काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

The provided image is completely blank and contains no visible text, verses, or musical notations to transcribe. Please upload a clear image containing the text you would like transcribed.

Sri Balamanorama Series No. 54
॥ श्रीः ॥
KĀVYĀLAṄKĀRA
OF BHĀMAHA
॥ काव्यालंकारः ॥
श्रीभामहप्रणीतः ।
परिच्छेदाः १-६. Paricchedas 1 to 6.
WITH ENGLISH TRANSLATION AND NOTES
On Paricchedas 1 to 3 By
C. Sankara Rama Sastri, M. A., B. L.,
Author of Annotations on अभिज्ञानशाकुन्तलं, विक्रमोर्वशीयं,
मालविकाग्निमित्रम्, आश्चर्यचूडामणिः, उत्तररामचरितं, वेणीसंहारं,
स्वप्नवासवदत्तं, नागानन्दं, प्रतिमानाटकं,
रत्नावली, मेघसंदेशः etc., etc.
Printed and Published By
THE SRI BALAMANORAMA PRESS,
MYLAPORE, MADRAS.
All Rights Reserved.
Price] 1956

The provided image is completely blank and does not contain any text, verses, or musical notations to transcribe.

Please provide an image containing the text or page you would like transcribed.

PREFACE
पूर्वेभ्यो भामहादिभ्यः सादरं विहिताञ्जलिः ।
वक्ष्ये सम्यगलंकारशास्त्रसर्वस्वसंग्रहम् ॥
In this verse which is the second after the Maṅ-
gala śloka in Pratāparudrīya, the beginner in Sans-
krit Poetics first meets with the name of Bhāmaha.
That Vidyānātha, the author of Pratāparudrīya
and a great Ālaṅkārika belonging to the Vedic
religion, thus pays homage to Bhāmaha next to
Goddess Sarasvatī indicates that the ancient Bhā-
maha belonged to the same religion as Vidyānātha.
The controversy that has raged for a long time
whether Bhāmaha was a Hindu or a Buddhist has
been slightly touched upon in our Notes on the very
first stanza of this work, and in our opinion the
grounds for suggesting that Bhāmaha was a Bud-
dhist are flimsy.
Traditionally Bhāmaha is believed to be a Kash-
miri. He describes himself as the son of Rakrila
Gomin towards the end of this work. Vide सुजनावग-
माय भामहेन ग्रथितं रक्रिलगोमिसूनुनेदम् VI—64. It is suggested
in some quarters that ‘Gomin’ (a contraction of Go-
svāmin ?) resembles a Buddhistic appellation, but
Mr. Trivedi in his Introduction to प्रतापरुद्रयशोभूषण points
out that it is a caste designation added after the

iv BHĀMAHĀLAṄKĀRA
names of the Brāhmaṇas throughout Kashmīr and
parts of northern India.
Bhāmaha was one of the very early writers in
Poetics though he refers to still earlier writers him-
self. For example, he refers twice to Medhāvin
(whose full name according to Mr. P. V. Kane is
Medhāvirudra). Cf.
त एत उपमादोषाः सप्त मेधाविनोदिताः II—40.
संख्यानमिति मेधाविनोत्प्रेक्षाऽभिहिता क्वचित् II—88.
He refers also to Śākhāvardhana's work राजमित्र and
Rāmaśarman's work अच्युतोत्तर. Cf.
समाहितं राजमित्रे यथा क्षत्रिययोषिताम् ।
रामप्रसक्त्यै यान्तीनां पुरोऽदृश्यत नारदः ॥ III—10.
दृष्टं वा सर्वसारूप्यं राजमित्रे यथोदितम् । II—45.
सूर्यांशूसंमीलितलोचनेषु etc.
निष्पेतुरस्यादिव तस्य दीप्ताः etc.
शाखावर्धनस्य II—46 & 47.
नानाधात्वर्थगम्भीरा यमकव्यपदेशिनी ।
प्रहेलिका सा ह्युदिता रामशर्माच्युतोत्तरे ॥ II—19.
स पीतवासाः प्रगृहीतशार्ङ्गो etc. रामशर्मणः । II—58.
He refers also to a poem अश्मकवंश in I—33, रत्नाहरणं in
III—8, but does not give the names of the authors.
Of these Medhāvin is a literary critic, and the

