काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IX 341 हेतुर्विरोधः । न ह्यत्रार्थद्वयप्रतिपादकः शब्दश्लेषः द्विती- यार्थस्य प्रतिभातमात्रस्य प्ररोहाभावात् । न च विरोधाभास इव विरोधः श्लेषाभासः श्लेषः । तदेवमादिषु वाक्येषु श्लेषप्रति- भोत्पत्तिहेतुरलंकारान्तरमेव । तथा च सद्वंशमुक्तामणिः ॥३८०॥ नाल्पः कविरिव स्वल्पश्लोको देव महान् भवान् ॥३८१॥ अनुरागवती संध्या दिवसस्तत्पुरःसरः । अहो दैवगतिश्चित्रा तथापि न समागमः ॥३८२॥ This, however, is not right ; as here also the case is just the reverse : it is the Contradiction that serves to indicate the ‘semblance of Pun’. And the reason for this lies in the fact that there is in reality no such verbal Pun as has a clear double meaning (which is the necessary element in all Puns), for the second meaning (‘beautiful without drops’) is merely hinted at and is not sufficiently complete or explicit (the epithet ‘beautiful without drops’ not being expressive enough to have any force). Nor is the mere Semblance of Pun a Figure of speech, in the same manner as the Semblance of Contradiction (Apparent Con- tradiction) is. All this leads to the conclusion that in cases like those cited, it is the other figures of speech that are predominant and serve to indicate the mere semblance of Pun. For instance, in the following four passages— (a) ‘Sadvaṁśamuktāmaṇiḥ’—‘The pearl-gem in the noble family [‘growing a nice bamboo’],—(b) ‘Nālpaḥ kaviriva svalpashloko deva mahān bhavān,’—‘O king, you are great, and are not of little fame, like an inferior poet, whose poems are insignificant ;’— (c) ‘Anurāgavatī sandhyā divasastatpurassaraḥ aho daivagatishchitrā tathāpi na samāgamaḥ ;’—

342 KĀVYAPRAKĀŚA आदाय चापमचलं कृत्वाहीनं गुणं विषमदृष्टिः । यश्चित्रमच्युतशरो लक्ष्यमभाङ्क्षीन्नमस्तस्मै ॥३८३॥ इत्यादावेकदेशविवर्तिरूपकश्लेषव्यतिरेकसमासोक्तिविरोध- त्वमुचितं न तु श्लेषत्वम् ॥ शब्दश्लेष इति चोच्यते अर्थालंकारमध्ये च लक्ष्यते इति कोयं नयः । किं च वैचित्र्यमलंकार इति य एव कविप्रतिभासं- ‘The evening (girl) is red in the atmosphere (full of love), and the Day (her lover) goes before it (is present before her), and yet such is the curious way of Destiny that the two never meet;’— (d) ‘Ādāya chāpamachalaṁ kṛtvāhīnaṁ guṇaṁ viṣamadṛṣṭiḥ, yashchitramachyutasharo lakṣyamabhāṅkṣīnnamastasmai’. ‘Having taken up the bow immovable (in the shape of the Himālaya mountain), putting to it a string worn out (in the shape of the lord of serpents), and having an arrow which never moved (in the shape of Viṣṇu), the Being with deranged vision (the Three-eyed God, Shiva), shattered his target in a strange manner;—salutation to Him!’;—the Figure that is predominant is, not ‘Pun’, but respectively, (a) Partial Metaphor, (b) Dissimilitude based upon Pun, (c) Modal Metaphor and (d) Contradiction. Then again, the objector calls the Figure in question ‘Verbal Pun’, and yet he includes it among ‘Ideal Figures;’ —what sort of principle is this? Further, a Figure of Speech is only a form of imagery or fancy,—and this imagery can belong to only that (word or idea) which forms the final goal of the poet’s imagi- nation; and it is only this (Word or Idea) that forms the substratum of the Figure of Speech. [So that it cannot be right to say that all Pun is Ideal, as the objector has

