काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

आदिग्रहणात् एद्दहमेत्तत्थणिआ एद्दहमेत्तेहि अच्छिवत्तेहि । एद्दहमेत्तावस्था एद्दहमेत्तेहिँ दिअएहिँ ॥ ११ ॥ इत्यादावभिनयादयः । इत्थं संयोगादिभिरर्थान्तराभिधायकत्वे निवारितेप्यने- कार्थस्य शब्दस्य यत् क्वचिदर्थान्तरप्रतिपादनं तत्र नाभिधा निय- मनात्तस्याः । न च लक्षणा मुख्यार्थबाधाद्यभावात् । अपि त्वञ्जनं व्यञ्जनमेव व्यापारः । यथा भद्रात्मनो दुरधिरोहतनोर्विशाल वंशोन्नतेःकृतशिलीमुखविग्रहस्य । यस्यानुपप्लुतगतेः परवारणस्य दानाम्बुसेकसुभगः सततं करोभूत् ॥ १२ ॥ १९ ॥

CHAPTER II 39 तद्युक्तो व्यञ्जकः शब्दः तद्युक्तो व्यञ्जनयुक्तः यत्सोऽर्थान्तरयुक् तथा । अर्थोऽपि व्यञ्जकस्तत्र सहकारितया मतः ॥ २० ॥ तथेति व्यञ्जकः ॥ २० ॥ इति काव्यप्रकाशे शब्दार्थस्वरूपनिर्णयो नाम द्वितीय उल्लासः ॥ २ ॥ can be mounted with difficulty), the nobility of whose race is high (who is as tall as a bamboo), who has become an expert in the use of arrows (who has a host of bees hovering round him), whose insight is undimmed (whose gait is steady),—was always beautified by the water poured in the formal making of gifts (by the ichor flowing from his temples)]. [Here we find that the words are so skilfully chosen that they are applicable to the king as also to the elephant; the fact however that it is addressed to the king restricts the meaning of the words to him alone; and yet the idea of the ‘elephant’ also is cognisable throughout; and this idea is the result of Suggestion.] 19. The word endowed with that (i. e. the said function of suggestion) is the ‘suggestive word.’ ‘Endowed with that,’ i. e. endowed with the function of suggestion. Inasmuch as the word is ‘suggestive’ only when it has other meanings, the meaning also is held to be so (i. e. ‘suggestive’ by virtue of its helping the process. (20). ‘So’—i. e. suggestive. 20.

तृतीय उल्लासः अर्थाः प्रोक्ताः पुरा तेषाम् अर्थाः वाच्यलक्ष्यव्यङ्ग्याः । तेषां वाचकलाक्षणिकव्यञ्जकानाम् ॥ अर्थव्यञ्जकतोच्यते । कीदृशीत्याह-- वक्तृबोद्धव्यकाकूनां वाक्यवाच्यान्यसन्निधेः ॥ २१ ॥ प्रस्तावदेशकालादेर्वैशिष्ट्यात् प्रतिभाजुषाम् । योर्थस्यान्यार्थधीहेतुर्व्यापारो व्यक्तिरेव सा ॥ २२ ॥ बोद्धव्यः प्रतिपाद्यः । काकुर्ध्वनेर्विकारः । प्रस्तावः प्रकरणम् । CHAPTER III THE SUGGESTIVENESS OF MEANING The meanings of these have been described before. ‘Meanings’—i. e. the Expressed, the Indicated and the Suggested. ‘Of these’,—i. e. of the Expressive, the Indicative and the Suggestive words.—(Vide Text 6, above). The suggestiveness of Meanings in now described. The author next states the nature of the said sugges- tiveness of words.— ‘Suggestion’ is that function of the meaning which brings about the cognition of another meaning, by persons endowed with imaginative intuition,—through peculiarities of (a) the speaker, (b) the person spoken to, (c) intonation, (d) the sentence, (e) the expressed meaning, (f) the presence of another, (g) context, (h) place, (i) time and so forth.—(21-22). ‘The person spoken to’—i. e. one for whose sake the

