काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

GOVINDA ! It was at your instance that this translation was done in 1891, and it is at your persistent insistence that it has been re-written in 1924. May you find it more satisfactory than its predecessor—is the fervent hope of Your own, GANGA.

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KĀVYAPRAKĀSHA 'Light of Poesy' PREFACE TO THE SECOND EDITION It was in a fit of juvenile enthusiasm that I permitted the first edition of my translation of the Kāvyaprakāsha to appear in the ‘Pandit’ of Benares ; otherwise, under ordinary circumstances, it would be sheer audacity on the part of a boy of eighteen to put himself forward as the interpreter of a book which, apart from its subject-matter, is regarded, in point of style and expression, as one of the tersest, and hence the most difficult, in the Sanskrit language. The boy of eighteen, however, had his justification; he had written out a rough translation of the work in course of his preparation for the M A. Examination ; and when, on passing that examination, he had his ambition for authorship aroused by the example and precept of his late lamented tutor, Dr. Arthur Venis of Benares, he sent his aforesaid translation to him and asked him if he thought it fit for publication. Apparently with a view to encouraging his pupil, the doctor wrote to him—" room could be found in the Pandit for your translation of the Kāvyaprakāsha", and the work was allowed to go forth to the public. The boy of eighteen has since grown to be an old man of fifty, and numerous have been the volumes with which he has thrust himself before an indulgent public ; and after all these years, when he came to look into his earlier work, he felt that he owed it to the public to revise at least such of his works as had secured a number of readers. Foremost among these appeared to be the Kāvyaprakāsha, the translation of which, imperfect as it is, has had to be read, more or less, by numerous candidates for the M. A. degree, for whom the original is prescribed by almost every University in India Thus it is in the spirit of repaying a debt long over-due that I am setting my hand to doing what is practically the rewriting of the translation of the work which, during all the centuries that have elapsed since it was written in far-off Kāshmīr, has held the supreme position in the world of Sanskrit rhetorical literature.

IV With a view to interesting the modern reader, I requested my son, Amaranatha Jha of the University of Allahabad to add some notes, which would help the comparative study of this interesting subject After he had done this work over Chapter I, it was found that matter available for these notes was so abundant that if it were to appear in the form of foot-notes, the original work would become hugely encumbered. He has therefore decided to incorporate all this material for comparative study in a separate book that he is writing on the subject, and to include in this volume only a few notes.—My own notes on the text I have embodied in the Text itself, distinguishing them from the text either by using square brackets (in the case of short notes) or by employing a smaller type (in the case of longer ones). I hope the reader will find this revised translation less defective than its forerunner. THE UNIVERSITY : ALLAHABAD, GANGANATHA JHA. February 22, 1924.

.Preface to the First Edition This is the second Sanskrit work on the Science of Poetry that . is being offered to the English-reading public in an English garb— if we do not count the Bhāshā-Bhūshana, a Hindī work on the same subject, which was rendered into English and published in the pages of the Indian Antiquary in 1894, by Dr. Grierson, whose labours in the cause of Hindī literature rival those of the late Mr. Growse. The first was the Sāhitya-Darpana of Vishwanātha Kavirāja, which was placed over twenty years ago before the public by Rai Bahadur Pramadā Dāsa Mittra, in an English form, that still remains a model of scholarly and excellent translation. It is time that another work on the subject, expounding more or less different views on impor- tant points, should be published. Indeed it is surprising that so little attention should have been directed to this department of Sanskrit learning by Oriental Scholars. For, as it seems to the present writer, the Sāhitya literature of India is remarkably full and complete, and contains perhaps as many useful ideas worth the acceptance of foreign scholars as the literature of philosophy. With the growth of interest and study in metaphysics and psy- chology there has undoubtedly grown on parallel lines, in Europe, interest in and study of the philosophy of other sciences. And we see excellent books issued from the press day after day, which seek to clear up the fundamental ideas of Law, of History, of Politics, of the Physical Sciences and of the various branches of Art. In short there has been a general growth of introspective “Intelligence” on all matters, and an effort is perceptible everywhere to locate every portion of knowledge in its proper place in a universal scheme. There has been no philosopher worthy of the name, who has left an impress other than merely ephemeral on subsequent literature, and has not endeavoured so to organise the whole of human knowledge into one complete whole, or not matured ideas on all matters interest- ing to humanity. But it must be confessed that the literature on the science and philosophy of poetry is not excessively rich in English. Works on poets, dramatists, novelists, and on the history of literature abound; and naturally many of such works, principally biographical,

