remembered, or (b) when it is intended to be equal to the other (in importance), or (c) when the two become subservient to a third Principal (Passion). 65. For instance, (a) in the following verse—‘Ayaṁ sa rashanotkarṣī &c. ‘This is that same hand &c.’ (see above,)—which contains the speech of the wife of Bhūrishravas when she saw his hand lying on the battle field,—the remembrance of her past experience, even though savouring of the Erotic, only serves to heighten the Pathetic. (b) In the following verse— ‘The teeth-marks and the nail-tearings made in your thrilling body by the blood-thirsty (loving) lioness (wo- man), were looked at even by the sages, with coveting eyes’.

CHAPTER VII 295 अत्र कामुकस्य दन्तक्षतादीनि यथा चमत्कारकारीणि तथा जिनस्य । यथा वा परः शृङ्गारी तदवलोकनात्सस्पृहस्तद्वत् एतद्दृशो मुनय इति साम्यविवक्षा ॥ क्रामन्त्यः क्षतकोमलाङ्गुलिगलद्रक्तैः सदर्भाः स्थलीः पादैः पातितयावकैरिव गलद्बाष्पाम्बुधौतानना । भीता भर्तृकरावलम्बितकरास्त्वच्छत्रुनार्योऽधुना दावाग्नि परितो भ्रमन्ति पुनरप्युद्यद्विवाहा इव ॥३३८॥ The meaning is that the marks made on the body of the Buddha by the lioness looked as charming as those made on the body of the lover by his beloved woman ; or that, ' just as the erotically inclined man looks covetingly upon the marks of endearment made by a woman upon the body of another man, so did the sages look covetingly upon the marks upon Buddha’s body made by the lioness ' ; and here both the Passions (the Heroic and the Erotic) are meant to be of equal importance. (c) In the following verse— ‘The frightened wives of your enemies sprinkle, with their feet on the grassy ground, blood issuing from their fingers, and appear as if dropping the red paint of their feet ; their faces are washed with flowing tears ; and supporting themselves on the hands of their husbands, they walk round the forest-fire, appearing as if they were again going through their marriage-rites '.— The principal factor meant to be delineated by the clever statement is the speaker’s regard for the king, and to this principal factor, both, the Pathetic as well as the Erotic, are equally subservient ; and under the circumstances,

296 KĀVYAPRAKĀŚA अत्र चाटुके राजविषया रतिः प्रतीयते । तत्र करुण इव शृङ्गारोप्यङ्गमिवि तयोर्न विरोधः । यथा एहि गच्छ पतोत्तिष्ठ वद मौनं समाचर । एवमाशाग्रहग्रस्तैः क्रीडन्ति धनिनोर्थिभिः ॥३३९॥ इत्यत्र एहीति क्रीडन्ति गच्छेति क्रीडन्तीति क्रीडनापेक्षयोः आगमनगमनयोर्न विरोधः । क्षिप्तो हस्तावलग्नः प्रसभमभिहतोप्याददानोंशुकान्तं गृह्णन् केशेष्वपास्तश्चरणनिपतितो नेक्षितः संभ्रमेण । आलिङ्गन् योवधूतस्त्रिपुरयुवतिभिः साश्रुनेत्रोत्पलाभिः कामीवार्द्रापराधः स दहतु दुरितं शांभवो वः शराग्निः ॥३४०॥ there is no incompatibility. Just as there is no incongruity in the mention of two mutually contradictory actions, when these are mentioned as subservient to a third act ; e.g., in the verse—" Come "—" go "—" fall down "— " rise "—" speak "—" keep quiet ",—in this manner do the rich make fun of the needy men who are held in by hopes for 'getting something,'—' coming ' and ' going ' are both subservient 'to the act of making fun'. Similarly in the following verse— 'May the fire of Shiva's arrows burn your sin,—the fire which, upon embracing the young ladies of Tripura, was shaken off by them with tearful eyes,—was thrown aside on touching their hands, was swiftly struck back, when catching hold of their cloth-end, —thrust aside, when touching their locks,—not even perceived, through flurry, when fallen on their feet ; and thus appeared like a