CHAPTER III 41 अर्थस्य वाच्यलक्ष्यव्यङ्ग्यात्मनः । क्रमेणोदाहरणानि । अइपिहुलं जलकुंभं घेत्तूण समागदह्मि सहि तुरिअं । समसेअसलिलणीसासणीसहा वीसमामि खणं ॥ १३ ॥ अत्र चौर्यरतगोपनं गम्यते । ओण्णिद्दं दोब्बल्लं चिंता अलसत्तणं सणीससिअं । मह मंदभाइणीए केरं सहि तुह वि अहह परिहवइ ॥ १४॥ words are used ;—‘ Intonation ’—variation of tone;— ‘ context ’—the occasion ;—‘ of the meaning ’—i. e. of the expressed, the indicated or the suggested meaning. Examples are cited in due order—(a) ‘ O Friend ! having taken up a heavy jar of water, I have come walking fast, I feel fatigued and languid through perspiration and breathlessness ; I shall rest awhile.’ Here what is suggested is that the speaker is trying to conceal her stolen amours. [What the woman describes are the physical signs that may be caused either by hard physical work or by amorous flirtations ; but on account of the character of the speaker being known to be that of a woman with loose morals, what is suggested is that the signs described have been due to dalliance, and she is trying to conceal this by attributing them to her having carried a heavy jar of water.] (b) ‘ Oh my friend ! for the sake of wretched me, thou also art suffering from sleeplessness, weakness, anxiety, lassitude and breathlessness !’ Here what is suggested is that the friend, who has been acting as an intermediary between the separated lovers, has herself been enjoying the company of her friend’s lover. [The physical effects described are such as may be caused, either by constant moving about from one party to the other for the purpose

अत्र दूत्यास्तत्कामुकोपभोगो व्यज्यते । तथाभूतां दृष्ट्वा नृपसदसि पाञ्चालतनयां वने व्याधैः सार्धं सुचिरमुषितं वल्कलधरैः । विराटस्यावासे स्थितमनुचितारम्भनिभृतं गुरुः खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥१५॥ अत्र मयि न योग्यः खेदः कुरुषु तु योग्य इति काक्वा प्रका- श्यते । न च वाच्यसिद्ध्यङ्गमत्र काकुरिति गुणीभूतव्यङ्ग्यत्वं शङ्क्यम् । प्रश्नमात्रेणापि काकोर्विश्रान्तेः ।

CHAPTER III 43 तइआ मह गंडत्थलणिमिअं दिट्ठिं ण णेसि अण्णत्तो । एण्हि सच्चेअ अहं ते अ कवाला ण सा दिट्ठी ॥१६॥ अत्र मत्सखीं कपोलप्रतिबिम्बितां पश्यतस्ते दृष्टिरन्यैवाभूत् चलितायां तु तस्यामन्यैव जातेत्यहो प्रच्छन्नकामुकत्वं ते इति व्यज्यते । उद्देशोयं सरसकदलीश्रेणिशोभातिशायी कुञ्जोत्कर्षादङ्कुरितरमणीविभ्रमो नर्मदायाः । किं चैतस्मिन् सुरतसुहृदस्तन्वि ते वान्ति वाता येषामग्रे सरति कलिताकाण्डकोपो मनोभूः ॥१७॥ it does only in so far as it expresses the question (‘ does the king bear anger towards me, and not towards the Kurus ? —and not as it suggests the further meaning of the im- propriety of anger towards the speaker). [Hence in so far as the suggestion by the Intonation is concerned, there is no ‘ subserviency to the expressed meaning ’, specially as the suggestion appears after the expressed meaning has been duly com- prehended.] (d) ‘ At that time you did not turn away your eyes: fixed as they were upon my cheeks ; now however, even though I am the same, and the cheeks are the same, yet that look of yours is no more.’ Here the meaning suggested is—‘ while my friend was sitting by me her face being reflected in my cheek, the way in which you looked towards that reflection was of quite a different character ; when however she has gone away, it has completely changed,—what a stealthy lover you are !’ [The suggestion is due to the fact of the sentences containing the terms ‘ at that time ’ and ‘ now’.] (e) ‘ This spot on the bank of the Narmadā is redolent with the beauty of fresh plantain-groves, and excites