viii critical, appreciative, or descriptive, yet incidentally, enunciate directly, or indicate indirectly, very useful and instructive ideas on the basic questions of the subjects concerned. But scientific works, professedly confining themselves to the principles which underlie all literature (in the special sense of the term, viz. belles lettres), are few. Prof. Bain's works on Rhetoric and Composition and On Teaching English are what might have been expected from him, a clear thinker and philosopher and scholar of "encyclopedical learning" in the well-judged language of Mill But they stand almost by themselves, Prof. Bain himself says in his prefaces, with reference to the depart- ment of Figures of Speech, that "never before has that branch received so large a share of attention", and again, adverting to the emotional qualities of style, that his "is the first attempt at a methodical and exhaustive account of these qualities". And they are not final nor complete, as the Professor himself admits beforehand. Thus, though it would probably be presumptuous at this date, to hint that India had anything new to teach Europe, still it may per- haps be excusable to say that Indian books on Sāhitya might help to clear up ideas if only by affording the occasion for a further and deeper study of the subject. The first and most important question of the science is as to what constitutes the essence of poetry. The long accepted answer in India is that Emotion constitutes that essence—a conclusion which British investigators are only now approaching, and with still hesitating steps; as Dr. Bain tentatively says (On Teaching English, p. 214)— "to emotion we must come at last, in any precise definition" of poetry. Of course there are more or less slight differences in the details as discussed by different writers. The author of the work now translated has formulated his answer to the question in language which may appear at first sight to be even radically different from the accepted view; and students will find interesting points of re- semblance in his treatment of the subject and Prof. Bain's, who also, at least in the form of his book on Rhetoric, treats of all connected questions as subsidiary to Style. But this innovation of our author's too is only apparent; and is perhaps due to nothing else than an exagge- rated desire to be original. He tacitly reverts to the general position in his treatment of the auxiliary subjects,—herein again offering a point of resemblance to Dr. Bain. And this is the essence and the

net result of the teaching of the Sāhitya Shāstra : viz. that the ex- pression of the emotions, in their infinite forms and their combi- nations developed by the infinite forms and situations of human life, is the business of literature; and that those writers are the greatest, and those works the most permanent and the most prominent that have seized and embodied the most permanent and prominent emo- tions of humanity in the most remarkable manner. It is interesting and instructive to compare Dr. Bain's class- fication of the emotions admissible into poetry with those of the Sanskrit authors, and their respective arguments in support of them. The secret of the true reason, why Pathos plays such an important part in all literature, why रसेषु करुणो रसः ( " amongst the poetical emotions the supreme is Pathos ") in the words of the ancient Indian poet, and why " our sweetest songs are those that tell of saddest thought " in the words of the modern English poet, is still to seek. Neither Mammata nor Bain, etc., are quite satisfactory on this point. The student might try and invent an explanation for himself. If he can, further, satisfy himself as to why "the Furious" "the Terrible" and " the Disgusting " should find a place in poetry, he will have discovered a deeper reason than Dr. Max Nordau, for the amazing outbreak of these in the literature, whose aberrations he so trenchantly, if not sufficiently deeply, exposes in his book entitled " Degeneration ". Another notable point is that the form of the Kāvya is assigned a very secondary place in Sāhitya. While in the West, metre, and to a less extent, rhyme, have been held to be essentials, they are of very minor importance in India. Prof. Bain and J. S. Mill before him (vide his Dissertations), apparently approximate to the Indian view which allows of such famous gadya-kāvyas (prose-poems) as Kādambarī, Vāsavadattā, &c., and of course includes the drama under poetry at large, as one of its species , Walt Whitman and his imitators also recognise in practice the accuracy of it. It must be confessed, how- ever, that this view is only correct in principle and as a theory. In practice the powerful additions made to the pleasures of poetry by metre and rhyme have checked the growth of prose-poems consider ably, and thrown into the shade all but the very best. For similar reasons, just as the metrical poem is an advance upon the prose-

