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

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-

शिक्ष्याऽभ्यासः is set out in the next verse. Since अभि-
धानं is separately mentioned, शब्दः in the verse means
rules relating to the formation of words i.e., शब्दशास्त्रं
or the science of grammar. छन्दः Metres i.e., छन्दःशास्त्रं
the science of prosody. अभिधानानि Appropriate expres-
sions. अर्थाः Ideas. इतिहासाश्रयाः कथाः Stories from tra-
ditional epics like Rāmāyaṇa and Mahā Bhārata ;
stories with any historical background. लोकः The
ways of the world. युक्तिः Conformity with the rules
of न्याय, मीमांसा and the like ; conformity with Logic
and Exegesis. कलाः Fine arts like music, painting,
sculpture and dance. मन्तव्याः All these are to be cared
for. काव्यगैः By those engaged in poetry. The last
foot of the verse is obscured by a number of differ-
ent readings. In the place of काव्यगैर्ह्यमी the other read-
ings are काव्ययैर्वशी, काव्ययैरमी, काव्ययैर्ह्यमी, काव्यतैर्वेशी and काव्य-
वैखरी. Mr. D. T. Tatacharya gives the last foot as
मन्तव्या काव्यवैखरी. Mr. Naganatha Sastri has suggested
the reading काव्यगैर्ह्यमी, and we have adopted his read-
ing. Uttuṅgodaya while commenting on Lochana
reads मन्तव्याः काव्यहेतवः. While commenting on the
Dhvanyāloka passage—भक्तमाहुस्तमन्ये, Lochana refers
to Udbhaṭa's interpretation of the verse thus:—भाम-
होक्तं 'शब्दश्छन्दोभिधानार्थाः' इत्यभिधानस्य शब्दाद्भेदं व्याख्यातुं भट्टोद्भटो बभाषे
—शब्दानां अभिधानं अभिधाव्यापारो मुख्यो गुणवृत्तिश्च इति । (N. S. P.
edition, page 10). According to Udbhaṭa, अभिधानं
means अभिधाव्यापार The primary and secondary denota-
tions of words.

FIRST PARICCHEDA 9
शब्दाभिधेये विज्ञाय कृत्वा तद्विदुपासनम् ।
विलोक्यान्पानिबन्धांश्च कार्यः काव्यक्रियादरः ॥ १० ॥
10. One should engage in the composition of
poetry after knowing words and their meanings and
after serving under experts and after examining the
works of others.
10. In this verse the Kāvya Prakāś passage
—काव्यज्ञशिक्षयाभ्यासः is amplified. शब्दश्च अभिधेयं च ते शब्दाभि-
धेये विज्ञाय After knowing the correct words and mean-
ings. तद्विदुपासनं कृत्वा After undergoing training under
काव्यज्ञs. अन्यनिबन्धांश्च विलोक्य And after a study of the trea-
tises of other poets. This is for acquiring practice
through comparative study. काव्यक्रियादरः कार्यः One
should engage himself in the composition of
poetry.
सर्वथा पदमप्येकं न निगाद्यमवद्यवत् ।
विलक्ष्मणा हि काव्येन दुःसुतेनेव निन्द्यते ॥ ११ ॥
11. By all means a single faulty word should
be avoided. One is condemned by defective poetry
as by a bad son.
11. Cf. Daṇḍin's Kāvyādarśa—तदल्पमपि नोपेक्ष्यं
काव्ये दुष्टं कथंचन । स्याद्वपुः सुन्दरमपि श्वित्रेणैकेन दुर्भगम् ॥
नाकवित्वमधर्माय व्याधये दण्डनाय वा ।
कुकवित्वं पुनः साक्षान्मृतिमाहुर्मनीषिणः ॥ १२ ॥

10 BHĀMAHĀLAṄKĀRA
12. Not being a poet does not conduce to sin
sickness or punishment. But being a bad poet, wise
men declare, is directly tantamount to death.
12. Not being an author does not entail any
evil. But being a bad author brings infamy. In the
place of नाकवित्वं at the beginning of the verse, Mr.
D. T. Tatacharya reads merely अकवित्वं perhaps
on better manuscript authority. But the inter-
pretation of the reading omitting न involves a good
deal of strain. Mr. Naganatha Sastri reads न at
the beginning. The citation in Kāmadhenu, com-
mentary on Vāmanālaṁkāra (I-iii-22) also reads न
at the beginning.
रूपकादिरलंकारस्तस्यान्यैर्बहुधोदितः ।
न कान्तमपि निर्भूषं विभाति वनितामुखम् ॥ १३ ॥
13. Its adornment like Rūpaka and others is
propounded by others in several ways. Even the
charming face of a damsel does not shine, stripped
of ornament.
13. Having dealt with the purposes & equip-
ment of poetry, the author proceeds to deal with
its adornment. In Verse 15 the author declares that
the classification of literary embellishments into
two classes viz., शब्दालंकार and अर्थालंकार is acceptable to
him. In fact these three Verses 13, 14 & 15 are
bodily quoted by Mammaṭa in his Kāvya Prakāśa,
Ullāsa VI to substantiate the twofold classification of