44 KĀVYAPRAKĀŚA अत्र रतार्थं प्रविशेति व्यङ्ग्यम् । णोल्लेइ अणोल्लमणा अत्ता मं घरभरम्मि सअलम्मि । खणमेत्तं जइ संझाइ होइ ण व होइ वीसामो ॥१८॥ अत्र संध्या संकेतकाल इति तटस्थं प्रति कयाचिद्द्योत्यते । सुव्वइ समागमिस्सदि तुब्झ पिओ अज्ज पहरमेत्तेण । एमेअ कित्ति चिट्ठसि ता सहि सञ्जेसु करणिज्जं ॥१९॥ through the loveliness of its bowers, the sportive graces of the lovely woman ! and further, O delicate one ! here are blowing breezes favourable to love-making, led as they are by the God of Love flurried with unaccountable excitement.’ Here the meaning suggested is—‘ let us enter the bower for the purpose of love-making.’ [This suggestion is due to the expressed meaning of the following words---(1) ‘ Tanvī ’, which expresses delicacy brought about by the influence of love,—(2) ‘ Narmadā,’ the literal meaning of which is ‘ that which gives pleasure ’,---3) ‘ uddeśa ’ which means ‘ that which can only be pointed out, and not easily reached, hence free from intru- sion,’—(4) ‘ sarasa ’ denotes freshness of the leaves, hence freedom from all fear of any shuffling sound being made,—(5) ‘ śreṇī ’ denotes thickness of the grove, and hence invisibility from outside.] (f) ‘ My hard-hearted mother-in-law is always urging me to all household work ; it is only in the evening that I get some respite, if any at all ’. Here a woman suggests to the person close by that evening is the only time at which assignation could be made. [The expressed meaning is that the woman has no time except in the evening, and by reason of the proximity of her lover who is waiting for assignation, this simple statement suggests the evening as the time at which she agrees to meet him.] (g) ‘ We hear your husband is coming here in three hours’ time ; why then are you sitting idle ? O, friend, make your preparations ’.

CHAPTER III 45 अत्रोपपतिं प्रत्यभिसर्तुं प्रस्तुता न युक्तमिति कयाचिन्निवार्यते । अन्यत्र यूयं कुसुमावचायं कुरुध्वमत्रास्मि करोमि सख्यः । नाहं हि दूरं भ्रमितुं समर्था प्रसीदतायं रचितोऽञ्जलिर्वः ॥२०॥ अत्र विविक्तोयं देश इति प्रच्छन्नकामुकस्त्वयाभिसार्यता- मिति आश्वस्तां प्रति कयाचिन्निवेद्यते । गुरुअणपरवस पिअ किं भणामि तुइ मंदभाइणी अहअं । अज्ज पवासं वच्चसि वच्च सअं जेव्व सुणसि करणिज्जं ॥२१॥ अत्राद्य मधुसमये यदि व्रजसि तदाहं तावत् न भवामि तव तु न जानामि गतिमिति व्यज्यते । ।। A woman who is on the point of going out to meet her lover, is warned by another woman that it would not be right to do so. [The expressed meaning is that the woman should make prepara- tions for meeting her husband who will soon be arriving ; but this being said on the occasion of the woman going out to meet a lover, suggests the said meaning.] (b) ‘O dear friends, you please do the flower-picking in some other place ; I am doing it here ; I am unable to wander farther off ; do me, therefore, this favour ; here I am beseeching you with joined palms’. What is suggested by the speaker to her confidante is—‘This place being quite solitary, please bring in my lover.’ [The expressed meaning is simply a request to her companions to leave her alone ; the sequestered position of the spot where the speech is made suggests the aforesaid request to the confidante.] (i) ‘O my beloved, you are bound to obey the wishes of your elders ; what shall I say to you, unfortunate as I am ! If you have to go on your journey, you may go ; you will hear what I am going to do.’