x poem, so "recited poetry" and the drama constitute an advance upon the metrical poem, to the musical effects of metre and rhyme which enlist the services of the ear in furthering the pleasures of poetry, the drama adds the scenic effects, which engage the eye also. And hence the dictum काव्येषु नाटकं श्रेष्ठम् (of poems the drama is the highest). Thus it appears that Sāhitya treats of the principles of poetry and it treats of Words and Style only in so far as they express more fitly or otherwise the appropriate emotion. The treatment of the metre form it leaves to Prosody for metre and rhyme, and to Nāṭya Shāstra for dramaturgy. Sanskrit Prosody has little interest for the general English reader; but the science of Mimetics obviously has, and there is no work on the subject yet, for a wonder, in the land of Shakespeare,—the one or two books like Hammerton's "The Actor's Art," that are just beginning to come out, being scarcely entitled to rank as scientific books. If opportunities are favourable, the present writer hopes to bring out some day a translation of Bharata's Nāṭya Shāstra, the oldest work available on the subject. The history of the science of poetry in India, like that of all others, is lost in antiquity. Tradition speaks of original aphorisms by Çauddhodani, by Bharata and by Vāmana. These aphorisms too are lost for the present, except the last which has been recently printed by the enterprising publishers of the Kāvyamālā. Vāmana's Sūtras are not old, that is to say, not much older than 800 A. C. Fragments of the other two are met with in the form of quotations by later writers. It is possible and to be hoped that they may be recovered some day; for not very old authors refer to them as having formed the subject of their studies, before they began their own works; and it is very much to be desired that they may be so recovered, for the Sūtra— literature shows a finality of statement, so far as general principles are concerned, which could result only from a perfect grasp of the completed "circle of knowledge," and it is not likely that any future races will succeed in improving upon these statements of final principles, however much they may and will make fuller the contents of the general ideas in consequence of more varied experience in larger circles of life. Shauddhodani appears to have been one of the first to definitely formulate the view that emotion is the essence of poetry—

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वाक्यं रसादिमत् काव्यम्—(utterance embodying emotion is poetry), accord- ing to a quotation in Alaṁkāra Shekhara. It is only a matter of con- jecture whether he belonged to the genuine Sūtra period of Sanskrit literature—the period immediately following Vyāsa, the great or- ganiser of Sanskrit learning The outlines and the elementary principles of Sāhitya are given in the Agni Purāna also as now extant, but as to the authorship, authenticity and antiquity of the work grave doubts are entertained by those learned in these matters. As regards Bharata, a tradition says that the Kārikās (memorial verses), of the Kāvya-Prakāça, themselves are the work of Bharata, and that Mammata wrote only the prose portion of the text in the form of a commentary. But another tradition, as also the fact that Mammata refers to Bharata in one place, in the fourth Chapter of the work, in support of the doctrine stated in the Kārikā, goes against this. The truth, as usual, probably lies between, and Mammata seems to have made large use of the Sūtras of Bharata in fashioning his verses, and has perhaps incorporated therein large pieces of them bodily, thus giving rise to the first mentioned tradition. Mammata himself was undoubtedly a Brāhmana of Kashmir and lived and wrote his famous work certainly before the 12th century A. C., about the time when English literature was just beginning to be born. The earliest commentary on his work now available and apparently the earliest in fact also, is, that of Mānikya-Chandra, and that is expressedly dated by Mānikya-Chandra himself, in the colophon, with the Saṁvat year 1216, corresponding with 1159 A. C. At the same time there is no reason to believe that the author of the Kāvya- Prakāsha lived earlier than the eleventh century A. C.; for he quotes a verse in his 10th Chapter from Bhoja, who reigned in the earlier half of that century, for a tradition has it that his younger brother Uvvata attended the court of this very Bhoja at his capital Avanti for some time; and he was probably the medium of the quotation. It is easy to understand that the Court-Pandit should have gladly seized on the first opportunity that offered of paying an elegant com- pliment to the literary merits of his really deserving master, by securing for a production of his a gratifying reference and quotation in the masterpiece of his famous brother, and of, at the same time, and by the same stroke of policy, obtaining for that masterpiece an introdu-