PREFACE v
other names are those of poems or poets. Bhāmaha
himself admits the benefit derived by him from
older writers on poetics, but emphasises that the
judgments are his own. Cf. बहुविधकृतीर्दृष्ट्वाऽन्येषां स्वयं
परितर्क्य च V—69 and अवलोक्य मतानि सत्कवीनामवगम्य स्वधिया च
·काव्यलक्ष्म VI—64.
The Date of Bhāmaha.
Scores of quotations from Bhāmaha drawn by
Abhinavagupta and later rhetoricians need not be
discussed in determining the date of Bhāmaha, for
we have to go to still earlier authors. Bhāmaha
is quoted by Ānandavardhana, author of Dhvanyā-
loka, who flourished in the latter half of the 9th
century. Ānandavardhana refers to a commentary
on Bhāmaha by Udbhaṭa who is known from Kal-
haṇa as the सभापति of जयापीड who reigned in Kashmir
from 779 to 813 A. D. Bhāmaha's views are often
followed by Vāmana, minister of जयापीड. So Bhā-
maha must be older than Udbhaṭa or Vāmana. He
has to be pushed back still further, for 3 ślokas of
his are adopted by Śāntarakshita (705 to 762 A. D.).
That Bhāmaha is prior to Bhaṭṭi can also be seen
from our notes on—
काव्यान्यपि यदीमानि व्याख्यागम्यानि शास्त्रवत् ।
उत्सवः सुधियामेव हन्त दुर्मेधसो हताः ॥ II—20.
Bhaṭṭi, according to Mr. P. V. Kane, is located be-
tween 500 and 650 A. D. Bhāmaha is prior also to

vi BHĀMAHĀLAṄKĀRA
Daṇḍin, the great Ālaṅkārika who very often dis-
sents from the views of Bhāmaha. Vide our notes
on I—22 & 23 which deal with the introduction of
a rival hero at the outset of a poem; I—25 to 29
which deal with आख्यायिका and कथा; II—86 which
deals with हेतु, सूक्ष्म and लेश. In our edition of Kāvyā-
darśa we have pointed out that Daṇḍin belongs to
the latter half of the 7th century. But the most
effective clue to fixing Bhāmaha’s date is furnished
in Dhvanyāloka where Ānandavardhana pointedly
refers to Bāṇa borrowing an idea from Bhāmaha,
which gains in advantage in its new setting. Vide
our notes on—
शेषो हिमगिरिस्त्वं च महान्तो गुरवः स्थिराः ।
यदलङ्घितमर्यादाश्चलन्तीं बिभृथ क्षितिम् ॥ III—28.
Now Bāṇa is a contemporary of King Harsha who
ruled from 606 to 648 A. D. It would take at least
a century for Bhāmaha to get eminence enough for
a great author like Bāṇa to borrow from him. If
we explore the upper limit we find the views of दिङ्नाग
who flourished about 400 A. D. are largely follow-
ed by Bhāmaha, e. g., in the discussion of प्रमाणs in
the 5th chapter. If we place भामह between दिङ्नाग
and बाण, his date may be assigned to the first half
of the 6th century.
As regards the other works of Bhāmaha, we
have a commentary on Vararuchi’s Prākṛta sūtras
or Prākṛtaprakāśa, called प्राकृतमनोरमा ascribed to the