CHAPTER IX 343 रम्भगोचरस्तत्रैव विचित्रता इति सैवालंकारभूमिः । अर्थ- मुखप्रेक्षित्वमेतेषां शब्दानामिति चेत् अनुप्रासादीनामपि तथैवेति तेऽप्यर्थालंकाराः किं नोच्यन्ते । रसादिव्यञ्जकस्वरूपवाच्य- विशेषसव्यपेक्षत्वेऽपि ह्यनुप्रासादीनामलंकारता । शब्दगुण- दोषाणामप्यर्थापेक्षयैव गुणदोषता । अर्थगुणदोषालंकाराणां शब्दापेक्षयैव व्यवस्थितिरिति तेऽपि शब्दगतत्वेनोच्यन्ताम् । ‘विधौ वक्रे मूर्ध्नि’ इत्यादौ च वर्णादिश्लेषे एकप्रयत्नोच्चार्य- त्वेऽर्थश्लेषत्वं शब्दभेदेऽपि प्रसज्यतामित्येवमादि स्वयं विचार्यम् ।। held].—It might be argued that—“ The words (in which the Pun rests) always look up to (depend upon) their meanings [so that in the long run, they must be regarded as ideal].”—But the same thing happens in the case of Alliteration and other Figures (which even the objector regards as verbal) ; so that why are not, these also called ‘verbal’ ? As a matter of fact, even though Alliteration and the other verbal figures are dependent upon the mean- ings of words, and also upon all those factors that serve to suggest a Passion or Sentiment and the rest,—yet they are regarded as ‘Figures of Speech’; [and according to the objector, these should have to be regarded as Ideal].— Further, the Excellences and Defects of words also are to be regarded only as bearing upon their meanings [so that according to the objector these should all be regarded as ideal, bearing upon the meaning only]. Further, even those Excellences, Defects and Figures that are regarded (by both parties) as belonging to the meaning or Idea are dependent upon the verbal form of the words ; so that, on the same principle, these latter should be held to belong to the verbal forms only.—Lastly in such passages as ‘vidhau vakre mūrdhni &c.’ (See above stanza No. 369),

344 KĀVYAPRAKĀŚA तच्चित्रं यत्र वर्णानां खड्गाद्याकृतिहेतुता ॥ ८५ ॥ संनिवेशविशेषेण यत्र न्यस्ता वर्णाः खड्गमुरजपद्माद्याकार- मुल्लासयन्ति तच्चित्रं काव्यम् । कष्टं काव्यमेतदिति दिङ्मात्रं प्रदर्श्यते । उदाहरणम्— मारारिशक्ररामेभमुखैरासाररंहसा । सारारब्धस्तवा नित्यं तदार्तिहरणक्षमा ॥ ३८४ ॥ माता नतानां संघट्टःश्रियां बाधितसंभ्रमा । मान्याथ सीमा रामाणां शं मे दिश्यादुमादिमा ॥ ३८५ ॥ (खड्गबन्धः) where the Pun rests in single letters, though the two words are entirely distinct (e.g., ‘vidhi’ and ‘vidhu’), yet on the mere ground of the word (‘vidhau’ in both cases) being such as is pronounceable by the same ‘effort’, it may be possible to speak of these as instances of ‘Ideal’ Pun. All these points have to be left to your intelligent consideration. V. Where the letters assume the form of such objects as the sword and the like, it is the Figure Pictorial. 85. In cases where the letters arranged in particular ways appear in the form of (a) the sword, (b) or the drum, (c) or the lotus and so forth, we have Pictorial Poetry (i.e. Poetry with the Pictorial Figures). As this sort of poetry is extremely difficult, we are citing only a few examples—(a) The Sword ‘Mārārishakrārāmebhamukhairāsāraramhasā Sārārabdhastavā nityantadārtiharaṇakṣamā’ ‘May the primeval Umā,—eloquently eulogised by Shiva, Indra and Rāma,—always removing their troubles, the centre of majesty, free from all anxiety, esteemed by the best of women,—ordain our prosperity.’

CHAPTER IX 345 ' सरला बहुलारम्भतरलालिबलारवा । वारलाबहुलामन्दकरलाबहुलामला ॥३८६॥ (मुरजबन्धः) भासते प्रतिभासार रसाभाताहताविभा । भावितात्मा शुभा वादे देवाभा बत ते सभा ॥३८७॥ (पद्मबन्धः) रसासार रसा सारसायताक्षक्षतायसा । सातावात तवातासा रक्षतस्त्वस्त्वतक्षर ॥३८८॥ (सर्वतोभद्रम्) [The words of this verse lend themselves to being arranged in the form of the Sword; for which see Appendix-I.] [ The second stanza has not been translated with original translation. It may be rendered us :-Mother of the humble, assemblage of prosperities, who has removed the fear, the Venerable, the model of women, the first of all beings, may such Umā make (me) happy.] (b) The Drum ' Saralā bāhulārambhataralālibalāravā Vāralābahulāmandakaralābahulāmalā ' ' Clean, resounding with the humming of the active black bees, abounding in swans, with the royal officers fully alive to their duties, bright even during the darker fortnight—[may the Autumn ever prosper !] ' [This verse lends itself to being arranged in the form of the Drum, for which see Appendix-I.] (c) The Lotus ' Bhāsate pratibhāsārarasābhātāhatāvibhā Bhāvitātmā shubhā vāde devābhā bata te sabhā' ' O essence of genius ! your court shines resplendent with sentiments, undeterred, with undimmed lustre, in which the true nature of the soul has been recognized, ever expert in debates and equal to the gods.'