XII ction under the most favourable circumstances to the court of his royal patron. Mammaṭa was a member of a true Pandit family ; he was the son of Jayyaṭa, the joint author with Vāmana of the celebrated grammatical treatise, the Kāshikā; and the brother of Kayyaṭa, the author of the standard gloss on Patañjali's Great Commentary and of the above- mentioned Uvvaṭa, the author of a Bhāshya on the Vedas and other Vedic works, which, however, have been superseded by the later works of Sāyaṇa and Mādhava. Mammata is said, by Bhīmasena in the opening verses of his commentary on the Kāvya-Prakāsha to have travelled to Benares for purposes of study. The times of Mammaṭa seem to have been times of a general outburst of literature and learn ing in Kashmir, which had most likely something to do with the Buddhist literature and learning, then on its way out of India to its present Tibetan home across the Himālayas. A lot of literary names ending with the characteristic syllable ṭa are to be found in the books of this period, Vajjraṭa, Rudraṭa, Bhallaṭa, Vābhaṭa, Allaṭa, &c. How these outbursts and revivals travel about from place to place is a phe- nomenon which is observable in the literary history of ancient and modern Europe also. Sāhitya in India appears to have passed on from Kashmir to Mithilā, and thence to Bengal ; it is now almost confined to the Deccan. The mention of Allaṭa leads us to the fact that the Kāvya-Prakāsha could not be completed by Mammaṭa, notwithstanding the inevitable maṅgalācharaṇa, the propitiation of the appropriate Goddess of Speech. Apparently in accordance with the very satisfactory ex- planation of the ingenious Naiyāyika, the past evil karma of Mammaṭa's previous births was too voluminous to be dispelled by the amount of maṅgalācharaṇa he made, and so the thread of his life broke short ! But it broke short when he was in sight of his goal ; and he has prac- tically completed his work. About a third of the last chapter on Figures,—or rather as they are more becomingly named in Sanskrit, Ornaments of Speech—which third amounts roughly to a tenth of the whole work,—was written by Allaṭa, from the second half of the 118th verse onwards, (page 244 of the translation*). This is expressly stated by Anand in his commentary entitled the Nidarshana on the Kāvya-Prakāsha, who again, in explaining the last verse of the work *Not in the present edition.

xiii refers to the same fact in this wise, “ although this 10th chapter has been written by two authors, still the appreciating I will miss no pleasure of true excellence, indeed the general experience is that the mango fruit bred out of crossed varieties is even more luscious (than the fruit of either of its original parents).” Other commenta- tors also interpret the shloka above referred to, to the same effect Of commentaries and glosses on the Kāvya Prākāsha the number is legion. Verses current amongst the Pandits refer to this fact thus— काव्यप्रकाशस्य कृता गृहे गृहे टीका तथाप्येष तथैव दुर्गमः ॥ (commentaries on the Kāvya-Prakāsha have been done up in every house, and yet it remains as difficult to understand as ever !) Or again— काव्यप्रकाशे टिप्पण्यः सहस्रं सन्ति तथापि । (although there are thousands of glosses on the Kāvya-Prakāsha still, &c. &c.). There is no other Sanskrit work so much be-commen- ted, except perhaps the Paribhāshendu-Shekhara of Nāgesha Bhatta It might be worth mention in this connection that Vishwanātha Kavirāja, the author of the other most famous work on Sāhitya, referred to at the outset of this preface, thought fit to write an elaborate com- mentary on the Kāvya-Prakāsha after composing his own independent work, as is evident from the frequent references to the latter in the former. Indeed the work seems to have excited a most singular emulation amongst all classes of writers to show their appreciation of it by means of comments; famous Naiyāyikas like Jagadīsha and Gadādhara, leaders in Vyākaraṇa like Nāgesha Bhatta, renowned Tāntrikas like Gokula-Nātha and Kalyāna Upādhyāya, have all tried their hands at it. This gives us an idea of the high honour in which the Kāvya-Prakāsha has always been held throughout India, as an authority on its subject, and as a work, the careful study of which is indispensable to every Pandit who aspires to be regarded as a “ Sāhityāchārya ”. A very full account of principal commentaries* on the work is *Though no less than forty-six commentaries are enumerated, there, three more commentaries have been found of which no men- tion is made : (1) By one “ Paṇḍita-Rāja ” (identified by Pandits with Raghunandana Rāya, the renowned disciple of Mahesha Thakk- ura. This commentary begins thus : रघुवंशजलधिचन्द्रं रावणवनदन्तिपारीन्द्रम् ।