PREFACE VII.
authorship of Bhāmaha. Besides, several long quo-
tations relating to Poetics as drawn form Bhāmaha
are made in Kāmadhenu, commentary on Vāmana's
काव्यालंकारसूत्रवृत्ति, which are not found in this work so
that one can infer that there was a bigger work on
poetics by the same author. Further, Nārāyaṇa Bhaṭ-
ṭa's commentary on वृत्तरत्नाकर quotes several verses
relating to metrics as drawn from Bhāmaha, which
leads us to presume that Bhāmaha has written a
work on Prosody also. But apart from the identity
of name, there is no evidence to prove the identity
of authorship of all these works.
Bhāmahālaṅkāra consists of 6 Paricchhedas.
The 1st deals with poetry, the 2nd and 3rd with
Alaṁkāras, the 4th with Doshas, the 5th with प्रमाणs
and the 6th with the grammatical subject of शब्दशुद्धि.
The contents of the first 3 Paricchhedas fall strictly
within the province of Alaṁkāra and they are set
out in detail in the Table of Contents that follows.
So far as Doshas or literary faults are concerned
they find a place in a preliminary way in the 1st
Paricchheda where from Verse 37 to 46 Bhāmaha
deals with 6 Doshas and from Verse 47 to 53 with
4 more Doshas. But the 4th Paricchheda is the
chapter which exclusively deals with all the re-
maining Dosha. Vide our notes under I—37. The
5th Paricchheda deals with Pramāṇas (instruments
of knowledge) and other topics concerning logic

viii BHĀMAHĀLAṄKĀRA
which do not strictly fall within the purview of
Alaṁkāraśāstra and as such are ignored by later
rhetoricians. In that chapter the author refutes
the Apohavāda of Buddhists by the way. In the 6th
chapter Bhāmaha begins with an eulogy of the Vyā-
karaṇaśāstra—सूत्राम्भसं पदावर्त्त etc. in glowing terms
(VI—1 to 3) and deals with शब्दशुद्धि which is more a
topic of grammar than of poetics and which later
Ālaṁkārikas, perhaps with the exception of Vāmana
and a few others, exclude from their treatment. Bhā-
maha's appreciation of the grammatical science of
Pāṇini runs thus : श्रद्धेयं जगति मतं हि पाणिनीयं (VI—63) and
· शालातुरीयमतमेतदनुक्रमेण (VI—62). Sālātura is believed to
be the birthplace of Pāṇini. Another remarkable
feature discovered by Mr. D. T. Tatacharya in the
sequence adopted by Bhāmaha when dealing with
· शब्दशुद्धि is his adherence to the order given in Pāṇini's
Ashṭādhyāyī. By the way it may be mentioned
that Bhāmaha attacks the Sphoṭavāda of gramma-
rians notwithstanding his great respect for the
·science of grammar.
In the above treatment we have set out only a
·few salient points relating to Bhāmaha, necessary
for an average reader. For an elaborate treatment
of Bhāmaha and his work we would refer the reader
to the learned Introduction to Bhāmahālaṁkāra
·given by Mr. D. T. Tatacharya in his edition.

PREFACE ix
In the preparation of my notes I have derived
assistance from three editions of the work, viz., the
Chowkhamba edition, Mr. Naganatha Sastri's edi-
tion and Mr. D. T. Tatacharya's edition, to all of
which I humbly record my indebtedness. In the
preparation of the list of quotations from Bhāmaha
I have derived help from Mr. Trivedi's edition of
Pratāparudrayaśobhūshaṇa where as an Appendix
Bhāmaha's work first saw the light of print.
Mylapore, Madras. C. SANKARARAMA SASTRI.
12th May, 1956.

TABLE OF CONTENTS
प्रथमः परिच्छेदः ।
(Pages 1 to 50)
श्लोकः
मङ्गलं 1
काव्यफलम् 2
अकविनिन्दा 3-5
सत्कविप्रशंसा 6-8
काव्यसामग्री 9-11
कुकविनिन्दा 12
अलंकारविचारः 13-15
काव्यलक्षण 16
काव्यस्य द्विधा विभागः ,,
,, त्रिधा ,, ,,
,, चतुर्धा ,, 17
,, पञ्चधा ,, 18

