काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

126 KĀVYAPRAKĀŚA
अत्र शङ्कासूयाधृतिस्मृतिश्रमदैन्यविबोधौत्सुक्यानां शबलता ।
एते च रसवदाद्यलंकाराः । यद्यपि भावोदयभावसंधिभाव-
शबलत्वानि नालंकारतया उक्तानि तथापि कश्चित् ब्रूयादि-
त्येवमुक्तम् ।
यद्यपि स नास्ति कश्चिद्विषयः यत्र ध्वनिगुणीभूतव्यङ्ग्ययोः
स्वप्रभेदादिभिः सह संकरः संसृष्टिर्वा नास्ति तथापि प्राधान्येन
व्यपदेशा भवन्तीति क्वचित्केनचिद्व्यवहारः ।
guor (‘offer me the support of your arms’), Depression
(‘Ah, ah’), Determination (‘what a perverted order of
things’), and Longing (‘whither are you going?’),—
(which is ‘subordinate’ to the poet’s regard for the king).
These [(1) Passion, (2) Feeling, (3) Aberration of
Passion, (4) Aberration of Feeling, (5) Manifestation of
Feeling, (6) Conjunction of Feeling and (7) Commixture
of Feeling—as ‘subordinate’ to another Passion or Feel-
ing] are what are known as the Figures of Speech [called
(1) the Sentimental, (2) the Agreeable, (3) the Forcible,
(4) the Quiescent, (5) Manifested Feeling, (6) Conjunct
Feeling and (7) Commingled Feeling respectively].
Though as a matter of fact, ‘Manifested Feeling’,
‘Conjunct Feeling’ and ‘Commingled Feeling’ (the last
three of those just mentioned) have nowhere been spoken
of as ‘Figures’, yet, we have made the above assertion
(including these also) in view of the possibility of some
one describing them as such.
Though there is no single case where there is no
commixture of both ‘Suggestive Poetry’ and ‘Poetry
of Subordinate Suggestion’ and their respective varieties—
where one or the other is the more prominent or where
both are of equal importance [and hence no example can