346 KĀVYAPRAKĀŚA संभविनोप्यन्ये प्रभेदाः शक्तिमात्रप्रकाशका न तु काव्य- रूपतां दधतीति न प्रदर्श्यन्ते ॥८५॥ पुनरुक्तवदाभासो विभिन्नाकारशब्दगा । एकार्थतेव ॥ भिन्नरूपसार्थकानर्थकशब्दनिष्ठमेकार्थत्वेन मुखे भासनं पुनरुक्त- वदाभासः । स च शब्दस्य ॥ [This verse can be arranged in the form of the Lotus ; for which see Appendix-I.] (d) The All-round Square ‘Rasāsararasāsārāsayātākṣakṣatāyasā Sātāvāta tavātāsā rakṣatastvastvatamkṣara’. ‘O essence of the Earth ! whose eyes are as large as the lotus, who has destroyed all illusion, and who is vastly generous ! when you protect her, may the Earth, destroy the wicked and remain free from harm !’ [This verse can be arranged in the form of the Square ; for which see Appendix-I.] There are several possible varieties of this form of poetry ; but they only serve to display the (perverted) ingenuity of the poet, and do not attain to the dignity of real Poetry ; it is for this reason that we are not describing them here in detail. 85. VI.—When it appears as if one and the same meaning is expressed by words in diverse forms,—it is Semblance of Repetition. When, on the face of it, (there is by chance) an appearance of one and the same meaning, in words of diverse forms,—with or without meaning,—it is ‘ Semblance of Repetition ’. This— (a) Subsists in a word ;—

CHAPTER IX 347 सभङ्गाभङ्गरूपकेवलशब्दनिष्ठः । उदाहरणम्-- अरिवधदेहशरीरः सहसा रथिसूततुरगपादातः । भाति सदानत्यागः स्थिरतायामवनितलतिलकः ॥३८९॥ चकासत्यङ्गनारामाः कौतुकानन्दहेतवः । तस्य राज्ञः सुमनसो विबुधाः पार्श्ववर्तिनः ॥३९०॥ तथा शब्दार्थयोरयम् ॥ ८६ ॥ That is, it subsists merely in a word, either (1) broken or (2) unbroken. Example (a) Semblance of Repetition in ‘broken words’— ‘Arivadhadehasharīraḥ sahasā rathisūtaturagapādātaḥ Bhāti sadānatyāgaḥ sthiratāyāmavanitalatilakaḥ. ‘The King, the ornament of the Earth, is glorious, through his meekness, being the leader of archers longing for the destruction of enemies, whose infantry and cavalry are kept compact by charioteers, and who is quite a moun- tain in his firmness.’ [Here we have ‘Semblance of Repetition’ in -1) ‘deha—sharīra’, (2) ‘sārathi—sūta’ and (3) ‘dāna-tyāga’, and each of these cases involves the breaking of the words (1) ‘vadhadeha’, (2) ‘sahasā’ and (3) ‘sadā’ respectively.] (b) Example of ‘Semblance of Repetition’ in ‘un- broken words’— ‘Chakāsatyanganārāmāḥ kautukānandahetavaḥ Tasya rājñaḥ sumanaso vibudhāḥ pārshvavartinaḥ’. ‘Resplendent are the king’s attendants,—who are happy at home, who are the source of pleasure to him through their arts, well-disposed and learned.’ [Here we have the ‘Semblance of Repetition’ the words—(1) ‘anganā—rāmā’, (2) ‘kautuka-ānanda’, and (3) ‘sumanaso—vibudhāḥ’, in neither of which there is a breaking up of any word.] II–4