1. सर्गबन्धः or महाकाव्यं 19-23
2. अभिनेयार्थ 24
3. आख्यायिका & 25-29
4. कथा
5. अनिबद्धं 30
   वैदर्भगौडीयविचारः 31-36
   षट् काव्यदोषाः 37-46
6. नेयार्थ 38-39
   2 & 3. क्लिष्टं अन्यार्थं च 40
7. अवाचकं 41
8. अयुक्तिमत् श्लो. 42-44
9. गूढशब्दाभिधानं 45-46
   अपरे चत्वारो दोषाः 47-53
10. श्रुतिदुष्टं 48-49
11. अर्थदुष्टं 50-51
12. कल्पनादुष्टं 52
13. श्रुतिकष्टं 53
    दोषापवादः 54-58
    द्वितीयः परिच्छेदः ।
    (Pages 51 to 127)
    माधुर्य-प्रसाद-ओजसां विचारः
    श्लो. 1-3
    भामहेन प्रोक्तानाम् अलंकाराणाम्
    अनुक्रमणी ।
    शब्दालंकारौ
14. अनुप्रासः श्लो. 5-8
    ग्राम्यानुप्रासः 6
    लाटानुप्रासः 8
15. यमकं 9-20
    i. आदियमकं 11
    ii. मध्यान्तयमकं 12
    iii. पादाभ्यासं 13
    iv. आवली 14
    v. समस्तपादयमकं 15

xi
अर्थालंकाराः श्लो. | तृतीयः परिच्छेदः ।

1. रूपकं 21-24 | (Pages 128 to 166) श्लो.
2. दीपकं 25-29 | 13. प्रेयः 5
   आदिदीपकं 27 | 14. रसवत् 6
   मध्यदीपकं 28 | 15. ऊर्जस्वि 7
   अन्तदीपकं 29 | 16. पर्यायोक्तं 8-9
3. उपमा 30-65 | 17. समाहितं 10
   १ प्रतिवस्तूपमा 34 | 18. उदात्तं 11-13
   उपमादोषाः सप्त 39-65 | 19. श्लिष्टं 14-20
   i. हीनता 41-46 | 20. अपह्नुतिः 21-22
   ii. असंभवः 47-51 | 21. विशेषोक्तिः 23-24
   iii. लिङ्गभेदः ⎫ | 22. विरोधः 25-26
   iv. वचनभेदः ⎬ 52-57 | 23. तुल्ययोगिता 27-28
   v. विपर्ययः ⎭ | 24. अप्रस्तुतप्रशंसा 29-30
   vi. उपमानाधिकत्वं 58-62 | 25. व्याजस्तुतिः 31-32
   vii. असदृशता 63-65 | 26. निदर्शना 33-34
   अपरे षडलंकाराः 66-67 | 27. उपमारूपक 35-36
4. आक्षेपः 68-70 | 28. उपमेयोपमा 37-38
5. अर्थान्तरन्यासः 71-74 | 29. सहोक्तिः 39-40
6. व्यतिरेकः 75-76 | 30. परिवृत्तिः 41-42
7. विभावना 77-78 | 31. संसंदेहः 43-44
8. समासोक्तिः 79-80 | 32. अनन्वयः 45-46
9. अतिशयोक्तिः 81-85 | 33. उत्प्रेक्षावयवः 47-48
   हेतुः सूक्ष्मः लेशश्च | 34. संसृष्टिः 49-52
   अनलंकाराः 86-87 | 35. भाविकत्वं 53-54
10. यथासंख्यं 89-90 | 36. आशिष् 55-57
11. उत्प्रेक्षा 91-92 | उपसंहारः 58
12. स्वभावोक्तिः 93-94 |

xii
चतुर्थः परिच्छेदः । | श्लो.
(Pages 167 to 171) श्लो. | प्रत्यक्षं 6-10
दोषोद्देशः 1-2 | अनुमानं 11
अपार्थं 3-8 | प्रतिज्ञा 12
व्यर्थं 9-11 | प्रतिज्ञाहीनं 13-20
एकार्थं 12-16 | हेतुहेत्वाभासौ 21-25
ससंशयं 17-19 | दृष्टान्ततदाभासाः 26-29
अपक्रमं 20-21 | न्यायविरुद्धं 30-34
शब्दहीनं 21-23 | काव्यप्रतिज्ञा 35-39
यतिभ्रष्टं 24-25 | प्रतिज्ञाभासः 40-46
भिन्नवृत्तं 26-27 | हेतुः 47-51
विसन्धि 28 | हेत्वाभासः 52-54
देशविरोधि 29-30 | दृष्टान्तः 55-68
कालविरोधि 31-32 |
कलाविरोधि 33-35 | षष्ठः परिच्छेदः ।
लोकविरोधि 36-38 | (Pages 179-185)
न्यायविरोधि 39-47 |
आगमविरोधि 48-50 | व्याकरणशास्त्रं 1-6
| शब्दविमर्शः 7-13
पञ्चमः परिच्छेदः । | अर्थविमर्शः 14-22
(Pages 172 to 178) | प्रयोज्याप्रयोज्यशब्दविचारः 23-30
| स एव अष्टाध्यायीक्रमेण 31-61
परिच्छेदार्थः 1-4 | पाणिनीयप्रशंसा 62-63
प्रमाणतद्विषयौ 5 | परिच्छेदषट्कार्थप्रदर्शनं 65-66