46 KĀVYAPRAKĀŚA आदिग्रहणाच्चेष्टादेः । तत्र चेष्टाया यथा— द्वारोपान्तनिरन्तरे मयि तया सौन्दर्यसारश्रिया प्रोल्लास्योरुयुगं परस्परसमासक्तं समासादितम् । आनीतं पुरतः शिरोंशुकमधः क्षिप्ते चले लोचने वाचस्तत्र निवारितं प्रसरणं संकोचिते दोर्लते ॥२२॥ The meaning suggested is—‘The spring-season having arrived (when lovers should be united), if you are going away from home, I shall not be alive any longer and shall, therefore, not know where you may be.’ [This suggestion is due to the fact of the speech being made during spring-time.] (j) The phrase ‘ and so forth ’ (in Text 22) is meant to include gesture and such other details. An example of suggestion by expressed meaning, through the peculia- rity of gesture, we have in the following— ‘ While I was standing close to the door, she, res- plendent with the very essence of beauty, having dilated her thighs, pressed them together ; she brought down the veil over her face, cast unsteady glances, suppressed her speech and drew her arms together.’ Here the various gestures described suggest to the lover the wishes of the speaker. [(1) The movement of the thighs suggests her desire for inverted intercourse, (2) the bringing down of the veil suggests that the lover should come secretly,—(3) the unsteady glances suggest that her passion of love has been aroused,—(4) the suppression of speech suggests that there should be no talk regarding the meeting,—(5) and the bringing together of the arms suggests that when he comes to her he will receive her embraces.] Whenever occasion presents itself, examples are cited again and again for the purpose of explaining the subject

CHAPTER III 47 अत्र चेष्टया प्रच्छन्नकान्तविषय आकूतविशेषो ध्वन्यते । निराकाङ्क्षप्रतिपत्तये प्राप्तावसरतया च पुनः पुनरुदाह्रि- यते । वक्त्रादीनां मिथःसंयोगे द्विकादिभेदेन । अनेन क्रमेण लक्ष्यव्यङ्ग्ययोश्च व्यञ्जकत्वमुदाहार्यम् ॥ २१-२२ ॥ शब्दप्रमाणवेद्योऽर्थो व्यनक्त्यर्थान्तरं यतः । अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता ॥ २३ ॥ शब्देति । नहि प्रमाणान्तरवेद्योऽर्थो व्यञ्जकः ॥ २३ ॥ इति श्रीकाव्यप्रकाशेऽर्थव्यञ्जकतानिर्णयो नाम तृतीय उल्लासः ॥३॥ so fully as to leave nothing to be desired on the part of the enquirer. Sometimes we have suggestion based upon the pecu- liarity of two or more of the conditions of the ‘speaker’ and the rest enumerated here. The suggestiveness of the ‘indicated’ and ‘suggest- ed’ meanings also may be illustrated in the same manner (as that of the ‘expressed’ meaning.) 22. Inasmuch as the meaning that suggests another meaning is itself cognisable by means of the word,—the word also is helpfful in the suggestiveness of the meaning.—(23). ‘By means of the word’,—That is, anything cognised through any other means of knowledge is never suggestive. 23.

चतुर्थ उल्लासः यद्यपि शब्दार्थयोर्निर्णये कृते दोषगुणालंकाराणां स्वरूपम- भिधानीयं तथापि धर्मिणि प्रदर्शिते धर्माणां हेयोपादेयता ज्ञायत इति प्रथमं काव्यभेदान् आह— अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ । अर्थान्तरे सङ्क्रमितमत्यन्तं वा तिरस्कृतम् ॥ २४ ॥ लक्षणामूलगूढव्यङ्ग्यप्राधान्ये सत्येव अविवक्षितं वाच्यं यत्र स ‘ध्वनौ’ इत्यनुवादात् ध्वनिरिति ज्ञेयः । तत्र च वाच्यं क्वचिदनुपयुज्यमानत्वादर्थान्तरे परिणमितम् । यथा CHAPTER IV SUGGESTIVE POETRY. ‘Word’ and ‘meaning’ having been defined, the next subject to be dealt with should be the exact nature of ‘defects,’ ‘excellences’ and ‘figures of speech’ [in view of the form in which the definition of ‘poetry’ has been worded]; but it is only when the object to which the properties belong has been described that it can be ascertained whether certain properties of it are fit to be rejected or admitted ; for this reason the author now proceeds to describe the various kinds of poetry (of which the defects, excellences and figures are properties.) In that ‘suggestive’ poetry where the ‘expressed’ meaning is not meant to be applicable,—the ‘expressed meaning’ is either (a) transformed into another meaning or (b) entirely rejected.—(24).

