काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VIII 313 संबन्धः टवर्गोर्थात् णकारवर्जः शकारषकारौ दीर्घसमासः विकटा संघटना ओजसः । उदाहरणम्—मूर्ध्नामुद्वृत्तकृत्तइत्यादि ।।३४८।।७५।। श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् । साधारणः समग्राणां स प्रसादो गुणो मतः ॥ ७६ ॥ समग्राणां रसानां संघटनानां च । उदाहरणम् परिम्लानं पीनस्तनजघनभंगादुभयतस्- तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् । इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैः कृशाङ्ग्याः संतापं वदति बिसिनीपत्रशयनम् ।।३४९।।७६।। having r either above or below it ;—(c) the combination of ‘similar consonants’ i.e., that of a consonant with itself—(d) the entire ṭ-group with the exception of ṇ— (e) the consonants śh and ṣ—(f) long compounds—and (g) bombastic dictive ;—all these are suggestive of Flori- dity. As an example we have the verse ‘Mūrdhnāmudvṛtta &c.’ (see above stanza No. 285.) Lucidity has been held to be that excellence, common to all, by virtue of which the comprehension of meaning of words follows on the mere hearing of it. 76. ‘All’—i. e., all Passions and all styles or diction. Example.— ‘Parimlānaṁ pīnastanajaghanasaṅgādubhayatas Tanor madhyasyāntaḥ parimīlanamaprāpya haritam Idaṁ vyastanyāsaṁ śhlathabhujalatākṣepabalanaiḥ Kṛśhāṅgyāḥ santāpaṁ vadati bisinīpatrashayanam.’ ‘This bedding of lotus-leaves shows the distress of the slender-bodied one,—being as it is withered at its

314 KĀVYAPRAKĀŚA यद्यपि गुणपरतन्त्राः संघटनादयस्तथापि वक्तृवाच्यप्रबन्धानामौचित्येन क्वचित्क्वचित् । रचनावृत्तिवर्णानामन्यथात्वमपीष्यते ॥ ७७ ॥ क्वचिद्वाच्यप्रबन्धानपेक्षया वक्त्रौचित्यादेव रचनादयः । यथा मन्थायस्तार्णवाम्भःप्लुतकुहरचलन्मन्दरध्वानधीरः कोणाघातेषु गर्जत्प्रलयघनघटान्योऽन्यसंघट्टचण्डः । कृष्णाक्रोधाग्रदूतः कुरुकुलनिधनोत्पातनिर्घातवातः केनास्मत्सिंहनादप्रतिरसितसखो दुन्दुभिस्ताडितोऽसौ ॥ ३५० ॥ two ends where it has come into contact with the plump breasts and thighs —green in the middle where it did not come into contact with her slender waist —and ruffled by the throwing about of her unnerved arms.’ 76. [Although Construction, etc. are subservient to Excellence—] The diction, the compounds and the letters are sometimes altered, in accordance with the nature of (a) the speaker, (b) the subject and (c) the form (of the composition). 77. (a) In some cases the Diction &c., are made to accord with the nature of the speaker, irrespective of the subject or of the composition ; as an example of which we have the following— Manthāyastārṇavāmbhaḥplutakuhara-chalanmandaradhvānadhīraḥ Koṇāghāteṣu garjatpralayaghanaghaṭā-nyonyasaṅghaṭṭacaṇḍaḥ Kṛṣṇākrodhāgradūtaḥ kurukulanidhanotpātanirghātavātaḥ Kenāsmatsiṁhanādapratirasitasakho dundubhistāḍitosau. ‘By whom has this trumpet been blown,—appearing as it does like the echo of my lion-roar, the forward messenger of Draupadī’s wrath, the cyclone presaging the annihilation of the Kuru-race, resembling, at each stroke of the beating-stick, the terrible clash of the thundering

