काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

54 KĀVYAPRAKĀŚA
‘सेयं ममाङ्गेषु सुधारसच्छटा सुपूरकर्पूरशलाकिका दृशोः ।
मनोरथश्रीर्मनसः शरीरिणी प्राणेश्वरी लोचनगोचरं गता ॥ २५॥
दैवादहमद्य तया चपलायतनेत्रया वियुक्तश्च ।
अविरलविलोलजलदः कालः समुपागतश्चायम्’ ॥ २६ ॥
इत्यादिकाव्यानुसंधानबलाच्छिक्षाभ्यासनिर्वर्तितस्वकार्य-
प्रकटनेन च नटेनैव प्रकाशितैः कारणकार्यसहकारिभिः
(B) The second interpretation put forward by Śrī
Śaṅkuka is as follows :—When an actor is personating
Rāma, the spectator has with regard to him, the idea that
‘this is Rāma himself’ ; but this idea is of a peculiar kind,
being of the same nature as the idea of ‘horse’ that one
has in regard to the picture of a horse ; it is different from
all the four kinds of ordinary notions : (1) it is not of the
nature of the ordinary right notion that one has in the case
of the real Rāma. ‘Rāma is the person’, which is also
confirmed by the subsequent cognition ‘this is Rāma
himself’ [the cognition in question cannot be of this kind
as Rāma is not present there] ;—(2) it is different also from
the ordinary wrong cognition ‘this is Rāma’, which
appears in regard to one who is not really Rāma, and which
is sublated by the subsequent cognition ‘this is not Rāma’
[the cognition in question cannot be of this nature, as
there is no such sublation in this case] ;—(3) nor is it of
the same nature as the doubtful cognition ‘this may or
may not be Rāma’;—(4) nor lastly is it of the nature of
the cognition of mere similarity, ‘he is like Rāma’ [the
cognition in question cannot be of the nature of these last
two cognitions, as it partakes of the notion of identifica-
tion] ;—and this actor gives expression to the causes,
effects and auxiliaries by the display of his art acquired

CHAPTER IV 55
कृत्रिमैरपि तथानभिमन्यमानैर्विभावादिशब्दव्यपदेश्यैः ‘संयोगात्,
गम्यगमकभावरूपात् अनुमीयमानोपि वस्तुसौन्दर्यबलाद्र-
सनीयत्वेनान्यानुमीयमानविलक्षणः स्थायित्वेन संभाव्यमानो
रत्यादिर्भावस्तत्रासन्नपि सामाजिकानां वासनया चर्व्यमाणो
रस इति श्रीशङ्कुकः ।
through instruction and practice, and pondering over such
poetry as the following—
‘ That lady, the mistress of my life, a splash of nectar
to my body, unguent of camphor to my eyes, the very
embodiment of the glorious longings of my heart, glided
within the range of my vision ’;—
‘ Unfortunately I have to-day been separated from her,
with eyes large and unsteady ; and that season has arrived
wherein clouds are constantly flitting about ’;
Though all these causes, effects and auxiliaries are
only artificially assumed, yet they are not regarded as such,
and hence they are spoken of as ‘ excitants,’ ‘ ensuants ’
and ‘ variants ’;—the ‘ saṁyoga ’, ‘ conjunction ’, of these
three,—i. e., through the relation of ‘ the indicative and
the indicated ’, subsisting between these three and the result-
ant feeling—leads to the inference of the ‘ latent emotion ’,
of Love e. g.;—though thus inferred, the emotion is by reason
of the peculiar charm, different from all other objects
of inference ; and hence it is recognised as something
subsisting latently ; and as, though thus inferred, this
emotion is recognised, through its peculiar charm, as some-
thing relished, and as such different from other ordinary
inferred things ; it is imagined to be subsisting latently in
the actor ; and even though not really present in him, it is
relished by the spectators through their predisposed
tendencies.

