काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

102 KĀVYAPRAKĀŚA
नाश्वसिषि तत्समीहितसिद्धये व्रज अहं ते श्वश्रूनिकटे सर्वं
समर्थयिष्ये इति द्वारस्पर्शनव्याजेनेत्यपहृत्या वस्तु ।
जोण्हाइँ महुरसेण अ विइण्णतारुण्णच्छुअमणा सा ।
वुड्ढावि णवोढव्विअ परवहुआ अहह हरइ तुह हिअअं॥९२॥ (१७)
अत्र काव्यलिङ्गेन वृद्धां परवधूं त्वमस्मानुज्झित्वाभिलषसीति
त्वदीयमाचरितं वक्तुं न शक्यमित्याक्षेपः परवहूपदप्रकाश्यः ।
suggests the following fact—‘you had made an appoint-
ment with your lover that you would meet him in the
bower on the river-bank,—you went there but he was
not there ; so you returned ; but entering the house you
found that he had come to the place after you had left ;—
so in order to be able to return to the river you have in-
tentionally broken the jar under the pretext of striking
against the door ;—all this I have understood ; why then
don't you take heart ? Go and fulfil your desires,
I justify everything to your mother-in-law.’
(17) Suggestion of perceptible process—of figure by figure
based upon the fanciful assertion of an imaginary person.
‘What a pity that your concubine captivates your heart,
like a young girl, even though she is an old hag, to
whose mind youthful sensuality is lent by moonlight and
wine’.
The figure of ‘Poetic Reason’ (involved in the state-
ment that the fact of her being the concubine, and not
your wife, is the reason why she captivates your heart)
suggests the figure of ‘Hint’, on the following implica-
tion—‘you neglect young girls like myself and go after
old women who are the wives of other men,—this conduct
of yours is simply inexplicable’ ; all this being indicated
by the word ‘concubine’.