348 KĀVYAPRAKĀŚA उदाहरणम्-- तनुवपुरजघन्योऽसौ करिकुञ्जररुधिररक्तखरनखरः । तेजोधाम महःपृथुमनसामिन्द्रो हरिर्जिष्णुः ॥३९१॥ अत्रैकस्मिन् पदे परिवर्तिते नालंकार इति शब्दाश्रयः अपरस्मिंस्तु परिवर्तितेऽपि स न हीयते इत्यर्थनिष्ठ इत्युभया- लंकारोयम् ॥८६॥ इति काव्यप्रकाशे शब्दालंकारनिर्णयो नाम नवम उल्लासः ॥ And also in both Word and Meaning. 86. Example— 'Tanuvapurajaghanyo'sau karikuñjararudhiraraktakharanakharaḥ Tejodhāma mahaḥpṛthumanasāmindro harirjiṣṇuḥ'. 'This lion, though slim, is yet mighty,—having his sharp nails reddened with the blood of mighty elephants, the receptacle of glory, the leader of the glorious and the brave, and ever victorious.' [Here we have the 'Semblance of Repetition' in—(1) 'tanu-vapuḥ', (2) 'kari-kuñjara', (3) 'rudhira-rakta', (4) 'tejo-dhāma-mahaḥ' and (5) 'indro-harir-jiṣṇuḥ']; and among these some of the words—'tanu', 'kuñjara', 'rakta', 'dhāma', 'hari' and 'jiṣṇu'—are such as cannot be altered without spoiling the effect of the Figure of Speech; and to this extent the Figure subsists in words, and is 'verbal';—while others—'vapuḥ', 'kari', 'rudhira' and 'indra'—are such as can be replaced by their synonyms without spoiling the effect, and to this extent, the Figure subsists in the meaning, and is 'ideal'. And thus the Figure belongs to both, Word and Meaning. 86. Thus ends chapter IX of the Kāvya Prakāsha, dealing with the Verbal Figures of Speech.

अथ दशम उल्लासः अर्थालंकारानाह-- साधर्म्यमुपमा भेदे ।। उपमानोपमेययोरेव न तु कार्यकारणादिकयोः साधर्म्यं भवतीति तयोरेव समानेन धर्मेण संबन्ध उपमा । भेदग्रहणमनन्वयव्यवच्छेदाय ।। पूर्णा लुप्ता च ।। उपमानोपमेयसाधारणधर्मोपमाप्रतिपादकानामुपादाने पूर्णा । एकस्य द्वयोस्त्रयाणां वा लोपे लुप्ता ।। CHAPTER X THE IDEAL FIGURES OF SPEECH. The author now describes the Ideal Figures of Speech— I. Upamā—Simile. I. When there is similarity of properties, while there is difference (between the objects themselves), it is Simile. What the text is referring to is the similarity of the properties belonging to the two objects of comparison (the object compared and the object compared to),—and not those belonging to the cause and the effect, and such other correlatives ; so that it is a case of Simile when the said objects of comparison are related to some common property. 'While there is difference';—this has been added with a view to distinguish the Figure, Ananvaya, 'Comparison Absolute'. [Simile is of two kinds]—(a) Complete and (b) Elliptical.

350 KĀVYAPRAKĀŚA साग्रिमा ।। श्रौत्यार्थी च भवेद्वाक्ये समासे तद्धिते तथा ॥ ८७ ॥ अग्रिमा पूर्णा । यथेवादिशब्दा यत्परास्तस्यैवोपमानताप्रतीतिरिति यद्यप्युप- मानविशेषणान्येते तथापि शब्दशक्तिमहिम्ना श्रुत्यैव षष्ठीवत् संबन्धं प्रतिपादयन्तीति तत्सद्भावे श्रौती उपमा । तथैव “तत्र तस्येव” इत्यनेनेवार्थे विहितस्य वतेरुपादाने ।। It is a case of Complete Simile when all the factors are mentioned—(1) the object compared , (2) the object compared to, (3) the common property, and (4) terms signifying similitude ; and it is one of Elliptical Simile, when either one or two or three of these factors are omitted. The former of these is (a) directly expressed and (b) implied ; and it appears (1) in sentence, (2) in a compound and (3) in a nominal affix. 87. ‘Former’, i.e., the Complete Simile Such words as ‘yathā’, ‘iva’ and the like (meaning ‘like’, ‘as’, ‘just as’ and so forth.) As a matter of fact, that object is recognised as the ‘object compared to’, in connection with which such terms (expressive of similitude) as ‘yathā’, ‘iva’ and so forth are used ; and in this sense these terms serve to qualify the ‘object compared to’ ; but the force of these words such that, like the genitive case—ending, they directly express relationship ; so that in a passage where these terms are present, it is a case of Directly Expressed Simile.—So also in cases where the affix ‘vati’ is used in the sense of ‘iva’, and other terms expressive of simi- litude in accordance with Pāṇini 5.1.116 (which prescribes the use of ‘vati’ in the sense of similarity.)