56 KĀVYAPRAKĀŚA
न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य-
ज्यते अपि तु काव्ये नाट्ये चाभिधातो द्वितीयेन विभावादि-
साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमानः स्थायी
सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते
इति भट्टनायकः ।
[Under this view, the causes, effects and auxiliaries are the
invariable concomitants of the emotion,—and hence when they are
perceived, in the Actor, they lead to the inference of the emotion;
and the inference of this non-existent emotion is explained as being
due to the predisposition of the audience.]
[The objection against this view is that inference is a purely
intellectual process, and hence cannot account for the highly complex
emotional phenomena involved in Rasa.]
(C) The third interpretation, that of Bhaṭṭa-nāyaka,
is as follows :—‘Passion’ is not cognised (inferred), or
generated, or manifested,—either unconcernedly (as not
concerning the spectator at all, as held by Bhaṭṭa-Lollaṭa),
or as subsisting in the spectator himself (relished by him,
as held by Śrī-Śaṅkuka);—what happens is that in
poetry and drama words are endowed with a peculiar
presentative potency, distinct from direct Denotation
(and indirect Indication)—which tends to generalise the
Excitants, Ensuants and Variants, and thereby presents to
consciousness the ‘latent emotion’, which thereupon
comes to be relished by a process of delectation abounding
in enlightenment and bliss, due to the plenitude of the
quality of Harmony (Sattva).
[According to this view the relishing of Passion is the outcome
of the purely verbal process of ‘generalised presentation’. This
is open to the objection that it makes the unwarrantable assumption
of this last mentioned verbal process.]

CHAPTER IV 57
लोके प्रमदाभिः स्थाय्यनुमानेऽभ्यासपाटवतां काव्ये
नाट्ये च तैरेव कारणत्वादिपरिहारेण विभावनादिव्यापार-
वत्वादलौकिकविभावादिशब्दव्यवहार्यैर्ममैवैते शत्रोरेवैते तटस्थ-
स्यैवैते न ममैवैते न शत्रोरेवैते न तटस्थस्यैवैते इति संबन्ध-
विशेषस्वीकारपरिहारनियमानध्यवसायात् साधारण्येन प्रती-
तैरभिव्यक्तः सामाजिकानां वासनात्मतया स्थितः स्थायी
(D) The fourth explanation, propounded by the
revered Āchārya Abhinavagupta, is as follows :—
In the mind of such spectators as are proficient in the art
of feeling emotion, a particular emotion is already present,
in the form of ‘predisposition’;—lying thus latent, it
becomes patently manifested by such agencies as those
of women and other things, which, in ordinary parlance
are known as ‘causes’, (effects and auxiliaries); but in
poetry and drama, they renounce these names by reason
of their being endowed with the faculty of exciting and
so forth, and, on this account, come to be spoken of by
the extraordinary names of ‘Excitants’, ‘Ensuants’ and
‘Variants’;—these Excitants and the rest being recognised
in their most generalised forms, not partaking of any
restrictions due to either the affirmation or negation of
any of those specific relationships that are involved in
such conceptions as (1) ‘this is mine’ or ‘this is my
enemy’s’, or ‘this belongs to a disinterested person’
(where specific relationship is affirmed) or (2) ‘this is not
mine’, ‘this is not my enemy’s’, ‘this does not belong to
a disinterested person’ (where specific relationship is
denied);—though the said emotion actually subsists in the
particular spectator himself, yet, by reason of the genera-
lised form in which it is presented, the man loses, for the
moment, all sense of his separate personality and has his

