काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

468 KĀVYAPRAKĀŚA
उदाहरणम्—
जह गहिरो जह रअणणिब्भरो जह अ णिम्मलच्छाओ ।
तह किं विहिणा एसो सरसवाणीओ जलणिही ण किओ ॥५७३॥
अत्र समुद्रे प्रस्तुते विशेषणसाम्यादप्रस्तुतार्थप्रतीतेः किमसौ
समासोक्तिः किम् अब्धेरप्रस्तुतस्य मुखेन कस्यापि तत्समगुणतया
प्रस्तुतस्य प्रतीतेः इयमप्रस्तुतप्रशंसा इति संदेहः । यथा वा
नयनानन्ददायीन्दोर्बिम्बमेतत्प्रसीदति ।
अधुनापि निरुद्धाशमविशीर्णमिदं तमः ॥५७४॥
अत्र किं कामस्योद्दीपकः कालो वर्तते इति भङ्ग्यन्तरेणा-
भिधानात् पर्यायोक्तम् । उत वदनस्येन्दुबिम्बतया अध्यवसानात्
Uncertainty; and this is to be regarded as the second
variety of Commixture;—this being the implication of the
collective particle ‘cha’ (in the text), which is meant to
connect the ‘commixture’ with the present text.
For example, in the following verse—‘Hot is it that
the ocean was not made sweet-watered, by the Creator,
as it was made deep, rich in gems and bright ?’
Here it is uncertain what figure is meant to be expressed ;
either (a) Modal Metaphor—involving the recognition of
an object not meant to be described (the King), when what
is actually described is the Ocean,—or (b) Indirect Descrip-
tion, involving the recognition of the object to be described
(the King), through the mention of an object not meant
to be described (the Ocean), which the former resembles.
Or, another example (of Uncertainty), in the following
verse.—
‘This disc of the moon, which is a source of joy
to the eye, is shining; and yet even now this darkness,
pervading all quarters, stands unpierced’.