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

THIRD PARICCHEDA 129
1 to 4. In the first four verses of this chapter
the author gives a list of 23 new Alaṁkāras. Of
these four of the Alaṁkāras mentioned in the first
half of Verse 1 deserve special mention as their
treatment here substantially differs from their
treatment in later works of Poetics. According to
our author रसवत् arises where there is a dramatic re-
velation of love or other emotions, प्रेयस् where there
is an exuberance of the display of affection or pleas-
ure, ऊर्जस्विन् where there is a dignified communica-
tion of valour or the like qualities and समाहितं where
providential help is described. As contrasted with
this, note the differences according to later Alaṁ-
kārikas. Where रस is introduced as an auxiliary to
another रस or भाव the figure of speech known as रसवत्
arises. Note the following example where शृङ्गाररस
plays a subordinate part to करुणरस.
अयं स रशनोत्कर्षी पीनस्तनमर्दनः ।
नाभ्यूरुजघनस्पर्शी नीवीविस्रंसनः करः ॥
Where भाव or devotion or a like sentiment plays
an auxiliary to रस the figure of speech is प्रेयस्. Where
रसाभास or भावाभास plays an adjunct to रस it is an in-
stance of ऊर्जस्विन्. Where भावशान्ति or a subsidence of
feeling is set out as subordinate to a Rasa it is an
instance of the figure of speech known as समाहित.
Vide Chandrāloka:—
रसेर्भावतदाभासभावशान्तिनिबन्धनाः ।
रसवत्प्रेयऊर्जस्विसमाहितमयाभिधाः ॥
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