58 KĀVYAPRAKĀŚA
रत्यादिको नियतप्रमातृगतत्वेन स्थितोपि साधारणोपायबलात्
तत्कालविगलितपरिमितप्रमातृभाववशोन्मिषितवेद्यान्तरसंपर्क-
शून्यापरिमितभावेन प्रमात्रा सकलसहृदयसंवादभाजा साधा-
रण्येन स्वाकार इवाभिन्नोपि गोचरीकृतश्चर्व्यमाणतैकप्राणो
consciousness merged in the universal ; and this repre-
senting the mental condition of all men of poetic sensibi-
lity, he apprehends the said emotion ; though, having
been manifested in its most generalised form, it has no
existence apart from its own apprehension ; in fact its
sole essence consists in its being relished, and it lasts as
long as the Excitants, Ensuants and Variants continue
to exist ;—it is relished in the same manner as a mixed
beverage ; and when it is relished, it appears as if it were
vibrating before the eyes, entering the inmost recesses
of the heart, inspiriting the entire body, and eclipsing
everything else ; it makes one feel the rapturous bliss
of Brahman ;—the emotion thus manifested becomes the
source of transcendent charm and is spoken of as ‘rasa’,
‘Passion’.—This Passion is not an effect, something pro-
duced (by the excitants and the rest) ; for if it were an
effect, it would continue to exist even after these excitants
and the rest had ceased to exist. [As the jar continues to
exist even after the destruction of the stick and other
causes that had operated in its production. ] Nor is it
something to be made known (by the excitants etc.); as it is
never an accomplished entity (like the jar, and it is only
an accomplished entity that can be made known) ;—in
reality, it is only manifested by the Excitants, Ensuants and
Variants, and is something to be relished.—Against this,
the question may be asked—“ where has anything been
seen to exist apart from what produces and from what makes

CHAPTER IV 59
विभावादिजीवितावधिः पानकरसन्यायेन चर्व्यमाणः पुर इव
परिस्फुरन् हृदयमिव प्रविशन् सर्वाङ्गीणमिवालिङ्गन् अन्यत्
सर्वमिव तिरोदधत् ब्रह्मास्वादमिवानुभावयन् अलौकिक-
चमत्कारकारी शृङ्गारादिको रसः। स च न कार्यः। विभावादि-
विनाशेऽपि तस्य संभवप्रसङ्गात् । नापि ज्ञाप्यः सिद्धस्य तस्या-
संभवात् । अपि तु विभावादिभिर्व्यञ्जितश्चर्वणीयः। कारक-
ज्ञापकाभ्यामन्यत् क्व दृष्टमिति चेत् न क्वचिद्दृष्टमित्यलौकि-
कसिद्धेर्भूषणमेतन्न दूषणम् । चर्वणानिष्पत्त्या तस्य निष्पत्तिरुप-
चरितेति कार्योऽप्युच्यताम् । लौकिकप्रत्यक्षादिप्रमाणताटस्थ्याव-
बोधशालिमितयोगिज्ञानवेद्यान्तरसंस्पर्शरहितस्वात्ममात्रपर्यवसि-
known?”—Our answer to this is that the fact that what
occurs in the case of Passion has not been seen anywhere
else only serves to confirm, not vitiate, the transcendental
nature of Passion. It may however be spoken of as an
‘effect’ by virtue of its being accomplished by the accom-
plishment of its relishing ; and it may also be regarded as
‘to be known’, ‘cognised’, in the sense that it forms the
object of a super-physical consciousness, which differs
(1) from Perception and other ordinary forms of cogni-
tion, (2) from the cognition of the imperfect Yogin,
which is independent of the ordinary means of cognition
and (3) also from the cognition of the perfect Yogin,
which is self-centered and free from all touch of any other
cognisable thing.—Further the cognition that apprehends
it cannot be of the ‘indeterminate’ kind, a due recognition
of the excitants, ensuants and variants forming an impor-
tant element in it ; nor can it be of the ‘determinate’ kind,
because what is merely relished as transcendent bliss de-
pends entirely upon its own realisation (which is not the
case with determinate cognitions).—Here also as before,