X V to be found in the elaborate Sanskrit Introduction (from which many of the facts stated above have been taken) to his edition of it, (with his own—the latest, perhaps the best, and certainly the fullest commentary), by the eminently learned Mahāmahopadhyāya Pandit Vāmanāchārya Zhalkīkar of Poona. In bringing the above remarks to a conclusion, I have to thank the gentlemen who have, in one way or another, helped me in the मीतामुदितमयूरीमुदिरमुदारमहं कलये ॥ १ ॥ मौलौ निधाय पाणी वाणीमनिशं नमस्कृत्य । पण्डित- राजः कुरुते टीकां काव्यप्रकाशस्य ॥ २॥ इयताऽपि बुद्धिविभवेन मोहतो यदमूष्य भावशतवर्णनोधमः । अपि सत्सु सत्सु गुणभावगौरवादवधेहि बाणिकरवाणि साहसम् ॥३॥ वलिशादपि वक्रहृदः कुलिशादपि कठिनकर्माण.। गरलादपि मर्मभिदो ये केचन तान्नमस्कार्मं ॥४॥ हरमौलिगलितगङ्गावीचिविचित्रिताशया सुधिय. । मत्कृतिमतिदीर्घकृपादृक्पातसुधारसेन सिञ्चन्तु ॥ ५ ॥ प्रथमत. प्रेक्षावत्प्रवृत्तिनिमित्तत्वेन प्रयोजनाभिधेयसम्बन्धस्याभिधातुमुचितस्यानभिधाभाद् भारतीस्तुतिमत्यात्मकमङ्गलस्य समाप्तौ व्यभि- चारात् फलान्तरस्याभावात् ... प्रथमश्लोकमवतारयति ग्रन्थान्तरम्भ इति ।। and ends thus : उल्लासमुपसंहरति तदेत इति । इतीति ग्रन्थसमाप्तौ ॥ इति महामहोपाध्याय श्रीमत्पण्डितराजविरचिता- काव्यप्रकाशटीकाया दशमोल्लासः ॥ The MS. found is dated शाके १५५९ (A. C. 1637) (2) By Mahāmahopādhyāya Gokula-Nātha Upādhyāya. This begins thus • नत्वा परमात्मानं श्रीगोकुलनाथशर्मणा रचिता । काव्यप्रकाशिकायटीका प्रीत्यै सूनामस्तु ॥ १ ॥ कारिकानिबद्धमङ्गलश्लोकानुवचना देवानुषङ्गिकविघ्नध्वंससिद्धौ वृत्तिकारो न मङ्गलम् प्रणीतवान् न चोपनिबबन्ध । किन्तु कारिकाप्रबन्धमारिप्समानस्य ग्रन्थकृत प्रथमम् मङ्गलमाचरतो निबध्नतश्च निष्फलकर्मकर्तृ त्वादनवधेयवचमत्वशङ्कामपाकर्तुमवतारयन्नानुषङ्गिकमङ्गलसम्पत्तये मौल- म्पद्यमनुवदति ग्रन्थेत्यादिना जयतीत्यन्तेत । अधिकरणसमूहः शास्त्रम् . . . ॥ The MS. found does not extend to the end.¹ (3) By Kallyāna Upādhyāya—only fragments of this work have been found. In a foot-note in connection with commentary No 25, the Sanskrit Introduction says that it is by Vāchaspati Mishra, the "सर्वतन्त्रज्ञः" I venture to point out that this is an oversight : because the Vāchas- pati Mishra, who is generally styled 'सर्वतन्त्रज्ञ'—the author of "Bha- matī" &c.—is much older than Mammaṭa, and further, this author has enumerated all his works at the end of "Bhāmatī" where no mention is made of any commentary on the Kāvya-Prakāsha. The Vāchaspati Mishra who wrote a commentary on the Kāvya-Prakāsha, is the legist, the author of a series of Dharmasāshstra works—Āchāra- chintāmaṇi, &c. [ 1. Fragment extending up to the chapter V edited by Kavi- shekhara Badarinatha Jha and published by the Sanskrit University, Varanasi 1961. ]

xv translation. First among these comes Pandit Jayadeva Mishra, Professor of Vyākaraṇa in the “Darbhanga Pāṭhashālā,” Benares, from whom I got my first lessons in Kāvya-Prakāsha, and then Rai Bahadur Pramadā Dāsa Mittra of Benares, already mentioned, who not only encouraged me in the work, but also took upon himself the trouble of correcting an important portion of it. My thanks are also due to my honoured tutor, late Mr. Arthur Venis, M. A., Principal of the Queen’s College, Benares, without whose encouraging words and example, I should probably have never ventured upon literary work, and to whose kind help is due the publication of the present trans- lation. The last person, but not the least, whom I cannot leave un- mentioned, is Babu Govinda-Dāsa of Benares, who has ever been the guiding spirit of literary life DARBHANGA $\quad\quad\quad\quad\quad\quad\quad\quad$ GANGĀNĀTHA JHĀ. April, 1918