CHAPTER VIII 315 अत्र हि न वाच्यं क्रोधादिव्यञ्जकम् । अभिनेयार्थं च च काव्यमिति तत्प्रतिकूला उद्धता रचनदयः । वक्ता चात्र भीमसेनः ॥ क्वचिद्वक्तृप्रबन्धानपेक्षया वाच्यौचित्यादेव रचनादयः ॥ यथा प्रौढच्छेदानुरूपोच्छलनरयभवत्सैंहिकेयोपघात- त्रासाकृष्टश्वतिर्यग्वलितरविरथेनारुणेनेक्ष्यमाणम् । कुर्वत् काकुत्स्थवीर्यस्तुतिमिव मरुतां कन्धरारन्ध्रभाजां झांकारैर्भीममेतन्निपतति वियतः कुम्भकर्णोत्तमाङ्गम् ॥ ३५१॥ clouds at the time of universal dissolution, being as deep as the rumbling of the Mandara mountain tossed about and having its caves overflowing with the water of the sea thrown about, as it were, by the churning rod.’ Here the subject described , is not one suggestive of anger, or any such violent emotion ; the form of the work also is one to be staged ; so that the bombastic diction is not compatible with either of these two conditions ; and yet, since the speaker is Bhīmasena (well-known as a ‘ Furious ’ character) [the bombastic diction is quite suitable.] In other cases the diction and other things are altered in accordance with the character of the subject portrayed, irrespective of the speaker or the form. For instance, in the following :— ‘ Prauḍhachchhedānurūpochchhalanarayabhavatsaiṁhikeyopaghāta- Trāsākṛṣṭāśvatiryagvalitaravirathenāruṇenekṣyamāṇam Kurvat kākutsthavīryastutimiva marutāṁ kandharārandhrabhājāṁ Bhāṅkārairbhīmametannipatati viyataḥ kumbhakarṇottamāṅgam.’ ‘Here falls from the sky the head of Kumbhakarṇa, terrible on account of the curious humming of winds contained in the holes in his shoulders, and hence appearing II–2

316 KĀVYAPRAKĀŚA क्वचिद्वक्तृवाच्यानपेक्षाः प्रबन्धोचिता एव ते ॥ तथाहि— आख्यायिकायां शृङ्गारेऽपि न मसृणवर्णादयः । कथायां रौद्रेऽपि नात्यन्तमुद्धताः । नाटकादौ रौद्रेऽपि न दीर्घसमासादयः ॥ एवमन्यदप्यौचित्यमनुसर्तव्यम् ॥७७॥ इति काव्यप्रकाशे गुणालंकारभेदनियतगुणनिर्णयो नाम अष्टम उल्लासः ॥ ८ ॥ as it were, singing the praises of Rāma,—and being looked at by Aruṇa (the Sun’s charioteer) wheeling about the sun’s chariot and pulling up the horses on one side, fearing it to be Rāhu, on account of the force with which it has shot forth under the impact of the powerful stroke (of the sword).’ In other cases, the Diction &c. are altered in accordance with the nature of the form, irrespective of the speaker and the subject.—For instance in an Ākhyāyikā soft letters are not admissible even in the delineation of the Erotic Passion ;—in a Kathā, even in the delineation of the ‘Furious’, bombastic words are not used ;—and in dramas and works of that kind, long compounds are not used even in the depicting of the ‘Furious’. Similarly in other cases, the proprieties are to vary with the circumstances. 77. [ Thus ends Chapter VIII dealing with the determination of Excellences as different from Ornaments (Figures of Speech).]

अथ नवम उल्लासः गुणविवेचने कृतेलंकाराः प्राप्तावसराः इति संप्रति शब्दा- लङ्कारानाह-- यदुक्तमन्यथा वाक्यमन्यथान्येन योज्यते । श्लेषेण काक्वा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा ॥ ७८ ॥ तथेति श्लेषवक्रोक्तिः काकुवक्रोक्तिश्च । तत्र पदभङ्गश्लेषेण यथा नारीणामनुकूलमाचरसि चेज्जानासि कश्चेतनो वामानां प्रियमदधाति हितकृन्नैवाबलानां भवान् । युक्तं किं हितकर्तनं ननु बलाभावप्रसिद्धात्मनः सामर्थ्यं भवतः पुरन्दरमतच्छेदं विधातुं कुतः ॥३५२॥ CHAPTER IX THE VERBAL FIGURES OF SPEECH. The Excellences having been examined, the author now describes the Verbal Figures of Speech. (1)—When what is said by one person in one sense is construed by another person in a different sense—either through punning or through intonation,—it is Equivoque (Vakrokti) : and thus it is of two kinds. 78. 'Thus'—i.e., (1) Equivoque based on Punning and (2) Equivoque based upon Intonation. The following is an example of Equiyoque based upon pun due to the breaking up of words :— 'Nārīṇāmanukūlamācharasi chejjānāsi kashchetano Vāmānāṁ priyamādadhāti hitakṛnnaivābalānāṁ bhavān Yuktaṁ kiṁ hitakartanaṁ nanu balābhāvaprasiddhātmanaḥ,— Sāmarthyaṁ bhavataḥ purandaramatachchhedaṁ vidhātuṁ kutaḥ.'

