काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VI 163
अर्थचित्रं यथा
ते दृष्टमात्रपतिता अपि कस्य नात्र
क्षोभाय पक्षमलदृशामलकाः खलाश्च ।
नीचाः सदैव सविलाससमीकलग्ना
ये कालतां कुटिलतामिव न त्यजन्ति ॥१४०॥
यद्यपि सर्वत्र काव्येन्ततः विभावादिरूपतयैव पर्यवसानं
तथापि स्फुटस्य रसस्यानुपलम्भादव्यङ्ग्यमेतत्काव्यद्वयमुक्तम् ।
root of the fresh lotus-stock and is then capable of dis-
persing darkness'.
[Here the charm, lies in alliteration, which is more prominent
and charming than the series of similes involved].
Example of the 'Fanciful Meaning' (Ideal Figure of
Speech)—
'Whom do not (a) the locks of the woman with fair-
lashed eyes—and (b) the wicked people—not perturb,—
when they (a) curl over the eyes [(b) are seen], (a) hanging
low [(b) mean], (a) lying beautifully on the forehead
[(b) delighting in telling lies], and never abandon their
(a) blackness [(b) fraudulence] and (a) curls [(b) crooked-
ness, dishonesty]'.
[Here we have the ideal figure 'Combination' aided
by 'Paronomasia' and 'Simile]'.
Though in reality, in the case of all kinds of Poetry,
everything ultimately turns upon the Excitants, Ensuants
and Variants (and the Passion manifested by these) [and
hence in Fanciful Poetry also there is bound to be some
suggestion of Passion], yet what happens in the two
kinds of Fanciful Poetry just described is that no real
'Passion' is clearly discernible and it is on that ground