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KĀVYAPRAKĀSHA CONTENTS Text with translation, etc. Page काव्यप्रकाशकारिकापाठः १–१२ पाठान्तरचक्रम् १२–१६ CHAPTER I Invocation इष्टदेवतापरामर्श : . 1 Contrast between the Creation of Brahma and that of the Poet’s Speech. ब्रह्मनिर्मितिकविनिर्मितिभेद . 1 Effects of Poetry : Fame Etc काव्यप्रयोजनम् 2 Cause of Poetry : Genius, &c काव्यकारणम् .. 3 Definition of Poetry काव्यलक्षणम् .. 4 Divisions of Poetry • (a) “ Dhvani ” काव्यभेदा (क) ध्वनि. . 6 (b) Poetry of Subordinate Suggestion (ख) गुणीभूतव्यङ्ग्यकाव्यम् 7 (c) Third Class Poetry—“ Fanciful ” (ग) चित्रकाव्यम् .. 7 CHAPTER II Three kinds of Words शब्दस्य त्रयो भेदाः वाचकलाक्षणिकव्यञ्जकाः .. 9 A Fourth Kind (according to some) चतुर्थ तात्पर्याख्यः .. 9 Suggestion belonging to all meanings सर्वेषा व्यञ्जकत्वम् .. 10 , Expressive Word defined वाचक लक्षणम् .. 12 Fourfold Convention चतुर्भेद. संकेत. .. 12 The “ Individualistic ” and “ Class ” Theories Contrasted जातिव्यक्तिभेदः .. 12 Divisions of Upādhi उपाधिभेदौ .. 13 ‘ Denotation ’ Defined अभिधालक्षणम् . .. 17 Indication Defined लक्षणालक्षणम् .. 17 Examples of Indication लक्षणायाः उदाहरणानि .. 17 Different Kinds of ‘ Indication ’ लक्षणाभेदाः .. 19 What is Pure Indication शुद्धालक्षणा .. 19

xvii Inclusive Indication उपादानलक्षणा .. .. 19 Indicative Indication लक्षणलक्षणा .. . 21 Superimponent Indication सारोपा लक्षणा .: . 22 Intro-susceptive Indication साध्यवसाना लक्षणा . .. 23 Qualitative Indication गौणी लक्षणा 23 Difference between Pure and Qualitative Indications गौणशुद्धलक्षणयोर्भेदः 26 Six Kinds of Indication षड्विधा लक्षणा .. .. 27 Indication based on Motive is endowed with Suggestive Meaning. प्रयोजनमूला लक्षणाया. व्यङ्ग्यसहितत्वम् .. . 27 ‘ Suggestion ’ either Abstruse or Explicit गूढागूढव्यङ्ग्यत्वम् . 27 Examples of both द्वयो उदाहरणानि . .. 28 ‘ Indication ’ of three kinds लक्षणाया. त्रैविध्यम् .. 29 Indicative Word Defined लाक्षणिकशब्द. .. 29 Suggestion in the comprehension of the Motive लक्षणामूलकव्यञ्जना- व्यवस्थापनम् 30 Reasons for admitting of such Suggestion व्यञ्जनाग्रहणे को हेतुः .. 30 It cannot be Denotation अभिधा न .. .. 30 It cannot be Indication लक्षणा न .. . 31 Why not Indication ? कथ न लक्षणा .. 31 Admission of Indication leads to a Regressus ad infinitum .. अनवस्थादोषः स्यात् 32 Motive does not accompany the Indicated Meaning .. प्रयोजनेन सहित लक्षणीयं न 33 Reasons for the Assertion तद्धेतुः .. .. 33 Definition of Suggestion based on Denotation अभिधामूला व्यञ्जना 34 The Different Causes of Suggestion व्यञ्जनाहेतवः .. .. 34 Examples उदाहरणानि .. .. 35 The Suggestive Word Defined व्यञ्जकशब्दलक्षणम् .. .. 39 Meaning Auxiliary to Suggestion शब्दस्य व्यञ्जकतायामर्थस्य सहकारिता 39 CHAPTER III Suggestiveness Defined व्यञ्जकतालक्षणम् .. .. 40