318 KĀVYAPRAKĀŚA अभङ्गश्लेषेण यथा अहो केनेदृशी बुद्धिर्दारुणा तव निर्मिता । त्रिगुणा श्रूयते बुद्धिर्न तु दारुमयी क्वचित् ॥३५३॥ “If you behave satisfactorily towards women, then you are wise”.—“What intelligent person does what is agreeable to his enemies?” [This reply being based upon the pun involved in breaking up the term ‘nārīṇāṁ’, spoken by the first speaker in the sense of ‘towards women’, into two terms ‘na-arīṇāṁ’, ‘not to enemies’]—“Then you are not a benefactor of the weaker sex.” [This rejoinder takes the term ‘vāmānāṁ’, used by the second speaker in the sense ‘of enemies’, in the sense ‘of the weaker sex’.]— “Would it be proper to destroy the good of a person known to be weak?” [This answer is based upon the term ‘hitakṛt’, used by the former speaker in the sense of hitaṁ karoti ‘benefactor, one who does good’, being taken in the sense of hitaṁ kṛntati’, ‘one who destroys the good’]. —“Whence can there be any power in you to bring about the destruction of what is desired by Indra?” [This reply is based on the expression ‘balābhāvaprasiddhātmanaḥ’, used by the former speaker in the sense of ‘one known to be weak’, being taken by the latter in the sense of ‘one who is known by his killing of the demon Bala, i.e., Indra’.] The following is an example of Equivoque based upon Paronomasia, not involving the breaking up of words. ‘Aho kenedṛśī buddhirdāruṇā tava nirmitā· Triguṇā śrūyate buddhirna tu dārumayī kvachit’. “Oh! By whom has this Intelligence of yours been made so cruel?”—“Intelligence is known to consist of the three attributes, and never of wood”. [The reply

CHAPTER IX 319 काक्वा यथा गुरुजनपरतन्त्रतया दूरतरं देशमुद्यतो गन्तुम् । अलिकुलकोकिलललिते नैष्यति सखि सुरभिसमयेऽसौ ॥३५४॥७८॥ वर्णसाम्यमनुप्रासः ॥ स्वरवैसादृश्येपि व्यञ्जनसदृशत्वं वर्णसाम्यम् । रसाद्यनुगतः प्रकृष्टो न्यासोनुप्रासः ॥ is based upon the word ‘dāruṇā’, used by the first speaker in the sense of ‘cruel’, being taken by the other in the sense of ‘of wood’.] The following is an example of Equivoque based on Intonation. ‘Gurujanaparatantratayā dūrataraṁ deshamudyato gantum Alikulakokilalalite naiṣyati sakhi surabhisamayesau’. ‘Being obedient to his elders, he is prepared to go to a far remote country; and O friend! will he not come during the fragrant season (of spring), which is beautified by the presence of swarms of black bees and cuckoos?’ [To this the friend is supposed to reply ‘will he not come?’ this reply in this sense being obtained by giving to the word ‘naiṣyati’, ‘will not come’, the intonation of a ques- tion; so that the word used by the first speaker in the former sense is taken by the second in the latter sense, which carries the further meaning ‘he is sure to come.’] Alliteration (Anuprāsa) consists in the similarity of letters. The ‘similarity of letters’ meant here is the sameness of the consonants, even though the vowels may be different. The figure is called ‘Anuprāsa’, because it consists in such ‘prāsa’—prakṛṣṭa nyāsa, i.e., excellent allocation (of letters)—as is ‘anu’—anugata, favourable, to the delineation of Passion and other things.