60 KĀVYAPRAKĀŚA
तपरिमितेतरयोगिसंवेदनविलक्षणलोकोत्तरस्वसंवेदनगोचर इति
प्रत्येयोऽप्यभिधीयताम् । तद्ग्राहकं च न निर्विकल्पकं
विभावादिपरामर्शप्रधानत्वात् । नापि सविकल्पकं चर्व्यमाणस्या-
लौकिकानन्दमयस्य स्वसंवेदनसिद्धत्वात् । उभयाभावस्वरूपस्य
चोभयात्मकत्वमपि पूर्ववल्लोकोत्तरतामेव गमयति न तु
विरोधमिति श्रीमदाचार्याभिनवगुप्तपादाः ॥
व्याघ्रादयो विभावा भयानकस्येव वीराद्भुतरौद्राणाम्
अश्रुपातादयोनुभावाः शृङ्गारस्येव करुणभयानकयोः चिन्ता-
दयो व्यभिचारिणः शृङ्गारस्येव वीरकरुणभयानकानामिति
पृथगनैकान्तिकत्वात् सूत्रे मिलिता निर्दिष्टाः ।
the fact that it is neither the one nor the other, and yet it
partakes of the nature of both, only confirms its trans-
cendental character, and does not vitiate it.
[The difference between the fourth and the third explanations lies
in the fact that according to the third,there is relishing of the emotion
which is not present in the spectator's mind, while according to the
fourth, it is present in his mind in the form of predisposition. The
propriety of this explanation is further strengthened by the fact that
the spectator whose mind is free from such predisposition does not
feel the passion,]
The ‘ excitants, ensuants and variants ’ have been
spoken of in the Sūtra (of Bharata) in a general way, be-
cause as a rule they are not related specifically to any parti-
cular Passion ; for instance, the Tiger is an excitant of the
‘ Frightful ’, as also of the ‘ Heroic ’, the ‘ Marvellous ’
and the ‘ Furious ’; the shedding of tears is an ensuant
of the ‘ Erotic ’, as also of the ‘ Pathetic ’ and the ‘ Fright-
ful ’; painful reflection is the variant of the ‘ Erotic ’,
as also of the ‘ Heroic ’, the ‘ Pathetic ’ and the ‘ Frightful.’

CHAPTER IV 61
वियदलिमलिनाम्बुगर्भमेघं
मधुकरकोकिलकूजितैर्दिशां श्रीः ।
धरणिरभिनवाङ्कुराङ्कटङ्का
प्रणतिपरे दयिते प्रसीद मुग्धे ॥२७॥
इत्यादौ
परिमृदितमृणालीम्लानमङ्गं प्रवृत्तिः
कथमपि परिवारप्रार्थनाभिः क्रियासु ।
कलयति च हिमांशोर्निष्कलङ्कस्य लक्ष्मी-
मभिनवकरिदन्तच्छेदकान्तः कपोलः ॥२८॥
इत्यादौ
दूरादुत्सुकमागते विवलितं संभाषिणि स्फारितं
संश्लिष्यत्यरुणं गृहीतवसने किञ्चाञ्चितभ्रूलतम् ।
मानिन्याश्चरणानतिव्यतिकरे बाष्पाम्बुपूर्णेक्षणं
चक्षुर्जातमहो प्रपञ्चचतुरं जातागसि प्रेयसि ॥२९॥
In the following verses—
(a) 'The sky is overcast with heavy clouds dark as the
black bee ; the atmosphere has acquired loveliness through
the warbling of the cuckoo and the bee ; the earth bears
on her lap the shoots of tender sprouts ; young woman !
be reconciled to your lover who is so devoted in his
affections !' ;—
(b) ' Her body withered and languid like the squeezed
lotus-stalk, her activity due to the expostulations of her
attendants, her cheek lovely like a piece of fresh ivory,
bears the sheen of the stainless moon ';—
(c) ' Her lover having given cause for offence, the
eyes of the self-respecting woman became skilled in giving
expression to varied emotions—being anxious on seeing