CHAPTER X 351 ‘तेन तुल्यं मुखम्’ इत्यादावुपमेये एव ‘तत्तुल्यमस्य’ इत्यादौ चोपमाने एव ‘इदं च तच्च तुल्यम्’ इत्युभयत्रापि तुल्यादिशब्दानां विश्रान्तिरिति साम्यपर्यालोचनया तुल्यताप्रतीतिरिति साधर्म्य- स्यार्थत्वात्तुल्यादिशब्दोपादाने आर्थी तद्वत् ‘तेन तुल्यं क्रिया चेद्वतिः’ इत्यनेन विहितस्य वतेः स्थितौ । “इवेन नित्यसमासो विभक्त्यलोपः पूर्वपदप्रकृतिस्वरत्वं च” इति नित्यसमासे इवशब्द्योगे समासगा ।। क्रमेणोदाहरणम्-— On the other hand, it is a case of Implied Simile, where the similitude is implied by the presence of such terms as ‘tulya’, ‘equal’ and the like ; this equality as expressed by the term ‘equal’ and the like being comprehended by the due recognition of similarity (a) in the ‘object com- pared’,—where the expression used is in the form ‘the face is equal to that (i. e. the lotus),’ (b) in the ‘object compared to’, where the expression used is in the form ‘that (lotus) is equal to this (face),’ and (c) in both, where the expression is in the form ‘this (face) and that (lotus) are equal.’ So it is also in cases where the affix ‘vati’ is used in accordance with Pāṇini 5.1.115 (which prescribes the use of the affix in the sense of similarity of action.) We have the directly expressed Simile occurring in a compound, in cases where the compound is formed with the term ‘iva’, in accordance with the Vārttika under Pāṇini 2.1.4 and 2.4.71—‘There is nitya compounding with the term iva; where the case-termination of the pre- ceding member is not dropped and where the preceding member takes the accent of its crude form.’ Examples are cited in order. (1) [The Directly Expressed Simile, in a Sentence]—

352 KĀVYAPRAKĀŚA स्वप्नेपि समरेषु त्वां विजयश्रीर्न मुञ्चति । प्रभावप्रभवं कान्तं स्वाधीनपतिका यथा ॥३९२॥ चकितहरिणलोललोचनायाः क्रुधि तरुणारुणतारहारिकान्ति । सरसिजमिदमाननं च तस्याः सममिति चेतसि संमदं विधत्ते ॥३९३॥ अत्यायतैर्नियमकारिभिरुद्धतानां दिव्यैः प्रभाभिरनपायमयैरुपायैः । शौरिर्भुजैरिव चतुर्भिरदः सदा यो लक्ष्मीविलासभवनैर्भुवनं बभार ॥३९४॥ Svapnepi samareṣu tvāṁ Vijayashrīrna muñchati Prabhāvaprabhavaṁ kāntaṁ Svādhīnapatikā yathā. ‘Victory in battle leaves you not, even in a dream, just as a woman to whom her husband is devoted leaves him not, who bestows deep affection upon her.’ (2) [The Implied Simile, in a Sentence]— ‘Chakitahariṇalolalochanāyāḥ Krudhi taruṇāruṇatārahārikānti Sarasijamidamānanaṁcha tasyāḥ Samamiti chetasi saṁmadaṁ vidhatte. ‘He goes into raptures when he finds that her face and the lotus are equal,—she with eyes like those of the frightened fawn, and face flushed with indignation and shining like a brilliant red necklace ! (3) [The Directly Expressed Simile in a Compound]— ‘Atyāyatairniyamakāribhiruddhatānāṁ Divyaiḥ prabhābhirana-pāyamayairupāyaiḥ Shaurirbhujairiva chaturbhiradaḥ sadā yo Lakṣmīvilāsabhavanairbhuvanam babhāra.’

CHAPTER, X 353 अवितथमनोरथपथप्रथनेषु प्रगुणगरिमगीतश्रीः । सुरतरुसदृशः स भवानभिलषणीयः क्षितीश्वरो न कस्य ॥ ३९५॥ गाम्भीर्यगरिमा तस्य सत्यं गङ्गाभुजङ्गवत् । दुरालोकः स समरे निदाघाम्बररत्नवत् ॥३९६॥ ‘ The king who held this world in sway through the four expedients, just as Viṣṇu does by his four arms,— the expedients and the arms both being ‘atyāyata’ (the expedients efficient, and the arms long), subjugators of the wicked, glorious, resplendent and infallible, the abode of the sportings of the Goddess of Wealth.’ [Here the simile lies in ‘bhujairiva’, which is a ‘nitya’ compound does not drop the case-termination of the first term.] (4) [ The Implied Simile, in a Compound ]— ‘ Avitathamanorathapathaprathaneṣu praguṇa garimagītaśrīḥ Suratarusadṛśaḥ sa bhavān abhilaṣaṇīyaḥ kṣitīśvaro na kasya ’ ‘ O King, who is there by whom you are not sought after?—You who, having your great excellence sung as lying in the opening of the way for desires that never remain unfulfilled, are similar to the Celestial Tree.’ (5) and (6) [The Directly Expressed and the Implied Simile, in nominal Affixes]— ‘ Gāmbhīryagarimā tasya satyaṁgaṅgābhujaṅgavat Durālokaḥ sa samare nidāghāmbararatnavat ’ ‘ The profundity of his depth is like that of the Gaṅgā’s Lover (Ocean) ; and in battle he is hard to look at, like the summer Sun.’ [In the first sentence, the similitude is expressed directly by the affix ‘ vati ’ in ‘ bhujaṅgavat ’, which is used in the sense of ‘iva’, like ;—the term ‘ bhujaṅgavat ’ being equivalent to ‘ bhujaṅgasya iva ’ ;—and in