॥ श्रीः ॥
भामहप्रणीतः
काव्यालंकारः ।
प्रथमः परिच्छेदः ।
प्रणम्य सार्वं सर्वज्ञं मनोवाक्कायकर्मभिः ।
काव्यालंकार इत्येष यथाबुद्धि विधास्यते ॥ १ ॥

1. After saluting the All-Benign and Omni-
   scient in thought, speech and deed, this work known
   as Kāvyālaṁkāra is being composed as conceived
   by me.
2. In accordance with the traditional practice
   Bhāmaha begins his work with a Maṅgala śloka
   which expresses homage to God. प्रणम्य Having salut-
   ed. The object of salutation is furnished by the
   two words सार्वं and सर्वज्ञं which refer to two attributes
   of God. सर्वस्मै हितः सार्वः. This dissolution is referred
   to by Bhāmaha himself in Paricchheda 6, Verse 53
   as follows:—हितप्रकरणे णं च सर्वशब्दात्प्रयुञ्जते । ततश्छमिष्ट्या च यथा
   सार्वः सर्वोय इत्यपि ॥ Vide Pāṇini:—सर्वपुरुषाभ्यां णढञौ. जानातीति
   ज्ञः, सर्वस्य ज्ञः तं सर्वज्ञं The Omniscient. मनश्च वाक्च कायश्च, तेषां

2 BHĀMAHĀLAṄKĀRA
कर्मभिः मनोवाक्कायकर्मभिः By the actions of the mind, the
vocal organ and the body ; in thought, speech and
deed. काव्यालंकारः is the name of this work. यथाबुद्धि As
comprehended by me. विधास्यते Is going to be compos-
ed. The use of the word सर्वज्ञं has given rise to a
controversy whether Bhāmaha is a Budddhist or a
Hindu. In the list of names given to Buddha, Ama-
ra says:—सर्वज्ञः सुगतो बुद्धो धर्मराजस्तथागतः । As against this
can be cited the inclusion of सर्वज्ञ in the list of names
given to Śiva by Amara himself as follows:—कृशानु-
रेताः सर्वज्ञो धूर्जटिर्नीललोहितः. The word सार्व does not give
any clue for its solution. सार्व simply means सर्वस्मै हित
Beneficent to all. Mr. D. T. Tatacharya in his com-
mentary states on the authority of the Upanishad
—यः सर्वज्ञः सर्ववित् that सार्वं सर्वज्ञं refers to परमपुरुष. But he
also notices the reading प्रणम्य शर्वं सर्वज्ञं which dispels
all controversy. The editors of the Chowkhamba
edition of this work state that there is more proba-
bility in Bhāmaha's being considered a Hindu than
a Buddhist. According to them सार्वं सर्वज्ञं refers to
Śiva. Mr. P. V. Kane also refutes the hypothesis
that Bhāmaha was a Buddhist.
धर्मार्थकाममोक्षेषु वैचक्षण्यं कलासु च ।
प्रीतिं करोति कीर्तिं च साधुकाव्यनिबन्धनम् ॥ २ ॥
2. The composition of good poetry confers emi-
nence in virtue, wealth, pleasures and beatitude