CHAPTER IV 49 त्वामस्मि वच्मि विदुषां समवायोत्र तिष्ठति । आत्मीयां मतिमास्थाय स्थितिमत्र विधेहि तत् ॥२३॥ अत्र वचनादि उपदेशादिरूपतया परिणमति । क्वचिदनुपपद्यमानतया अत्यन्तं तिरस्कृतम् । यथा-- उपकृतं बहु तत्र किमुच्यते सुजनता प्रथिता भवता परम् । विदधदीदृशमेव सदा सखे सुखितमास्स्व ततः शरदां शतम् ॥२४॥

The ‘expressed meaning’ is ‘not meant to be appli- cable’ only in cases where predominance attaches to that abstruse ‘suggested meaning’ which is based upon Indication ;—and it is such instances that should be under- stood as ‘Dhvani’, ‘suggestive poetry’; since they have been referred to in the text by the expression ‘dhvanau,’ ‘in suggestive poetry’.—(a) In this ‘suggestive poetry,’ the ‘expressed meaning’, being found to have no useful significance, becomes, in some cases, ‘transformed into another meaning’;—e. g. in the following— ‘I tell you here sits an assembly of learned men ; you should, therefore, remain here with your mind fully alert.’ Here, mere telling (having no significance at all) becomes transformed into advising (the suggestion being ‘I advise you that in this assembly of learned men, you should keep your mind alert, or else you will make yourself ridiculous’). (b) While in other cases, the ‘expressed meaning,’ being found to be inapplicable, becomes ‘entirely rejec- ted’;—e. g in the following— ‘Much benefit has been conferred upon me ;—what shall I say ?—Extreme gentlemanliness has been evinced by you ! May you, therefore, O friend, live in happiness for a hundred years, always behaving as you have done !’ 4

50 KĀVYAPRAKĀŚA एतद् अपकारिणं प्रति विपरीतलक्षणया कश्चिद्वक्ति ॥ २४ ॥ विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः । अन्यपरं व्यङ्ग्यनिष्ठम् ॥ एष च कोप्यलक्ष्यक्रमव्यङ्ग्यो लक्ष्यव्यङ्ग्यक्रमः परः ॥ २५ ॥ अलक्ष्येति । न खलु विभावानुभावव्यभिचारिण एव रसः । अपि तु रसस्तैः इत्यस्ति क्रमः । स तु लाघवान्न लक्ष्यते ॥ २५ ॥ अत्र This is addressed to a person who has caused much injury to the speaker, who addresses to him these words in an ironical sense. [The gratitude expressed by the words is altogether inapplicable to one who has done harm; hence it is ‘entirely rejected,’ and its contrary is suggested.] 24. [Suggestive Poetry based upon Indication having been described, the author proceeds to describe that based upon denotation.] That (suggestive poetry), however, where the ‘expressed meaning’ is meant to be applicable, and is yet subservient to another meaning,—is the other kind. ‘Subservient to another’—i. e. implies the ‘suggested meaning’. This ‘other kind’ of suggestive poetry is of two varieties— (a) One in which the order of sequence of the ‘suggested meaning’ is imperceptible. and (b) the other in which the order of sequence of the ‘suggested meaning’ is perceptible. 25. ‘Imperceptible’;—there is this ‘order of sequence’ (in the case of all ‘passionate’ poetry, which is of the ‘suggestive’ kind) that the Excitants, the Ensuants and the Variables (which are ‘expressed’ by the words)