62 KĀVYAPRAKĀŚA
इत्यादौ च
यद्यपि विभावानामनुभावानामौत्सुक्यव्रीडाहर्षकोपासूया-
प्रसादानां च व्यभिचारिणां केवलनामत्र स्थितिः, तथाप्ये-
तेषामसाधारणत्वमित्यन्यतमद्वयाक्षेपकत्वे सति नानैकान्तिक-
त्वमिति ॥ २८ ॥
तद्विशेषानाह--
शृङ्गारहास्यकरुणरौद्रवीरभयानकाः ।
बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाट्ये रसाः स्मृताः ॥ २९ ॥
her lover at a distance, averted on his drawing near her,
beaming on being spoken to, blushing on embrace, curving
the brows on her clothes being touched, filling with tears
on his falling on her feet,'—
We find that the first (a) mentions the excitants only
(in the shape of the woman, the season and so forth; and
makes no mention of any ensuants or variants),—the
second (b) mentions the ensuants alone (in the shape of the
languishing of the body and so forth),—and the third (c)
mentions only the variants, in the shape of Anxiety,
Modesty, Joy, Anger, Aversion and Conciliation; [and
as such it would appear to be not right to say that Passion is
manifested by the excitants, ensuants and variants collec-
tively, as the Sūtra declares].—But what each of the cited
examples directly mentions—are the exceptional elements
of each case, and the other two factors are also indirectly
implied; so that they do not vitiate the truth of the general
proposition (propounded by Bharata). 28.
The Author next mentions the particular kinds of
Passion.—
(1) The Erotic, (2) the Comic, (3) the Pathetic, (4) the
Furious, (5) the Heroic, (6) the Frightful, (7) the Disgustful,

CHAPTER IV 63
तत्र शृङ्गारस्य द्वौ भेदौ। संभोगो विप्रलम्भश्च। तत्राद्यः
परस्परावलोकनालिङ्गनाधरपानपरिचुम्बनाद्यनन्तत्वादपरि-
च्छेद्य एक एव गण्यते। यथा
शून्यं वासगृहं विलोक्य शयनादुत्थाय किंचिच्छनै-
र्निद्राव्याजमुपागतस्य सुचिरं निर्वर्ण्य पत्युर्मुखम् ।
विस्रब्धं परिचुम्ब्य जातपुलकामालोक्य गण्डस्थलीं
लज्जानम्रमुखी प्रियेण हसता बाला चिरं चुम्बिता ॥३०॥
तथा
त्वं मुग्धाक्षि विनैव कञ्चुलिकया धत्से मनोहारिणीं
लक्ष्मीमित्यभिधायिनि प्रियतमे तद्वीटिकासंस्पृशि ।
शय्योपान्तनिविष्टसस्मितसखीनेत्रोत्सवानन्दितो
निर्यातः शनकैरलीकवचनोपन्यासमालीजनः ॥ ३१ ॥
and (8) the Marvellous have been described as the eight Passions
in the Drama.—(29).
Of the Erotic there are two varieties—(1) in union
and (2) in privation ; of these the former is counted
as one only, any classification of it being impossible
by reason of the endless variety of its manifestations, in
the form of mutual glances, kissing, embraces, and so
forth. Examples—
(a) ‘Finding the love-chamber empty, she rose gently
from the couch and having intently gazed at the face of
her husband who was feigning sleep, she kissed him with
confidence ; but noticing a tremor in his cheeks, she
hung her head through shame and was repeatedly kissed
by her smiling lover’. [Here the first overture comes
from the woman].—
(b) “ ‘O thou of lovely eyes, thou appearest heart-
ravishing without the bodice ’—saying this the lover