320- KĀVYAPRAKĀŚA छेकवृत्तिगतो द्विधा ।। छेकाः विदग्धाः । वृत्तिर्नियतवर्णगतो रसविषयो व्यापारः । गत इति छेकानुप्रासो वृत्यनुप्रासश्च ।। किं तयोः स्वरूपम् इत्याह— सोनेकस्य सकृत्पूर्वः ।। अनेकस्य अर्थात् व्यञ्जनस्य सकृदेकवारं सादृश्यं छेकानुप्रासः । उदाहरणम् ततोरुणपरिस्पन्दमन्दीकृतवपुः शशी । दध्रे कामपरिक्षामकामिनीगण्डपाण्डुताम् ।।३५५।। It is of two kinds,—as pertaining to (a) chheka (experts) and (b) vṛtti (diction). ‘Chheka’—Experts ; ‘vṛtti’—that function of letters which affects the delineation of Passion ;—‘pertaining to’ these,—i.e., the two kinds of Alliteration are (a) ‘chhekānu- prāsa’ and (b) Vṛttyanuprāsa.’ [These are merely fanciful names, as is clear from the definitions that follow, according to which the two kinds may be called (a) ‘Isolated’ and (b) ‘Complex’ Alliteration.] The author states the characteristics of these two kinds of Alliteration.— The former is the single repetition of several. When there is a single repetition of ‘several’—consona- nts, it is ‘Chhekānuprāsa’, ‘Isolated Alliteration.’ Example— ‘Tato’ ruṇaparispandamandīkṛtavapuḥ shashī Dadhre kāmaparikṣāmakāminīgaṇḍapāṇḍutām’. ‘The Moon, having his body eclipsed by the advent of the Sun, bore the paleness of the cheek of a woman emaciated by the pangs of love.’ [Here we have ‘single repetition of the consonants (a) ‘n-d’ and (b) ‘ṇ-ḍ’]

\ CHAPTER IX 321 एकस्याप्यसकृत्परः ॥ ७९ ॥ एकस्य अपिशब्दादनेकस्य व्यञ्जनस्य द्विर्बहुकृत्वो वा सादृश्यं वृत्त्यनुप्रासः ॥७९॥ तत्र माधुर्यव्यञ्जकैर्वर्णैरुपनागरिकोच्यते । ओजःप्रकाशकैस्तैस्तु परुषा । उभयत्रापि प्रागुदाहृतम् । कोमला परैः ॥ ८० ॥ परैः शेषैः । तामेव केचित् ग्राम्येति वदन्ति । उदाहरणम् अपसारय घनसारं कुरु हारं दूर एव किं कमलैः । अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥३५६॥८०॥ The latter consists in several repetitions of one also. 79. When there are ‘several’—two or more—‘repetitions’ of ‘one’—consonant—‘also’—i.e., or of several consonants,— we have the ‘Vṛttyanuprāsa’, the ‘Alliteration of Diction’. 79. As regards ‘Vṛtti’, ‘Diction’ :— (a) That (Diction) which is characterised by consonants suggestive of sweetness is called ‘Upanāgarikā’ ‘Polished’; and (b) that which is characterised by consonants suggestive of floridity is called ‘Paruṣā’, ‘Harsh’. Examples of both these have been cited above (in Ch. VIII, under ‘Sweetness’ and ‘Floridity’). (c) That characterised by others is called ‘komalā’, ‘soft’. 80. ‘Others’—Consonants other than the two kinds mention- ed above. This last diction some people also call ‘grāmyā’, ‘Vulgar.’ . Example— ' ‘Apasāraya ghanasāraṁ kuru hāraṁ dūrameva kiṁ kamalaiḥ Alamalamāli mṛṇālairiti vadati divāniśaṁ bālā. For translation (see above stanza No. 341.) 80.