FIRST PARICCHHEDA 3
and proficiency in arts and contributes to pleasure
and fame.
2. This verse deals with the benefits accruing
from good poetry. It refers first to the attainment
of the fourfold पुरुषार्थs or ends in life viz., धर्म, अर्थ, काम
and मोक्ष—Virtue, wealth, enjoyments and salvation.
वैचक्षण्यं ‘Proficiency’ is to be taken along with both
the preceding and the succeeding words. कला An
art. Poetry confers proficiency in arts as well.
प्रीति or æsthetic pleasure is the next benefit said to
accrue from poetry. Next कीर्ति or fame is referred
to. Of all these benefits प्रीति or æsthetic pleasure
is the greatest benefit derived according to आलंकारिकs,
some of whom even go the length of saying that it
is the sole purpose of poetry. For आनन्द is the end
and aim of every individual and all other purposes
play only a subordinate part to it. In fact the
author of Daśarūpaka ridicules the idea of describ-
ing the attainment of the fourfold पुरुषार्थs as the pur-
pose of poetry in the following verse.
आनन्दनिष्यन्दिषु रूपकेषु व्युत्पत्तिमात्रं फलमल्पबुद्धिः ।
योऽपीतिहासादिवदाह साधुस्तस्मै नमः स्वादुपराङ्मुखाय ॥
साधुकाव्यनिबन्धनं करोति The composition of good poetry
yields all these results. Sāhityadarpaṇa cites this
verse of Bhāmaha with the modification of साधु-
काव्यनिबन्धनं into साधुकाव्यनिषेवणम्. निषेवणं is a comprehen-
sive word including both composition and study.

4 BHĀMAHĀLAṄKĀRA
Poetry yields results not only to the author but
also to the reader. This verse with the same modi-
fication is cited in Dhvanyāloka Lochana, N. S. P.
Edition, Page 12. Note the adjective साधु to काव्य.
It is only good poetry that will confer the benefits
mentioned. The śāstraic prohibition—काव्यालापांश्च वर्जयेत्
refers to bad poetry. The purposes of poetry have
been enumerated by the author of Kāvya Prakāśa
on much the same lines as follows:—काव्यं यशसेऽर्थकृते
व्यवहारविदे शिवेतरक्षतये। सद्यः परनिर्वृतये कान्तासंमिततयोपदेशयुजे॥
अधनस्येव दातृत्वं क्लीबस्येवास्त्रकौशलम्।
अज्ञस्येव प्रगल्भत्वमकवेः शास्त्रवेदनम् ॥ ३ ॥
3. The knowledge of science to one who is-
not a poet is like the munificence of a penniless
person, the skill of arms to one impotent to handle
them and pomposity of an unlettered person.
3. 'क्लीवः means a eunuch; in the context, one
unable to handle weapons.
विनयेन विना का श्रीः का निशा शशिना विना।
रहिता सत्कवित्वेन कीदृशी वाग्विदग्धता ॥ ४ ॥
4. What is wealth without modesty? What
is night without the Moon? What is proficiency in
speech without good poetry?
4. विनयेन विना का श्रीः. Vide parallel:—विद्या हृद्यापि
सावद्या विना विनयसंपदा. का निशा शशिना विना. Cf. त्रियामा शशिनह्

FIRST PARICCHEDA 5
भाति शशी भाति त्रियामा. वाचि विदग्धता वाग्विद्ग्धता Proficiency
in speech, eloquence.
गुरुपदेशादध्येतुं शास्त्रं जडधियोऽप्यलम् ।
काव्यं तु जायते जातु कस्यचित्प्रतिभावतः ॥ ५ ॥
5. It is easy for dullards too to master the
science by instruction from teachers whereas poetry
dawns rarely and on an only person endowed with
genius.
5. जडा धीः येषां ते जडधियः Persons of dull intellect.
अलं = समर्थाः. A knowledge of sciences can be acquired
by the instruction of teachers whereas कवित्व is a
natural gift. काव्य arises very rarely. जातु At one
time; and that too on one endowed with genius.
प्रतिभा Genius, also called शक्ति. A poetic effusion is
impossible without genius. That the poetry of
great poets reveals a unique genius is brought out
in Dhvanyāloka thus:—
सरस्वती स्वादु तदर्थवस्तु निष्यन्दमाना महतां कवीनाम् ।
अलोकसामान्यमभिव्यनक्ति प्रतिस्फुरन्तं प्रतिभाविशेषम् ॥
The rarity of genius is also set out in Agni
Purāṇa cited in Sāhityadarpaṇa thus:—
नरत्वं दुर्लभं लोके विद्या तत्र सुदुर्लभा ।
कवित्वं दुर्लभं तत्र शक्तिस्तत्र सुदुर्लभा ॥
The scarcity of poets endowed with genius is
set out by Nīlakaṇṭha Dīkṣita in a verse setting