FIRST PARICCHEDA 11
Alaṃkāras. Alliterations and other charming ar-
rangements of sound come under the head of शब्दालंकार
which is dealt with in the 2nd Paricchheda of this
book. उपमा, रूपक and other figures of speech dealt
with in Paricchhedas 2 & 3 of this book come under
the head of अर्थालंकार as they relate to the sense, not to
the sound. From the 1st half of the verse it is known
that rhetoricians before Bhāmaha had accepted fi-
gures of speech. रूपकं आदि यस्य सः रूपकादिः अलंकारः. रूपकं is
identified with metaphor. Ancients have mention-
ed elaborately about रूपक, उपमा and other अर्थालंकारs.
They are in fact an adornment of poetry. This idea
is substantiated by an analogy set out in the 2nd
half of the verse.
रूपकादिमलंकारं बाह्यमाचक्षते परे ।
सुपां तिङां च व्युत्पत्तिं वाचां वाञ्छन्त्यलंकृतिम् ॥१४॥
14. Others say that Rūpaka and the like em-
bellishments are external. They deem the proper
forms of nouns and verbs as an adornment.
14. A different school of thinkers hold that
figures of speech are बाह्य extraneous i. e., not intrin-
sically connected with poetry. According to them
the grammatical forms of words constitute a good
composition. That is because according to them काव्यं
consists of words that can be read, heard or under-
stood. They perhaps think that sense is beyond the

12 BHĀMAHĀLAṄKĀRA
pale of poetry. This view is entirely wrong. For
words and meanings together really constitute poe-
try. Mammaṭa representing the Siddhānta says—
शब्दार्थौ काव्यं. The view set out in the 1st half of the
verse that figures of speech are not an adornment
of poetry raises the question, ‘Then what else?’ ac-
cording to their school. The answer for the same
is furnished by the 2nd half of the verse. They
think that a proper formation of nouns and verbs
constitutes literary adornment. सुप् means a suffix
added to noun-stems and तिङ् is a suffix added to roots.
सुप् is used here in the sense of सुबन्त or a noun and
तिङ् in the sense of तिङन्त or a predicate. This verse
is cited by Mammaṭa in Kāvya Prakāśa, 6th Ullāsa
and by Premachandra in his commentary on Kāvyā-
darśa I—1.
तदेतदाहुः सौशब्द्यं नार्थव्युत्पत्तिरीदृशी ।
शब्दाभिधेयालंकारभेदादिष्टं द्वयं तु नः ॥ १५ ॥
15. Thus they prefer the proper formation of
words. But the proper presentation of ideas is not
the same as that. We prefer a combination of both
viz., elegant words and elegant ideas.
15. Bhāmaha condemns the school of thinkers
referred to in the previous verse. What they aim
at is no literary excellence but only सौशब्द्यं or gram-
matical correctness of words, but here in poetics we

FIRST PARICCHEDA 13
are concerned with the excellence of ideas. अर्थव्युत्पत्तिः
न ईदृशी An investigation of the sense is no mere gram-
matical correctness. In the 2nd half of the verse
Bhāmaha states that he cares both for the adorn-
ment of words and adornment of meanings. But be
it noted that the adornment of words which has a
bearing on sounds and falls within the purview of
शब्दालंकार is not the same as the grammatical correct-
ness of the discarded school of thinkers. Verse
cited in Kāvya Prakāśa, 6th Ullāsa.
शब्दार्थौ सहितौ काव्यं गद्यं पद्यं च तद्द्विधा।
संस्कृतं प्राकृतं चान्यदपभ्रंश इति त्रिधा ॥ १६ ॥
16. The word and its meaning together con-
stitute a Kāvya. It is of two kinds—Prose and
poetry. There is also a threefold classification
into Sanskrit, Prākrit and the other one—Apa-
bhraṁśa (colloquial language).
16. शब्दश्च अर्थश्च शब्दार्थौ सहितौ काव्यं Words and mean-
ings together constitute a काव्य or literature. This-
is more or less the definition of काव्य. Based on this
is the definition given by Mammaṭa in Kāvya Pra-
kāśa viz., अदोषौ सगुणौ सालंकारौ शब्दार्थौ काव्यं. The defini-
tion given by Sāhityadarpaṇa is वाक्यं रसात्मकं काव्यम् and
the one given by Rasagaṅgādhara is रमणीयार्थप्रतिपादक-
शब्दः काव्यम् or more fully चमत्कारजनकभावनाविषयार्थप्रतिपादक-
शब्दः काव्यम्. After defining काव्य Bhāmaha proceeds to