322 KĀVYAPRAKĀŚA केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः ॥ एतास्तिस्रो वृत्तयः वामनादीनां मते वैदर्भीगौडीपाञ्चाल्याख्या रीतयो मताः ॥ शब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः ॥ ८१ ॥ शब्दगतोनुप्रासः शब्दार्थयोरभेदेप्यन्वयमात्रभेदात् लाट- जनवल्लभत्वाच्च लाटानुप्रासः । एष पदानुप्रास इत्यन्ये ॥८१॥ पदानां सः । स इति लाटानुप्रासः । उदाहरणम् By some people these styles of diction have been called the 'Vaidarbhī' and the rest. According to others—i.e., Vāmana and his followers,— the three styles of diction just described have been called, respectively, (a) 'Vaidarbhī', (b) 'Gauḍī' and 'Pāñchālī.' The Lāṭānuprāsa is verbal; the difference lying only in the import. 81. When there is Alliteration (repetition) of words (not mainly of single consonants as in the other two kinds of Alliteration),—and though the form and the meaning of the words thus repeated are the same, yet there is difference in the syntactical relation of the words,— it is ‘Lāṭānuprāsa,’ so called because of its being popular among the inhabitants of the Lāṭa country. Others have called this the ‘Alliteration of Words.’ [‘Words’ are here divided into the (A) verbal forms complete with the terminations; and (B) simple basic substantives. In the Alliteration of (A), there may be repetition either (a) of several words, or (b) of a single word; and in that of (B), the repetition may be either (a) in the same compound or (b) in different compounds. Each of these is next dealt with.] 81. (Aa) This pertains to several words. ‘This’—i.e. The Lāṭānuprāsa.

CHAPTER IX 323 यस्य न सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य । यस्य च सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य ॥३५७॥ पदस्यापि । अपिशब्देन स इति समुच्चीयते । उदाहरणम् वदनं वरवर्णिन्यास्तस्याः सत्यं सुधाकरः । सुधाकरः क्व नु पुनः कलङ्कविकलो भवेत् ॥३५८॥ वृत्तावन्यत्र तत्र वा । नाम्नः स वृत्त्यवृत्त्योश्च । Example— ‘Yasya na savidhe dayitā davadahanastuhinadīdhitistasya Yasya cha savidhe dayitā davadahanastuhinadīdhitistasya.’ ‘To one who has not his beloved near him, even the cool-rayed Moon is like the forest-conflagration ; while to one who has his beloved near him, even the forest-con- flagration is like the cool-rayed Moon.’ [Here we have the repetition of several words (a) ‘yasya-savidhe dayitā’ and (a) ‘davadahanaḥ-tuhinadīdhitiḥ-tasya’.] (A) It pertains to a single word also. The particle ‘api’, ‘also’, indicates that the pronoun ‘saḥ’ of the preceding text is to be construed here also. Example.— ‘Vadanaṁ varavarṇinyāstasyāḥ satyaṁ sudhākaraḥ Sudhākaraḥ kva nu punaḥ kalaṁkavikalo bhavet.’ ‘The face of the fair-complexioned one is really the Moon ;—where else could the Moon be free from stains ?’ [Here we have the repetition of the single word ‘sudhākaraḥ’.] (B) It is (repetition) of the same substantive base, either (a) in the same compound, or (b) in different compounds, or (c) once in a compound and once in a non-compound.

एकस्मिन् समासे भिन्ने वा समासे समासासमासयोर्वा नाम्नः प्रातिपदिकस्य न तु पदस्य सारूप्यम् । उदाहरणम् सितकरकररुचिरविभा विभाकराकार धरणिधर कीर्तिः । पौरुषकमला कमला सापि तवैवास्ति नान्यस्य ॥ ३५९ ॥ तदेवं पञ्चधा मतः ॥ ८२ ॥ अर्थे सत्यर्थभिन्नानां वर्णानां [सा पुनः श्रुतिः । यमकम् । समरसमरसोयमित्यादावेकेषामर्थवत्त्वे अन्येषामनर्थकत्वे भिन्नार्थानामिति न युज्यते वक्तुम् इति अर्थे सतीत्युक्तम् । सेति सरोरस इत्यादिवैलक्षण्येन तेनैव क्रमेण स्थिता ।

