काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VIII 303
इत्यादौ वाचकमेव ।
मित्रे क्वापि गते सरोरुहवने बद्धानने ताम्यति
क्रन्दत्सु भ्रमरेषु वीक्ष्य दयितासन्नं पुरः सारसम् ।
चक्राह्वेन वियोगिना बिसलता नास्वादिता नोज्झिता
कण्ठे केवलमर्गलेव निहिता जीवस्य निर्गच्छतः ॥३४४॥
इत्यादौ वाच्यमेव न तु रसम् । अत्र बिसलता न जीवं रोद्धुं
क्षमेति प्रकृताननुगुणोपमा ॥
एष एव च गुणालंकारप्रविभागः । एवं च “समवायवृत्त्या .
शौर्यादयः संयोगवृत्त्या तु हारादय इत्यस्तु गुणालंकाराणां भेदः ।
for long periods of time she does not break off her con-
templation!’
(4) In the following verse, the Figure (Simile) adorns
only the expressed meaning—and not the Passion depicted.
‘When the sun had gone away, the lotus had closed
its mouth in anger, and the bees had begun to cry (in grief),
the forlorn Chakravāka bird, seeing the Crane seated closed
to his beloved, did not either eat or give up the lotus-
fibre; it was only retained in the throat, like a bar, as it
were, to the outgoing life-breath.’
As a matter of fact, under the sorrowful circumstances
depicted, a lotus-fibre cannot serve to keep back the
breath; so that the Simile, as it stands, only mars the effect
of the Passion (Erotic—Privative) depicted (and does not
help it).
Such is the actual difference between ‘Excellence’
and ‘Ornament’. And this puts out of court all such
assertions as the following (in the Bhāmahavṛtti, by Bhaṭṭod-
bhaṭa)—“The difference between such Excellences as
Bravery and the rest, and such Ornaments, as necklace and