14 BHĀMAHĀLAṄKĀRA
give several divisions of काव्य. First he gives a
twofold classification, then a threefold, both in
this verse, then a fourfold classification in the next
verse and a fivefold classification in the next after
that. The twofold classification of काव्य is into गद्यं and
पद्यं Prose and poetry to which Daṇḍin adds a third
one—मिश्रं Mixed Prose and poetry under which are to
be included the नाटक literature and the चम्पू literature.
The threefold classification is made from the point
of view of the language into संस्कृत, प्राकृत and अपभ्रंश
to which also Daṇḍin adds a fourth one viz., मिश्रं.
संस्कृतं lit., the perfect, is the language of the gods,
scientifically regulated by great sages like Pāṇini
and Patañjali. प्राकृतं is directly descended of and a
corruption of Sanskrit. अपभ्रंश is the dialect of cow-
herds, shepherds, huntsmen and barbaric tribes, a
still more gross corruption of Sanskrit. मिश्रं men-
tioned by Daṇḍin is a mixture of one or more of the
above languages. For a clearer idea of this clas-
sification note the following extract from Daṇḍin’s
Kāvyādarśa :—
तदेतद्वाङ्मयं भूयः संस्कृतं प्राकृतं तथा ।
अपभ्रंशश्च मिश्रं चेत्याहुरायाश्चतुर्विधम् ॥
संस्कृतं नाम दैवी वागन्वाख्याता महर्षिभिः ।
तद्भवस्तत्समो देशीत्यनेकः प्राकृतक्रमः ॥
महाराष्ट्रियाश्रयां भाषां प्रकृष्टं प्राकृतं विदुः ।
सागरः सूक्तिरत्नानां सेतुबन्धादि यन्मयम् ॥

FIRST PARICCHEDA 15
शौरसेनी च गौडी च लाटी चान्या च तादृशी ।
याति प्राकृतमित्येव व्यवहारेषु संनिधिम् ॥
आभीरादिगिरः काव्येष्वपभ्रंश इति स्मृताः ।
शास्त्रे तु संस्कृतादन्यदपभ्रंशतयोदितम् ॥ I-32 to 36.
वृत्तं देवादिचरितशंसि चोत्पाद्यवस्तु च ।
कलाशास्त्राश्रयं चेति चतुर्धा भिद्यते पुनः ॥ १७ ॥
17. Again there is a fourfold classification
thus--that which relates the past history of the
gods and the like, that whose plot is conceived of
by the poet, that which relates to arts and that
which relates to sciences.
17. The fourfold classification of काव्य proceeds
from the point of view of the topic dealt with. वृत्तं
यत् देवादीनां चरितं तच्छंसि Giving the past history of the
gods and the like ; literature with a historical back-
ground. उत्पाद्यं वस्तु यस्य उत्पाद्यवस्तु Containing a plot
entirely conceived of by the poet ; fiction.
कलाश्रयं Relative of arts. शास्त्राश्रयं Literature based on
sciences.
सर्गबन्धोऽभिनेयार्थं तथैवाख्यायिकाकथे ।
अनिबद्धं च काव्यादि तत्पुनः पञ्चधोच्यते ॥ १८ ॥
18. Again there is a fivefold classification—
that which is constituted of a number of cantos,
that which can be staged, an Ākhyāyikā, a Kathā
and sporadic poetry.