CHAPTER IV रसभावतदाभासभावशान्त्यादिरक्रमः । भिन्नो रसाद्यलङ्कारादलङ्कार्यतया स्थितः ॥ २६ ॥ आदिग्रहणाद् भावोदयभावसंधिभावशबलत्वानि । प्रधानतया यत्र स्थितो रसादिस्तत्रालंकार्यः यथोदाहरिष्यते । अन्यत्र तु प्रधाने वाक्यार्थे यत्राङ्गभूतो रसादिस्तत्र गुणीभूतव्यङ्ग्ये do not themselves constitute the ‘Rasa’ or ‘Passion’ (which is the ‘suggested’ meaning),—but this latter is manifested by them [and thus there is a distinct order of sequence, first the Excitant and the rest, and then the Passion]; but this sequence, being extremely subtle, is not perceptible in the case of the first kind of poetry here described. 25. (a) Passion (b) Emotion (c) Aberrations of these, and the (d) Allayment of Emotion and the rest, constitute that in which the sequence is imperceptible;—and all this, appearing in the form of something to be embellished, is distinct from those embellishments (Figures of Speech), which are known as the ‘Passionate’ (Rasavat) and the like. ‘And the rest’—this is meant to include (a) the mani- festation of emotions, (b) the conjuncture of emotions, and (c) the admixture of emotions. In cases where the Passion and the rest appear as the predominant factor, they are to be embellished; as is going to be illustrated later on. In other cases, where the literal meaning of the sentence forms the predominant factor, and the Passion comes in only as a secondary element, the suggested meaning is subordinated, these same (passion and the rest), become embellishments, known as (a) ‘Rasavat’ (Passionate), [where the Passion forms the subordinate· factor], (b) ‘Preya’ (agreeable) [where emotion forms the

52 KĀVYAPRAKĀŚA रसवत्प्रेयऊर्जस्विसमाहितादयोलंकाराः । ते च गुणीभूतव्यङ्ग्या- भिधाने उदाहरिष्यन्ते ॥ २६ ॥ तत्र रसस्वरूपमाह- कारणान्यथ कार्याणि सहकारीणि यानि च । रत्यादेः स्थायिनो लोके तानि चेन्नाट्यकाव्ययोः ॥ २७ ॥ विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः । व्यक्तः स तैर्विभावाद्यैः स्थायी भावो रसः स्मृतः ॥ २८ ॥ उक्तं हि भरतेन “विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्तिः” इति । एतद्विवृण्वते— “विभावैर्ललनोद्यानादिभिरालम्बनोद्दीपन- कारणैः रत्यादिको भावो जनितः अनुभावैः कटाक्षभुजाक्षेपप्रभृ- तिभिः कार्यैः प्रतितियोग्यः कृतः व्यभिचारिभिर्निर्वेदादिभिः सहकारिभिरुपचितो मुख्यया वृत्त्या रामादावनुकार्ये तद्रूपसंधा- नान्नर्तकेपि प्रतीयमानो रसः” इति भट्टलोल्लटप्रभृतयः । subordinate factor], (c) ‘ūrjasvi’ (Forceful) [where the aberration of Passion forms the subordinate factor], (d) ‘Samāhita’ Quiescent [where the allayment of emotion forms the subordinate factor].—Instances of these are to be cited under the sections dealing with ‘Poetry of Sub- ordinated Suggestion’ (under Chapter V). 26. The author now describes the nature of ‘Passion’— Text—What are known, in ordinary language, as (a) ‘causes’ (b) ‘effects’ and (c) ‘auxiliaries’ of the ‘latent emotion’ of Love and the like,—come to be spoken of as (a) ‘excitants’, (b) ‘ensuants’ and (c) ‘variants’, when found in Drama and Poetry; and when the latent emotion comes to be manifested by these, it is known as ‘Rasa’, ‘Passion’.—(27-28).