CHAPTER IX 325 पादतद्भागवृत्ति तद्यात्यनेकताम् ॥ ८३ ॥ प्रथमो द्वितीयादौ द्वितीयस्तृतीयादौ तृतीयश्चतुर्थे प्रथम- स्त्रिष्वपीति सप्त । प्रथमो द्वितीये तृतीयश्चतुर्थे प्रथमश्चतुर्थे द्वितीयस्तृतीये, इति द्वे । तदेवं पादजं नवभेदम् । अर्धावृत्तिः श्लोकावृत्तिश्चेति द्वे । uniform’), the letters ‘sa-ma-ra’, when occurring first, have the sense of ‘war’, but when repeated, the same letters have no sense, (as they form part of the compound ‘samarasaḥ’); so that it is not right to say that Chime consists in the repetition of letters with a different meaning.” ‘Sā’, ‘in the same order’,—this is meant to exclude such repetition, as in ‘sarorasa’ (where the consonants are not repeated in the same order). As occurring in the several feet of a verse or in several parts thereof,—it becomes manifold. 83. (1) The first foot repeated in the second foot, (2) the first foot repeated in the third foot, (3) the first foot repeated in the fourth foot;—(4) the second foot repeated in the third foot, (5) the second foot repeated in the fourth foot;—(6) the third foot repeated in the fourth, —and (7) the first foot repeated in all the other three feet.— These make seven varieties.—Then there are two varie- ties—viz:—(8) the repetition of the first foot in the second foot, and that of the third in the fourth foot—and (9) the repetition of the first foot in the fourth and that of the second in the third.—Thus there are nine varieties of Chime as occurring in the several feet of a verse.—In addition to these there are two varieties—viz.,—(10) the repetition of one half of the verse and (11) the repetition of the entire verse.

द्विधा विभक्ते पादे प्रथमादिपादादिभागः पूर्ववत् द्विती- यादिपादादिभागेषु अन्तभागोऽन्तभागेष्विति विंशतिर्भेदाः श्लोकान्तरे हि नासौ भागावृत्तिः । त्रिखण्डे त्रिंशत् चतुःखण्डे चत्वारिंशत् । प्रथमपादादिगतान्त्यार्धादिभागो द्वितीयपादादिगते आद्यार्धादिभागे यम्यते इत्याद्यन्वर्थतानुसरणेनानेकभेदम् । अन्ता- दिकम् । आद्यन्तिकम् । तत्समुच्चयः । मध्यादिकम् । आदिमध्यम् ।

CHAPTER IX 327 अन्तमध्यम् । मध्यान्तिकम् । तेषां समुच्चयः । तथा तस्मिन्नेव पादे आद्यादिभागानां मध्यादिभागे अनियते च स्थाने आवृत्ति- रिति प्रभूततमभेदम् । तदेतत्काव्यान्तर्गण्डभूतम् इति नास्य भेदReach/भेदलक्षणं कृतम् । दिङ्मात्रमुदाह्रियते । सन्नारीभरणोमायमाराध्य विधुशेखरम् । सन्नारीभरणोमायस्ततस्त्वं पृथिवीं जय ॥३६०॥ विनायमेनो नयतासुखादिना विना यमेनोऽनयता सुखादिना । महाजनोदीयत मानसादरं महाजनोदी यतमानसादरम् ॥३६१॥ foot,—(8) the combination of the last three.—Similarly there can be repetition of the first and other parts in the middle, and other parts of the same foot,—or again, the repetition may be without any fixed order, any part of one foot being repeated in any part of another ; and so forth, there would be many varieties. All this however is a mere excrescence in the body of poetry ; and hence any detailed definition of these varieties has not been attempted ; examples also we are citing of only a few kinds.— (1) Sannārībharaṇomāyastatastvaṁ pṛthivīṁ jaya.’ ‘ Having worshipped the Moon-crested God, who has obtained the jewel of pure women, may you win the earth,—you, who are free from deceit and in whose battle your enemy’s elephants have perished.’ (2) ‘ Vināyameno nayatāsukhādinā Vinā yamenonayatā sukhādinā Mahājanodīyata mānasādaraṁ Mahājanodī yatamānasādaram.