16 BHĀMAHĀLAṄKĀRA
18. सर्गबन्धः Constituted of a number of sargas
or chapters. This is equated with Mahākāvya. अभिने-
यार्थ Whose contents can be staged. The whole Nā-
ṭaka literature comes under this class. आख्यायिका and
कथा are two species of prose works dealt with later
on. अनिबद्ध is sporadic poetry or stray verses not run-
ning into a chapter. In the place of काव्यादि in the
2nd half of the verse Mr. D. T. Tatacharya suggests
a better reading-काव्यज्ञैः. The five classes of काव्य men-
tioned in this verse are explained in order in 12
verses beginning from the next. सर्गबन्ध or Mahā-
kāvya is dealt with in Verses 19 to 23, अभिनेयार्थ in
Verse 24, आख्यायिका in Verses 25 to 27, कथा in Verses
28 & 29 and अनिबद्ध in Verse 30.
सर्गबन्धो महाकाव्यं महतां च महच्च यत् ।
अग्राम्यशब्दमर्थ्यं च सालंकारं सदाश्रयम् ॥ १९ ॥
मन्त्रदूतप्रयाणाजिनायकाभ्युदयैश्च यत् ।
पञ्चभिः सन्धिभिर्युक्तं नातिव्याख्येयमृद्धिमत् ॥ २० ॥
चतुर्वर्गाभिधानेऽपि भूयसाऽर्थोपदेशकृत् ।
युक्तं लोकस्वभावेन रसैश्च सकलैः पृथक् ॥ २१ ॥
19. That which is constituted of a number of
Sargas is called a Mahākāvya. It is big among big
poems, consisting of decent words and decent ideas,
provided with embellishments and relative of a
noble hero.

FIRST PARICCHHEDA 17
20. It deals with deliberations in council, em-
ployment of ambassadors, march or expedition, war
or battle and the hero’s victory or glory. It should
contain five sandhis or stages in the development of
the plot. It should be easy reading, not requiring
much commentary and should abound in happy situ-
ations.
21. Though it deals with all the four ends of
life, it should largely contain instruction in the
field of temporal greatness. It should conform to
the practice in the world, and it should distinctly
embody the several emotions.
19. सर्गबन्धः A poem constituted of a number of
sargas. It is also called महाकाव्यं as distinguished from
खण्डकाव्यं महतां महत् The big of big poems or the poems
of great men like Vālmīki, Kālidāsa etc. ग्राम्य Vul-
gar. अग्राम्यशब्दं Possessed of refined words. अर्थ्यं अर्था-
दनपेतं Possessed of refined ideas. अलंकारैः सह वर्तत इति
सालंकारं Provided with figures of speech. आश्रय means
a नायक or hero. सन् आश्रयः यस्य तत् सदाश्रयं Treating of a
noble hero It will be seen that the definition thus
insists upon शब्द, अर्थ, अलंकार and नायक. The definition
is not yet complete. The rest of it is given in the
next verse.
20. मन्त्रः Diplomacy ; deliberations with minis-
ters. दूतः Embassy ; sending of ambassadors. प्रयाणं
2

18 BHĀMAHĀLAṄKĀRA
March for conquest; expedition. आजि: A battle. नाय-
काभ्युदय: The hero’s success. All these should be em-
bodied in a Kāvya. Further it should possess five
sandhis or stages in the development of the plot.
Five sandhis are enumerated in Daśarūpaka thus—
मुखप्रतिमुखे गर्भः सावमर्शोपसंहृतिः. The five sandhis are मुख,
प्रतिमुख, गर्भ, विमर्श and निर्वहण, the last two being refer-
red to in the above passage of Daśarūpaka as अवमर्श
and उपसंहृति. मुख is sowing the seed of the plot. प्रतिमुख
is the sprouting thereof. गर्भ is its gradual maturing
through steps visible and invisible. विमर्श An investi-
gation into its growth with a view to fruition. निर्वहण
is winding up of all the threads of the plot ending
in fruition or the conclusion. The following are
the descriptions of five sandhis given in Pratāpa-
rudrīya:—
मुखं बीजसमुत्पत्तिर्नानार्थरससंभवा ।
लक्ष्यालक्ष्यस्य बीजस्य व्यक्तिः प्रतिमुखं मतम् ॥
गर्भस्तु दृष्टनष्टस्य बीजस्यान्वेषणं मुहुः ।
गर्भसन्धौ प्रसिद्धस्य बीजार्थस्यावमर्शनम् ।
हेतुना येन केनापि विमर्शः सन्धिरिष्यते ॥
बीजवन्तो मुखाद्यर्था विप्रकीर्णा यथायथम् ।
ऐकार्थ्यमुपनीयन्ते यत्र निर्वहणं हि तत् ॥
नातिव्याख्येयं. A Kāvya should be intelligible with-
out the need of much comment. ऋद्धिमत् It should
abound in happy features.
21. चतुर्वर्ग is the group of four पुरुषार्थs. Amara:—
त्रिवर्गो धर्मकामार्थैश्चतुर्वर्गः समोक्षकैः. Though a Kāvya deals