6 BHĀMAHĀLAṄKĀRA
out the contrast between music and poetry thus:—
गायन्ति वीणा अपि वेणवोऽपि गायन्ति बालाः पशवोऽपि चेदम् ।
काव्यानि कर्तुं च परीक्षितुं च द्वित्रा भवेयुर्नतु वा भवेयुः ॥
For a clear idea of प्रतिभा vide the following
extract:—
स्मृतिर्व्यतीतविषया मतिरागामिगोचरा ।
बुद्धिस्तात्कालिकी प्रोक्ता प्रज्ञा त्रैकालिकी मता ।
प्रज्ञां नवनवोन्मेषशालिनीं प्रतिभां विदुः ॥
उपेयुषामपि दिवं सन्निबन्धविधायिनाम् ।
आस्त एव निरातङ्कं कान्तं काव्यमयं वपुः ॥ ६ ॥
6. Though the authors of good literary works
have reached heaven, there stands unimpaired their
charming body in the form of poetry.
6. सन्निबन्धान् विधातुं शीलं येषां तेषां सन्निबन्धविधायिनाम् Of
persons who have composed good literary treatises,
निर्गतं आतङ्कात् निरातङ्कं Though their physical bodies are
no more, their elegant body in the form of poetry
survives. This verse is cited in Lochana N. S. P.
edition, page 12.
रुणद्धि रोदसी चास्य यावत्कीर्तिरनश्वरी ।
तावत्किलायमध्यास्ते सुकृती वैबुधं पदम् ॥ ७ ॥
7. As long as his undying fame envelops the
sky and the earth, till then does the fortunate poet
occupy the abode of the gods,

FIRST PARICCHEDA 7
7. ' रोदसी The heaven and earth. Amara :—द्यावा-
पृथिव्यौ रोदस्यौ द्यावाभूमी च रोदसी. सुकृती Fortunate. For he
enjoys a seat in heaven. विबुधानां इदं वैबुधं पदं The abode
of the gods. किल denotes repute by tradition.
अतोऽभिवाञ्छता कीर्तिं स्थेयसीमाभुवः स्थितेः ।
यत्नो विदितवेद्येन विधेयः काव्यलक्षणः ॥ ८ ॥
8. So one aspiring for a permanent fame last-
ing down to the existence of the Earth, should,
knowing what he ought to do, direct his attempts
towards poetry.
8. स्थेयसी Feminine of स्थेयस् comparative degree
of स्थिर. काव्यं लक्षणं (उद्देश्यं) यस्य सः काव्यलक्षणः In the place of
काव्यलक्षणः there is another reading काव्यलक्ष्मणि.
शब्दश्छन्दोऽभिधानार्था इतिहासाश्रयाः कथाः ।
लोको युक्तिः कलाश्चेति मन्तव्याः काव्यगैर्ह्यमी ॥ ९ ॥
9. Those engaged in poetry should care for
grammar, metres, words and their meanings, sto-
ries drawn from tradition or epics, the practice in
the world, propriety and arts.
9. As to what are the factors that contribute
to good poetry or the equipment of a poet, Mammaṭa
in his Kāvya Prakāśa says शक्तिर्निपुणता लोकशास्त्रकाव्याद्यवेक्ष-
णात् । काव्यज्ञशिक्षयाऽभ्यासः इति हेतुस्तदुद्भवे ॥ Of these शक्ति or
प्रतिभा has been already referred to. लोकशास्त्रकाव्याद्यवेक्षणात्
निपुणता is elaborately given in this verse, and काव्यज्ञ-