328 KĀVYAPRAKĀŚA स त्वारम्भरतोवश्यमबलं विततारवम् । सर्वदा रणमानैषीदवानलसमस्थितः ॥३६२॥ सत्त्वारम्भरतोवश्यमवलम्बिततारवम् । सर्वदारणमानैषी दवानलसमस्थितः ॥३६३॥ अनन्तमहिमव्याप्तविश्वां वेधा न वेद याम् । या च मातेव भजते प्रणते मानवे दयाम् ॥३६४॥ यदानतो यदा नतो नयात्ययं न यात्ययम् । शिवेहितां शिवे हितां स्मरामितां स्मरामि ताम् ॥३६५॥ ‘The soul-bird, great and destructive of the annoyers of the good, was estranged from the mind by the Death- god, who carries away people without fault, devours life and strips off all pleasure.’ (3) ‘Satvāraṁbharatovashyam— abalaṁ vitatāravam Sarvādāraṇamānaiṣī— davānalasamasthitaḥ. Sattvāraṁbharatovashyam— avalambitatāravam Sarvadāraṇamānaiṣī davānālasamasthitaḥ.’ ‘The king, quick in action, devoted to Viṣṇu, always acting rightly, anxious to reach the heart of the people, and resembling the Submarine Fire,—always brought his enemies to battle, who were weak and noisy, who had not been subdued and hence resembled trees still standing upright.’ (4) vedhā na veda yām Yā cha māteva bhajate praṇate mānave dayām (5) ‘Yadānatoyadānato nayātyayaṁ na yātyayam Shivehitāṁ shive hitāṁ smarāmitāṁ smarāmi tām.’ (4) ‘I meditate upon Pārvatī,—whose immanent

CHAPTER IX 329 सरस्वति प्रसादं मे स्थितिं चित्तसरस्वति । सर स्वति कुरु क्षेत्रकुरुक्षेत्रसरस्वति ॥३६६॥ ससार साकं दर्पेण कन्दर्पेण ससारसा । शरन्नवाना बिभ्राणा नाबिभ्राणा शरन्नवा ॥३६७॥ मधुपराजिपराजितमानिनीजनमनःसुमनःसुरभि श्रियम् । अभृत वारितवारिजविप्लवं स्फुटितताम्रतताम्रवणं जगत्॥३६८॥ majesty even Brahmā cannot fathom, and who, like a mother, bestows her grace upon devoted man.’ (5) ‘I meditate upon Her who was sought after by Shiva,—by bowing to whom man, being auspiciously favoured by Her who is ever favourable to us, never goes beyond the bounds of propriety.’ (6) ‘Sarasvati prasādaṁ me sthitiṁ chittasarasvati Sara svati kuru kṣetrakurukṣetrasarasvati.’ ‘O Sarasvatī, who art in the body, like the river Sarasvatī in Kurukṣetra ! Be propitiated and make the ocean of my heart thy splendid abode. (7) ‘Sasāra sākaṁ darpeṇa kandarpeṇa sasārasā Sharannavānā bibhrāṇā nāvibhrāṇā sharannavā ‘The excellent autumn, accompanied by the lotus and fresh-looking carts, conducive to the ripening of the long grass, not devoid of the song of birds, slunk away along with the arrogant Love-god.’ (8) ‘Madhuparājiparājitamāninī- janamanaḥsumanaḥ surabhi shriyam Abhṛta vāritavārijaviplavaṁ Sphuṭitatāmratatāmravaṇaṁ jagat.’ ‘The world acquired resplendence,—bearing the sweet fragrance of the flower-like hearts of love-quarrelled women subjugated by the appearance of lines of black

330 KĀVYAPRAKĀŚA एवं वैचित्र्यसहस्रैः स्थितमन्यदुन्नेयम् ॥८३॥ वाच्यभेदेन भिन्ना यद् युगपद्भाषणस्पृशः । श्लिष्यन्ति शब्दाः श्लेषोसावक्षरादिभिरष्टधा ॥ ८४ ॥ 'अर्थभेदेन शब्दभेद': इति दर्शने 'काव्यमार्गे स्वरो न गण्यते' इति च नये वाच्यभेदेन भिन्ना अपि शब्दा यत् युग- पदुच्चारणेन श्लिष्यन्ति भिन्नं स्वरूपमपह्नुवते स श्लेषः । स च वर्णपदलिङ्गभाषाप्रकृतिप्रत्ययविभक्तिवचनानां भेदादष्टधा । bees, discontinuing the destruction of the lotus and ad- orned with blossoming, tawny and wide-expanding mango- groves.' In the above manner, we may deduce the examples of endless varieties of Chime. 83. (IV) When words that are different by reason of the difference in their denotations coalesce (become identified) through the sameness of their pronunciation, it is a case of Coalescence or Pun; and through Letter and other factors, it is of eight kinds. 84. There is the theory that words having different meanings must be regarded as different,—and also that in poetry, accents do not count ; and in accordance with the former theory, even though two words may be the same in their verbal form, yet they are regarded as different and in accordance with the latter, when these words (though differently accented, by reason of their meanings) come to be pronounced in exactly the same manner, they are regarded as ‘coalescing’, i.e., as having their differences undiscernible ;—and when this happens, it is a case of Coalescence, Pun. This Pun is of eight kinds, as based upon the eight different factors of (1) letters, (2) words, (3) gender, (4)