CHAPTER VII 297 इत्यत्र त्रिपुररिपुप्रभावातिशयस्य करुणोऽङ्गम् । तस्य तु शृङ्गारः । तथापि न करुणे विश्रान्तिरिति तस्याङ्गत्तैव । अथवा प्राक् यथा कामुक आचरति स्म तथा शराग्निरिति शृङ्गारपोषि- तेन करुणेन मुख्य एवार्थ उपोद्बल्यते । उक्तं हि ‘गुणः कृतात्मसंस्कारः प्रधानं प्रतिपद्यते । प्रधानस्योपकारे हि तथा भूयसि वर्तते ॥’ इति ॥ guilty lover of theirs,’—the principal object of delineation is the superior majesty of Tripura’s enemy (Shiva) ; and to this is subservient the Pathetic, to which latter the Erotic is subservient ; and even though in view of the Erotic being subservient to it, the Pathetic might be regarded as the predominant factor,—yet it has to be regarded as only a subordinate factor in view of the fact that the delineation of the Pathetic does not form the end of the describer. Or, the sense may be that—‘ the fire of the arrow behaved in the same manner as a guilty lover has done ’,—wherein the principal factor (greatness of Shiva) becomes heightened by the Pathetic as strengthened by the Erotic [so that in this sense also the Pathetic is not the end arrived at.] In support of our view, we have the following state- ment—‘ It is only when it has undergone a purificatory process that the subordinate factor approaches its Princi- pal, and it is only thus that it tends to help that principal.’ In this connection it has to be borne in mind that there can be no ‘incompatibility’ between one Passion and another,—when we understand Passion to be what it has been described to be above (under Ch. IV) ; nor can there

298 KĀVYAPRAKĀŚA प्राक्प्रतिपादितस्य रसस्य रसान्तरेण न विरोधः नाप्यङ्गा- ङ्गिभावो भवति इति रसशब्देनात्र स्थायिभाव उपलक्ष्यते ॥६५॥ इति काव्यप्रकाशे दोषदर्शनो नाम सप्तम उल्लासः ॥७॥ be any relative subserviency between them ; hence in the present context; the term 'rasa', 'passion', should be taken as standing for the corresponding 'Sthāyī-Bhāva' 'Latent Feeling.' 65. [Thus ends the Chapter VII dealing with the illustrations of Faults of Poetry in the Kāvya-Prakāśa.]

काव्यप्रकाशः अथ अष्टम उल्लासः एवं दोषानुक्त्वा गुणालंकारविवेकमाह- ये रसस्याङ्गिनो धर्माः शौर्यादय इवात्मनः । उत्कर्षहेतवस्ते स्युरचलस्थितयो गुणाः ॥ ६६ ॥ आत्मन एव हि यथा शौर्यादयो नाकारस्य तथा रसस्यैव माधुर्यादयो गुणा न वर्णानाम् ॥ क्वचित्तु शौर्यादिसमुचितस्याकारमहत्त्वादेर्दर्शनात् 'आकार एवास्य शूरः' इत्यादेर्व्यवहारादन्यत्राशूरेपि वितताकृतित्वमात्रेण 'शूरः' इति क्वापि शूरेपि मूर्तिलाघवमात्रेण 'अशूरः' इति अवि- CHAPTER VIII OF EXCELLENCES Having described the Defects, the Author next pro- ceeds to describe the difference between 'Excellences' and 'Ornaments' or 'Figures of speech'— Those properties that belong to the Passion, the principal factor,—conducive to its maturity and having an unceasing existence,—are called 'Guṇas', 'Excellences', in the same manner as Bravery and such qualities belong to the Soul. 66. Just as Bravery and such qualities belong to the Soul, not to the body,—so Sweetness and the other Excellences belong to the Passion, not to the letter. In some cases it so happens that people find bravery co-existing with the large-sized body, and come to speak of the body itself as 'brave'; and hence in another case also, on seeing a large body, they are led to believe, from II-