CHAPTER IV 53 राम एवायम् अयमेव राम इति ‘न रामोयम्’ इत्यौत्तर- कालिके बाधे रामोयमिति रामः स्याद्वा न वायमिति राम- सदृशोयमिति च सम्यङ्मिथ्यासंशयसादृश्यप्रतीतिभ्यो विलक्षणया चित्रतुरगादिन्यायेन रामोयमिति प्रतिपत्त्या ग्राह्ये नटे This is what has been thus declared by Bharata (in his Nāṭyaśāstra)—“ There is accomplishment of Passion through the conjunction of the excitant, the ensuant and the variant.” [Four different interpretations of this assertion have been propounded, and each of these interpretations forms the basis of a distinct theory regarding the genesis of Rasa]. (A) The first interpretation is that given by Bhaṭṭa- Lollaṭa and his followers ; it is as follows :—The (latent) sentiment of love (and the like) is (a) generated by the excitants—i. e., the basic cause, in the shape of the woman, and the inflaming cause, in the shape of the garden and so forth—(b) rendered cognisable by the ensuants—i. e., effects, in the form of amorous glances, embraces and so forth,—and (c) consummated by the variants—such as self-disparagement and the like ;—this emotion, though primarily and really subsisting in the character personated— e. g. Rāma—comes to be recognised as subsisting in the personating actor by reason of his having assumed that character ; and when thus recognised, it is called ‘ Rasa ’, ‘ passion ’. [This theory is open to the objection that it fails to explain the emotion that arises in the mind of the spectator of the dramatic representation; as according to it, the sentiment is generated in the personated character and secondarily recognised in the personating actor.]

54 KĀVYAPRAKĀŚA ‘सेयं ममाङ्गेषु सुधारसच्छटा सुपूरकर्पूरशलाकिका दृशोः । मनोरथश्रीर्मनसः शरीरिणी प्राणेश्वरी लोचनगोचरं गता ॥ २५॥ दैवादहमद्य तया चपलायतनेत्रया वियुक्तश्च । अविरलविलोलजलदः कालः समुपागतश्चायम्’ ॥ २६ ॥ इत्यादिकाव्यानुसंधानबलाच्छिक्षाभ्यासनिर्वर्तितस्वकार्य- प्रकटनेन च नटेनैव प्रकाशितैः कारणकार्यसहकारिभिः (B) The second interpretation put forward by Śrī Śaṅkuka is as follows :—When an actor is personating Rāma, the spectator has with regard to him, the idea that ‘this is Rāma himself’ ; but this idea is of a peculiar kind, being of the same nature as the idea of ‘horse’ that one has in regard to the picture of a horse ; it is different from all the four kinds of ordinary notions : (1) it is not of the nature of the ordinary right notion that one has in the case of the real Rāma. ‘Rāma is the person’, which is also confirmed by the subsequent cognition ‘this is Rāma himself’ [the cognition in question cannot be of this kind as Rāma is not present there] ;—(2) it is different also from the ordinary wrong cognition ‘this is Rāma’, which appears in regard to one who is not really Rāma, and which is sublated by the subsequent cognition ‘this is not Rāma’ [the cognition in question cannot be of this nature, as there is no such sublation in this case] ;—(3) nor is it of the same nature as the doubtful cognition ‘this may or may not be Rāma’;—(4) nor lastly is it of the nature of the cognition of mere similarity, ‘he is like Rāma’ [the cognition in question cannot be of the nature of these last two cognitions, as it partakes of the notion of identifica- tion] ;—and this actor gives expression to the causes, effects and auxiliaries by the display of his art acquired

CHAPTER IV 55 कृत्रिमैरपि तथानभिमन्यमानैर्विभावादिशब्दव्यपदेश्यैः ‘संयोगात्, गम्यगमकभावरूपात् अनुमीयमानोपि वस्तुसौन्दर्यबलाद्र- सनीयत्वेनान्यानुमीयमानविलक्षणः स्थायित्वेन संभाव्यमानो रत्यादिर्भावस्तत्रासन्नपि सामाजिकानां वासनया चर्व्यमाणो रस इति श्रीशङ्कुकः । through instruction and practice, and pondering over such poetry as the following— ‘ That lady, the mistress of my life, a splash of nectar to my body, unguent of camphor to my eyes, the very embodiment of the glorious longings of my heart, glided within the range of my vision ’;— ‘ Unfortunately I have to-day been separated from her, with eyes large and unsteady ; and that season has arrived wherein clouds are constantly flitting about ’; Though all these causes, effects and auxiliaries are only artificially assumed, yet they are not regarded as such, and hence they are spoken of as ‘ excitants,’ ‘ ensuants ’ and ‘ variants ’;—the ‘ saṁyoga ’, ‘ conjunction ’, of these three,—i. e., through the relation of ‘ the indicative and the indicated ’, subsisting between these three and the result- ant feeling—leads to the inference of the ‘ latent emotion ’, of Love e. g.;—though thus inferred, the emotion is by reason of the peculiar charm, different from all other objects of inference ; and hence it is recognised as something subsisting latently ; and as, though thus inferred, this emotion is recognised, through its peculiar charm, as some- thing relished, and as such different from other ordinary inferred things ; it is imagined to be subsisting latently in the actor ; and even though not really present in him, it is relished by the spectators through their predisposed tendencies.