CHAPTER IX 331 क्रमेणोदाहरणम्— अलंकारः शङ्काकरनरकपालं परिजनो विशीर्णाङ्गो भृङ्गी वसु च वृष एको बहुवयाः । अवस्थेयं स्थाणोरपि भवति सर्व्वामरगुरोर्- विधौ वक्रे मूर्ध्नि स्थितवति वयं के पुनरमी ॥३६९॥ पृथुकार्तस्वरपात्रं भूषितनिःशेषपरिजनं देव । विलसत्करेणुगहनं संप्रति सममावयोः सदनम् ॥३७०॥ भक्तिप्रह्वविलोकनप्रणयिनी नीलोत्पलस्पर्धिनी ध्यानालम्बनतां समाधिनिरतैर्नीतेहितप्राप्तये । dialect, (5) crude forms, (6) affixes, (7) terminations (declensional and conjugational) and (8) number. The following are the examples in this same order :— (1) ‘ Alaṅkāraḥ shaṅkākaranarakapālaṁ parījano Viśīrṇāṅgo bhṛṅgī vasu cha vṛṣa eko bahuvayāḥ Avastheyaṁ sthāṇorapi bhavati sarvāmaraguror Vidhau vakre mūrdhni sthitavati vayaṁ ke punaramī. ‘ For his ornament the fearful human skull ; for his attendant Bhṛṅgī of the broken limbs ; for his property, a single aged bull ;—when such is the condition of even Shiva, the revered of all the gods, when the curved moon (untoward Fate) stands on his head, who are we (that we should not suffer from untoward Fate) ?’ (2) ‘ Pṛthukārtasvarapātraṁ bhūṣitaniḥśeṣaparijanaṁ deva Vilasatkareṇugahanaṁ saṁprati samamāvayoḥ sadanam . (See above stanza No. 306.) (3) and (8) ‘ Bhaktiprahvavilokanapraṇayinī nīlotpalaspardhinī Dhyānālambanatāṁ samādhiniratairnītehitaprāptaye T[-3]

332 KĀVYAPRAKĀŚA लावण्यस्य महानिधी रसिकतां लक्ष्मीदृशोस्तन्वती युष्माकं कुरुतां भवार्तिशमनं नेत्रे तनुर्वा हरेः ॥३७१॥ एष वचनश्लेषोपि । महदेसुरसंधम्मे तमवसमासंगमागमाहरणे । हरबहुसरणं तं चित्तमोहमवसरउमे सहसा ॥३७२॥ Lāvaṇyasya mahānidhī rasikatāṁ lakṣmīdṛśostanvatī Yuṣmākaṁ kurutāṁ bhavārtiśamanaṁ netre tanurvā hareḥ. ‘May (a) the eyes or (b) the body of Viṣṇu set at rest your worldly troubles !—(a) the eyes looking tenderly upon devotees, and (a) the body looked upon by persons in humble devotion,—(a) the eyes and (b) the body both vying with the lotus, mediated upon by yogins for the attainment of their highest ends,—the ocean of beauty, and producing charming sensations in the eyes of Lakṣmī.’ (2) Here again we have also the coalescence of the two numbers [Dual and Singular, the form of the various epithets being the same in both numbers ; the Neuter- Dual forms being the same the Feminine-Singular]. (4) ‘Mahadesurasaṁdhamme tamavasamāsaṁgamāgamāharaṇe Harabahusaraṇaṁ taṁ chittamoham- avasaraume sahasā.’ [This couplet, when taken as Sanskrit, means—‘O Umā, who ordains happiness, please safeguard my devo- tion to Vedic studies, which lead to union with the gods, and in proper time destroy the ever-growing delusion of my mind.’—