xviii Suggestion Defined व्यञ्जनालक्षणम् .. .. 40 Suggestion due to the special character of the Speaker, &c. वक्त्रादीना वैशिष्ट्ये व्यञ्जनाया उदाहरणानि (1) Of the Speaker वक्तुः .. 41 (2) Of the Person Spoken to बोद्धव्यस्य . 41 (3) Of Intonation काको 42 (4) Of the Sentence वाक्यस्य .. . 43 (5) Of the Expressed Meaning वाच्यार्थस्य . 43 (6) Of Presence of another अन्यसन्निधेः 44 (7) Of Context प्रस्तावस्य . .. 44 (8) Of Place देशस्य .. 45 (9) Of Time &c. कालादीनाम् 45 Suggestiveness of a Combination of the aforesaid specialities वक्त्रादीना मिथःसयोगे .. 47 Words help the Suggestiveness of Meaning अर्थव्यञ्जकताया शब्दस्य साहाय्यम् .. 47 CHAPTER IV Justification of taking up Divisions of Poetry काव्यभेदाभिधानसमर्थनम् 48 Two kinds of Suggestive Poetry काव्यभेदौ .. .. 48 (1) Suggestive Poetry based on Indication, where the Direct Meaning is transferred to another .. अर्थान्तरसङ्क्रमितवाच्यः 48 (2) Where the Direct Meaning is altogether neglected .. अत्यन्ततिरस्कृतवाच्य 49 Suggestion based on Denotation विवक्षितान्यपरवाच्य. .. 50 The two kinds of "Vivakshitānyaparavāchya" तद्‌भेदौ .. 50 I That in which The Order of Sequence is not perceptible .. असंलक्ष्यक्रमव्य ङ्ग्यः 51 Rasa Defined. रसस्वरूपम् .. . 52 Bharata’s Sūtra भरतसूत्रम् . 52 Bhattalollata’s Interpretation of Bharata भट्टलोल्लटमतम् .. 52 Shaṅkuka’s Interpretation of Bhārata शङ्कुकमतम् .. 53

XIX Bhattanāyaka's Interpretation of Bharata भट्टनायकमतम् .. 56 Abhinavagupta's Interpretation of Bharata अभिनवगुप्तमतम् 57 The Eight Rasas Enumerated अष्टौ रसाः . . 62 (a) The Erotic शृङ्गारः . 63 Erotic in Enjoyment सम्भोगशृङ्गार 63 Of Privation विप्रलम्भशृङ्गारः . 64 Of Longing अभिलाषः . 64 Of Separation विरह 64 Of Jealousy ईर्ष्या 65 Of Residence Abroad प्रवासः 65 Of Curse शापः 65 (b) The Comic हास्य 66 (c) The Pathetic करुण 66 (d) The Furious रौद्र . 67 (e) The Heroic वीरः 67 (f) The Frightful भयानक . 67 (g) The Disgustful बीभत्स . 68 (h) The Marvellous अद्भुत. . 68 The Permanent Emotions Underlying the Rasas स्थायिभावाः 68 The Thirty-Three Accessary Emotions Enumerated व्यभिचारिभावा . 69 The Ninth Rasa—The Quietistic नवमो रसः—शान्त .. 70 Bhāva (Emotion) Defined भावः .. 70 The Aberrations of Rasa and Bhāva रसाभासभावाभासौ . 72 Allayment. Manifestation, Mixture and Variegation of Emotions. भावस्य शान्तिरुदयः संधिः शबलता च . .. 73 (1) Allayment of Emotion भावशान्तिः .. 73 (2) Manifestation of Emotion भावोदयः .. 74 (3) Conjunction of Emotion भावसंधिः .. 75 (4) Admixture of Emotion भावशबलता . .. 75 Allayment, etc. sometimes the Predominent Factor .. भावाशान्त्यादीना क्वचित् प्राधान्यम् 75

