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

34 BHĀMAHĀLAṄKĀRA
said on the principle of तुष्यतु दुर्जनः. If you dub it with
the name of Vaidarbha we have no quarrel. Our
only contention is that we cannot recognise a poetry
as is referred to in the next verse and as such insipid.
अपुष्टार्थमवक्रोक्ति प्रसन्नमृजु कोमलम् ।
भिन्नं गेयमिवेदं तु केवलं श्रुतिपेशलम् ॥ ३४ ॥
34. If meagre in meaning and bereft of clever
expressions, though clear, straightforward and soft,
a ,composition is different from poetry, something
like music and merely appeals to the ear.
34. अपुष्टार्थं and अवक्रोक्ति refer to two defective fea-
tures of poetry. प्रसन्नं, ऋजु and कोमलं refer to its good
qualities. If a composition is possessed of these
three good features it will not amount to poetry if
it is tainted with the two defects mentioned first.
भिन्नं It is different from poetry. गेयमिव Simply like
music. केवलं श्रुतिपेशलं Appeals only to the ear. The dif-
ference between music and poetry is thus set out by
Nīlakaṇṭha Dīkshita—कर्णे गतं शुष्यति कर्ण एव संगीतकं सैकत-
वारिरीत्या । आनन्दयत्यन्तरनुप्रविश्य सूक्तिः कवेरेव सुधासगन्धा ॥
अलंकारवदग्राम्यमर्थ्यं न्याय्यमनाकुलम् ।
गौडीयमपि साधीयो वैदर्भमिति नान्यथा ॥ ३५ ॥
35. If endowed with Alaṁkāras, decent, preg-
nant with meaning, cogent and coherent, poetry,