354 KĀVYAPRAKĀŚA स्वाधीनपतिका कान्तं भजमाना यथां लोकोत्तरचमत्कारभूः तथा जयश्रीस्त्वदासेवनेनेत्यादिना प्रतीयमानेन विना यद्यपि नोक्तेर्वैचित्र्यम् । वैचित्र्यं चालंकारः । तथापि न ध्वनिगुणी- भूतव्यङ्ग्यव्यवहारः । न खलु व्यङ्ग्यसंस्पर्शपरामर्शादत्र चारुताप्रतीतिः । अपि तु वाच्य वैचित्र्यप्रतिभासादेव ॥ रसा- the second half it is implied only indirectly, by the same affix in ‘ratnavat’, which is equivalent to ‘ratnena tulyam’, so that the affix ‘vati’ in this case can only signify similarity of action; and through this is implied the similitude between the entities acting.] [An objection is raised—“ Fanciful Poetry has been defined in Ch. I as that which, “ endowed with Excellences and Figures of Speech, is devoid of suggestion;” and Figurative Poetry is Fanciful Poetry ; so that in poetry where there is a Figure of Speech, there should be no suggestion at all ; as a matter of fact, however, such is not found to be the case ; for instance.] Even in the first example cited, until we recognise the suggested meaning, that ‘ the constant attendance of Victory upon the King ’ is as supremely charming as the attachment of the wife to the devoted husband ’;—there is no fancy, in the verse ;, and a Figure of Speech is nothing more than a ‘ fancy ’ [so that every one of these examples should be regarded as instances, not of ‘ Fanciful Poetry, but of either Sugges- tive Poetry or Poetry of Subordinate Suggestion].’ The answer to this is that, though this is so, yet the examples are regarded as either ‘ Suggestive Poetry ’ or ‘ Poetry of Subordinate Suggestion ’, because in these cases the recognition of elegance follows, not from the perception of the tinge of Suggestion that may be present,, but purely from the perception of the fanciful character of the expressed meaning itself.

CHAPTER X 355 दिस्तु व्यङ्ग्योऽर्थोऽलंकारान्तरं च सर्वत्राव्यभिचारीत्यगणयित्वैव तदलंकारा उदाहृताः । तद्रहितत्वेन तु उदाह्रियमाणा विर- सतामावहन्तीति पूर्वापरविरुद्धाभिधानमिति न चोदनीयम् ॥८७॥ तद्वद् धर्मस्य लोपे स्यान्न श्रौती तद्धिते पुनः । धर्मः साधारणः । तद्धिते कल्पबादौ त्वार्थ्येव ॥ तेन पञ्च ॥ Then, as regards the presence of suggestion of Charm and other factors or of Figures of Speech other than the one, a particular verse is quoted to exemplify,—this will always be found in all cases. Hence when examples of particular Figures are cited, all these (concomitant issues) are entirely ignored. In fact, if we were to cite examples entirely devoid of any suggestion (of charm and other factors), they would be extremely distasteful. For these reasons, it would not be right to urge that in citing the above examples there is an inconsistency with what has been said before (regarding Figurative or Fanci- ful Poetry being devoid of suggestion). [The 19 kinds of the Elliptical Simile are next described.] 87. The property being omitted, this (form of Elliptical Simile) would be like the foregoing (Complete Simile) ; but in that case the Directly Expressed Simile would not occur in a word built with a nominal formative affix. ‘ Property ’—i. e., the common property. ‘ In a nominal formative affix ’,—i. e., in such affixes as ‘ kalpa ’, ‘ vā ’ and so forth ; in connection with which we could have the Implied Simile only. It is thus of five kinds. (1) Example [of the Elliptical Simile, omitting the common property, and directly expressed, in a sentence]

