काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

FIFTH ADHYĀYA 159
l. 11. The verse देवी पुत्रमसूत etc. is quoted by Bhojadeva in
his Sarasvatīkaṇṭhābharaṇa (4–176). This verse is also found in
the Sūktimuktāvalī and is attributed to Trivikramabhaṭṭa. Bhoja
finds in this verse a variety of Parikarālaṅkāra while Rājaśekhara
quotes this verse to illustrate an Arthakavi.
ll. 15–19. In this verse न प्राप्तम् etc. यमकशब्दालङ्कार is illustrated
by repetition of two words विषभरणम् and भागीरथ्याम् in two different
senses. In the verse भ्रान्त etc. रूपकालङ्कार is illustrated.
*[ l. 21. Read as स्तनतटपरिणाहो दोर्लतालेह्यसीमा । प्रतीच्छत्याशोकी also in
सरस्वतीकण्ठाभरण ].
l. 20–25. Here उक्ति indicates a beautiful presentation of
certain ideas. For an attractive presentation, poets must make
use of the quality or गुण known as Samādhi. This is considered by
Daṇḍin as the most important among the Guṇas.
cf. तदेतत्काव्यसर्वस्वं समाधिर्नाम यो गुणः ।
कविसार्थः समग्रोऽपि तमेनमुपजीवति ॥ Kāvyādarśa. 1–100.
The two verses quoted here to illustrate an उक्तिकवि indicate
that समाधि is the chief factor in उक्ति. Samādhi has been defined
by Daṇḍin, Bhoja and others as अन्यधर्मस्यान्यत्रारोपणम् । Bhoja, in the
second verse प्रतीच्छति etc. illustrates Samādhi. In these two verses
such words as लाघ्य, लेह्य, निपेय and प्रतीच्छति, अनुवदति, अवतरति, denote
the quality known as Samādhi.
Page. 19.
*[ ll. 3. 7. मूलं वालक. (विद्धशालभञ्जिका IV. 5.) ]
l. 3. In this verse, the skill of a Rasakavi is illustrated.
Here, a poet describes the beauty of the river Tāmraparṇī and its
water which transforms itself into pearls and adorns the breasts
of beautiful ladies. The poet thereby gives vent to his inner feeling
of S'ṛṅgāra.
l. 7. मार्गकविः । The word ‘Mārga’ denotes here the Rītis
वैदर्भी, गौडी etc. See Daṇḍin 1. 40. This verse represents the
Vaidarbhī style which has been acknowledged by early writers
as the best.
*[ l. 11 आत्माराम। वेणीसंहार. 1–23. ]
l. 22. पौरस्त्यानाम् । The Gauḍas are generally called Paurastyas
and their छाया or style is known as the Gauḍīyā style. Daṇḍin