xx II Suggestive Poetry of Perceptible order of Sequence .. is Three-fold संलक्ष्यक्रमव्यङ्ग्यध्वनिः 76 Suggestion arising from the power of the Word शब्दशक्त्युत्थध्वनिः 77 Of figure of speech by Word शब्दशक्त्युत्थालकारध्वनि. 77 Of fact by word शब्दशक्त्युद्भववस्तुध्वनिः .. 80 Suggested Meaning arising from power of Meaning अर्थशक्त्युद्भवध्वनि 81 I The Self-Existent स्वतः सम्भवी .. 81 II That created by the Poet's Imagination कविप्रौढोक्तिसिद्ध .. 81 III Created by a character portrayed by the Poet कविनिबद्धनायकोम्भित 81 Example of the first kind of the Self-Existent स्वतः सम्भविनः .. उदाहरणानि 82 —Fact suggested by Fact वस्तुना वस्तुध्वनिः 82 ,, ,, ,, 2nd kind ,, Figure suggested Matter वस्तुना अलंकारध्वनि. 83 ,, ,’ ,, 3rd king ,, Fact by Figure अलंकारेण वस्तुध्वनिः 83 ,, ,, ,, 4th kind ,, Figure by Figure अलंकारेण .. अलंकारध्वनिः 83 Example of the 1st kind of that which is established by the Poet’s Assertion. कविप्रौढोक्तिसिद्धानामुदाहरणानि— Fact by Fact वस्तुना वस्तुध्वनिः .. 84 ,, ,, ,, 2nd king ,, Figure by Fact वस्तुना अलंकारध्वनिः 84 ,, ,, ,, 3rd kind ,, Fact by Figure अलंकारेण वस्तु- ध्वनिः 85 ,, ’ ,, 4th kind ,, Figure by Figure अलंकारेण .. अलंकारध्वनि. 85 Example of the 1st kind of that created by a character portrayed by the poet:—कविनिबद्धनायकोम्भितस्योदाहरणानि .. Fact by Fact वस्तुना वस्तुध्वनिः 86

XXI ” ” ” 2nd kind ” Figure by Fact वस्तुना अलकार- ध्वनि 87 ” ” ” 3rd kind ” Fact by Figure अलकारेण वस्तु- ध्वनि 87 ” ” 4th kind ” Figure by Figure अलकारेण अलकार- ध्वनि. 88 Only one kind of Suggestive Meaning due to both Word and Meaning शब्दार्थोभयशक्त्युत्थध्वनिः . 89 Eighteen-foldness of Suggestive Poetry ध्वनेरष्टादश भेदा˙ .. 90 Rasa and other forms, etc. counted as one रसादीना एक एव भेद 90 In a Sentence, we have Suggestion due to both Word and Meaning वाक्ये ह्युत्थ. .. . 91 In Words, these and others पदेप्यन्ये . 91 (1) Having the Expressed Meaning transferred to another अर्थान्तरसक्रमितवाच्यध्वनि. 92 (2) Having the Expressed Meaning Entirely Ignored अत्यन्ततिरस्कृतवाच्यध्वनि 92 (3) Having the Suggestion of imperceptible sequence असंलक्ष्य- क्रमव्यङ्ग्यध्वनिः 92 (4) Suggestion of perceptible process by Words संलक्ष्यक्रमव्यङ्ग्य- ध्वनि˙; founded on the power of a Word शब्दशक्तिमूल. : of Figure by Fact वस्तुना अलकारध्वनि . 94 (5) Suggestion of perceptible process : by Words : founded on the power of Word · of Fact by Fact वस्तुना वस्तुध्वनि 94 (6) Suggestion of perceptible sequence : by Word अर्थशक्तिमूल : founded on the power of Sense स्वत सम्भवी:, Self-Existent of Fact by Fact वस्तुना वस्तुध्वनि 95 (7) ‘ ” of Figure by Fact वस्तुना अलकारध्वनि .. 95 (8) ” of Fact by Figure अलकारेण वस्तुध्वनि˙ 96 (9) ” of Figure by Figure अलंकारेण अलकारध्वनि .. 97 (10) Suggestion of perceptible process : by Words : founded on the bold assertion of the Poet : कविप्रौढोक्तिनिष्पन्नः .. ‘ Fact by Fact वस्तुना वस्तुध्वनिः .. 97