356 KĀVYAPRAKĀŚA उदाहरणम्-- धन्यस्यानन्यसामान्यसौजन्योत्कर्षशालिनः करणीयं वचश्चेतः सत्यं तस्यामृतं यथा ॥३९७॥ आकृष्टकरवालोऽसौ संपराये परिभ्रमन् । प्रत्यर्थिसेनया दृष्टः कृतान्तेन समः प्रभुः ॥३९८॥ करवाला इवाचारस्तस्य वागमृतोपमा । विषकल्पं मनो वेत्सि यदि जीवसि तत्सखे ॥३९९॥ Dhanyasyānanyasāmānyasaujanyotkarṣaśālinaḥ Karaṇīyaṁ vachashchetaḥ satyaṁ tasyāmṛtaṁ yathā ‘ He being generous and possessed of uncommon gentlemanly qualities, his words, true and like nectar as they are, should be acted up to.’ [Here the common property, sweetness, of nectar and words, has been omitted]. (2) [Example of the Elliptical Simile omitting the common property, implied.] ‘ Ākṛṣṭakarabālosau saṁparāye paribhraman Pratyarthisenayā dṛṣṭaḥ kṛtāntena samaḥ prabhuḥ’ ‘ Roaming in battle with the drawn sword, he was looked upon by the enemies, as equal to the Death-god.’ [Here the common property, cruelty, has been omitted; and as it is the sameness of action that is meant, the Similitude is ‘implied.’] (3)-(4)-(5) [Example of the Elliptical Simile, omitting the common property, (a) directly expressed, in a com- pound, (b) implied, in a compound and (c) implied, in a nominal affix.] ‘ Karavāla ivāchārastasya vāgamṛtopamā Viṣakalpaṁ mano vetsi yadi jīvasi tat sakhe’ ‘ You will live if you know that (a) his behaviour is like that of the sword, (b) his speech is almost like nectar, and (c) his mind is like poison.’

CHAPTER X 357 उपमानानुपादाने वाक्यगा समासगा ॥ ८८ ॥ सअलकरणपरवीसामसिरिविअरणं ण सरसकव्वस्स । दीसइ अह वा णिसम्मइ सरिसं अंसंसमेत्तेण ॥४००॥ कव्वस्सेत्यत्र कव्वसममिति सरिसमित्यत्र च णूणमिति पाठे एषैव समासगा ॥८८॥ वादेर्लोपे समासे सा कर्मधारक्यचि क्यङि । कर्मकर्त्रोर्णमुलि ॥ [(a) ‘Karabāla-iva, is a ‘nitya’ compound, where the case-termina- tion of the first member is not elided, and the common property of murderousness is omitted ;—(b) ‘amṛtopamā’ omits the common property of sweetness, and the similitude is implied, the term ‘upamā’ directly expressing merely resemblance in general;—(c) ‘viṣakalpam’ ends in the nominal affix ‘kalpa,’ which denotes approximate resemblance in general, and hence the Simile is an implied one, and the common property of harmfulness has been omitted.] (6) (7) On the omission of the ‘object compared to’, the Simile occurs in a sentence and in a compound. (6) [Example of Elliptical Simile, omitting the object compared to, occurring in a sentence]— ‘Saalakarāṇaparavīsāmasiriviaraṇaṁ ṇa sarasakavvassa Dīsaï aha vā ṇisammaï sarisaṁ aṁsaṁsametteṇa’ ‘ ‘For affording pleasure to the highest senses, nothing is either known or seen to be equal to charming poetry, even in its smallest part.’ [The object to which Poetry is compared is not mentioned, and the similitude is implied by the sentence.] (7) In this same verse if we read ‘kavvasamaṁ’ for ‘kavvassa,’ and ‘ṇūnaṁ’ for ‘sarisaṁ’, we have an example of the same kind of Simile occurring in a compound. 88. On the omission of ‘vā’ and such other terms (expressing similitude), it occurs (8) in a compound, (9) in the affix