56 KĀVYAPRAKĀŚA न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य- ज्यते अपि तु काव्ये नाट्ये चाभिधातो द्वितीयेन विभावादि- साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमानः स्थायी सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते इति भट्टनायकः । [Under this view, the causes, effects and auxiliaries are the invariable concomitants of the emotion,—and hence when they are perceived, in the Actor, they lead to the inference of the emotion; and the inference of this non-existent emotion is explained as being due to the predisposition of the audience.] [The objection against this view is that inference is a purely intellectual process, and hence cannot account for the highly complex emotional phenomena involved in Rasa.] (C) The third interpretation, that of Bhaṭṭa-nāyaka, is as follows :—‘Passion’ is not cognised (inferred), or generated, or manifested,—either unconcernedly (as not concerning the spectator at all, as held by Bhaṭṭa-Lollaṭa), or as subsisting in the spectator himself (relished by him, as held by Śrī-Śaṅkuka);—what happens is that in poetry and drama words are endowed with a peculiar presentative potency, distinct from direct Denotation (and indirect Indication)—which tends to generalise the Excitants, Ensuants and Variants, and thereby presents to consciousness the ‘latent emotion’, which thereupon comes to be relished by a process of delectation abounding in enlightenment and bliss, due to the plenitude of the quality of Harmony (Sattva). [According to this view the relishing of Passion is the outcome of the purely verbal process of ‘generalised presentation’. This is open to the objection that it makes the unwarrantable assumption of this last mentioned verbal process.]

CHAPTER IV 57 लोके प्रमदाभिः स्थाय्यनुमानेऽभ्यासपाटवतां काव्ये नाट्ये च तैरेव कारणत्वादिपरिहारेण विभावनादिव्यापार- वत्वादलौकिकविभावादिशब्दव्यवहार्यैर्ममैवैते शत्रोरेवैते तटस्थ- स्यैवैते न ममैवैते न शत्रोरेवैते न तटस्थस्यैवैते इति संबन्ध- विशेषस्वीकारपरिहारनियमानध्यवसायात् साधारण्येन प्रती- तैरभिव्यक्तः सामाजिकानां वासनात्मतया स्थितः स्थायी (D) The fourth explanation, propounded by the revered Āchārya Abhinavagupta, is as follows :— In the mind of such spectators as are proficient in the art of feeling emotion, a particular emotion is already present, in the form of ‘predisposition’;—lying thus latent, it becomes patently manifested by such agencies as those of women and other things, which, in ordinary parlance are known as ‘causes’, (effects and auxiliaries); but in poetry and drama, they renounce these names by reason of their being endowed with the faculty of exciting and so forth, and, on this account, come to be spoken of by the extraordinary names of ‘Excitants’, ‘Ensuants’ and ‘Variants’;—these Excitants and the rest being recognised in their most generalised forms, not partaking of any restrictions due to either the affirmation or negation of any of those specific relationships that are involved in such conceptions as (1) ‘this is mine’ or ‘this is my enemy’s’, or ‘this belongs to a disinterested person’ (where specific relationship is affirmed) or (2) ‘this is not mine’, ‘this is not my enemy’s’, ‘this does not belong to a disinterested person’ (where specific relationship is denied);—though the said emotion actually subsists in the particular spectator himself, yet, by reason of the genera- lised form in which it is presented, the man loses, for the moment, all sense of his separate personality and has his