358 KĀVYAPRAKĀŚA वाशब्दः उपमाद्योतक इति। वादेरुपमाप्रतिपादकस्य लोपे षट् समासेन कर्मणोधिकरणाच्चोत्पन्नेन क्यचा कर्तुः क्यङा कर्मकर्त्रोरुपपदयोर्णमुला च भवेत्॥ उदाहरणम्— ततः कुमुदनाथेन कामिनीगण्डपाण्डुना। नेत्रानन्देन चन्द्रेण माहेन्द्री दिगलंकृता॥४०१॥ तथा असितभुजगभीषणासिपत्रो रुहरुहिकाहितचित्ततूर्णचारः। पुलकिततनुरुत्कपोलकान्तिः प्रतिभटविक्रमदर्शनेयमासीत्॥४०२॥ ‘kyach’ as denoting the objective, (10) in the same affix as denoting location, (11) in the affix ‘kyaṅ’, (12) in the affix ‘ṇamul’ used with a substantive used accusatively, and (13) in the same affix used with a substantive used nominatively. The term ‘vā’ is expressive of similitude; and on the omission of this term ‘vā’ and of others similarly expressive of similitude,—there are six kinds of Simile, as occurring—(8) in a compound, (9) in the affix ‘kyach’ as used in the sense of the accusative, (10) in the affix ‘kyach’ as used in the sense of the location; (11) in the affix ‘kyaṅ’ as used in the sense of the nomi- native, (12) in the affix ‘ṇamul’ with a substantive used ccusatively, and (13) in the affix ‘ṇamul’ with a substan- ive used nominatively. Example of (8)— ‘Tataḥ kumudanāthena kāminīgaṇḍapāṇḍunā Netrānandena chandreṇa māhendrī digalaṅkṛtā ‘The eastern quarter was thereupon adorned by the Moon, a joy to the eyes, pale like the cheeks of a lóve-` stricken woman.’

CHAPTER X 359 पौरं सुतीयति जनं समरान्तरेसा- वन्तःपुरीयति विचित्रचरित्रचुञ्चुः । नारीयते समरसीम्नि कृपाणपाणेर् आलोक्य तस्य चरितानि सपत्नसेना ॥४०३॥ मृधे निदाघघर्मांशुदर्शं पश्यन्ति तं परे । स पुनः पार्थसंचारं संचरत्यवनीपतिः ॥४०४॥ Another example of the same— ‘Asitabhujagabhīṣaṇāsipatro ruharuhikāhitachittatūrṇachāraḥ Pulakitatanurutkapolakāntiḥ pratibhaṭavikramadarśanayamāsīt’ ‘This king, his sword-blade terrible like the black snake, and his movements inspired by energy, became thrilled, whereupon the freshness of his cheeks became manifested.’ (9)—(10)—(11)— ‘Pauram sutīyati janam samarantaresā- Vantaḥpurīyatī vichitracharitrachuñchuḥ. Nārīyate samarasīmni kṛpāṇapāṇer Ālokya tasya charitāni sapatnasenā.’ ‘He treats the citizens as his children ; famous for his wonderful deeds, he behaves in battlefield as if it were his harem; and the army of his enemies, seeing him, sword in hand, performing extraordinary feats in battle, come to behave like women.’ [(a) In ‘sutīyati’ we have the ‘kyach’ affix in the accusative sense; (b) in ‘antaḥpurīyati,’ we have the same affix used in the locative sense, and (c) in ‘nārīyate,’ we have the affix ‘kyaṅ’ in the nominative sense.] (12)—(13)— ‘Mṛdhe nidāghagharmāṁśudarśaṁ paśyanti taṁ pare Sa punaḥ pārthasaṁchāraṁ sañcharatyavanīpatiḥ.’

360 KĀVYAPRAKĀŚA एतद्द्विलोपे क्विप्समासगा ॥ ८९ ॥ एतयोर्धर्मवाच्योः । उदाहरणम्— सविता विधवति विधुरपि सवितरति तथा दिनन्ति यामिन्यः । यामिनयन्ति दिनानि च सुखदुःखवशीकृते मनसि ॥ ४०५ ॥ परिपन्थिमनोराज्यशतैरपि दुराक्रमः । संपरायप्रवृत्तौसौ राजते राजकुञ्जरः ॥ ४०६ ॥ ८९ ॥ 'In battle his enemies look upon him as they would upon the summer-sun; and the King himself moves about as if he were Arjuna.' [In the first sentence the 'ṇamul' affix has the force of the accusative and in the second that of the nominative.] (14)—(15)—On the omission of both these, it occurs in the 'kvip' affix and in a compound. 89. 'Of these two'—i. e., of the common property and the term expressive of similitude. (14) Example (of the Elliptical Simile, omitting both, occurring in the affix 'kvip')— 'Savitā vidhavati vidhurapi savitarati tathā dinanti yāminyaḥ Yāminayanti dināni cha sukhaduḥkha-vashīkṛte manasi'. 'When the mind is under the influence of pleasure, the sun becomes the moon and the nights become days; when, on the other hand, it is under the influence of pain, the moon becomes the sun and days become nights.' [Here the Simile lies in the 'Kvip' affix in the words 'vidhavati', 'savitarati', 'dinanti' and 'yāminayanti'.] (15) [Of the same, in a compound]— 'Paripanthimanorājyashatairapi durākramaḥ Saṁparāyapravṛttosau rājate rājakuñjaraḥ'.