64 KĀVYAPRAKĀŚA
अपरस्तु--अभिलाषविरहेर्ष्याप्रवासशापहेतुक इति पञ्चविधः ।
क्रमेणोदाहरणम्—
प्रेमार्द्राः प्रणयस्पृशः परिचयादुद्गाढरागोदया-
स्तास्ता मुग्धदृशो निसर्गमधुराश्चेष्टा भवेयुर्मयि ।
यास्वन्तःकरणस्य बाह्यकरणव्यापाररोधी क्षणा-
दाशंसापरिकल्पितास्वपि भवत्यानन्दसान्द्रो लयः ॥ ३२ ॥
अन्यत्र व्रजतीति का खलु कथा नाप्यस्य तादृक् सुहृद्
यो मां नेच्छति नागंतश्च हहहा कोयं विधेः प्रक्रमः ।
इत्यल्पेतरकल्पनाकवलितस्वान्ता निशान्तान्तरे
बाला वृत्तविवर्तनव्यतिकरा नाप्नोति निद्रां निशि ॥ ३३ ॥
touched the knot of the bodice ; whereupon her friends,
delighted at the look of rapture in the eyes of their smiling
companion seated upon the couch, went out on various
pretexts.” [Here the overture comes from the man].
The other kind of the Erotic (that in Privation), is of
five kinds, the feeling being due to (a) longing, (b) separa-
tion, (c) jealousy, (d) residence abroad, and (e) curse.
Examples in order—
(a) ‘May the behaviour of the fair-eyed one towards
me be steeped in affection and full of love and naturally
sweet !, that behaviour in which love has been intensified
by ripening acquaintance, and the mere thought of which
immerses the heart in a flood of joy, suspending the func-
tioning of all external organs.’
(b) ‘Has he gone elsewhere ?—What possibility is
there of that ? He has no such friend as does not want
me. And yet he has not come ! Oh ! What an irony
of fate !—Having her heart devoured by these consider-
able vascillations, the girl rolls about in her bed and does
not obtain sleep.’

CHAPTER IV 65
एषा विरहोत्कण्ठिता ।
सा पत्युः प्रथमापराधसमये सख्योपदेशं विना
नो जानाति सविभ्रमाङ्गवलनावक्रोक्तिसंसूचनम् ।
स्वच्छैरच्छकपोलमूलगलितैः पर्यस्तनेत्रोत्पला
बाला केवलमेव रोदिति लुठल्लोलालकैरश्रुभिः ॥ ३४ ॥
प्रस्थानं वलयैः कृतं प्रियसखैरस्रैरजस्रं गतं
धृत्या न क्षणमासितं व्यवसितं चित्तेन गन्तुं पुरः ।
यातुं निश्चितचेतसि प्रियतमे सर्वे समं प्रस्थिता
गन्तव्ये सति जीवित प्रियसुहृत्सार्थः किमु त्यज्यते ॥ ३५ ॥
त्वामालिख्य प्रणयकुपितां धातुरागैः शिलाया-
मात्मानं ते चरणपतितं यावदिच्छामि कर्तुम् ।
अस्रैस्तावन्मुहुरुपचितैर्दृष्टिरलुप्यते मे
क्रूरस्तस्मिन्नपि न सहते संगमं नौ कृतान्तः ॥ ३६ ॥
The girl depicted here is anxious in separation.
(c) ‘ On the occasion of her husband’s first delin-
quency, not having been instructed by her friend, she
knows not how to make any graceful gestures or poignant
remarks ; all that she does is to turn away her lotus-like
eyes and weep with tears flowing down her cheeks and
rolling over her dishevelled tresses’.
(d) ‘ The Bracelets have gone ; your dear friends the
Tears have freely departed ; Patience stayed not for a
moment ; the Mind determined to go forward ;—on
my beloved having made up his mind to depart, all these
have started together ; O Life ! as you also have to go,
why are you losing the company of your dear friends ?’
(e) ‘ Having painted thee in a mood of loving dis-
pleasure, on a slab of stone with mineral pigments,—as
5

66 KĀVYAPRAKĀŚA
हास्यादीनां क्रमेणोदाहरणम्—
आकुञ्च्य पाणिमशुचिं मम मूर्ध्नि वेश्या
मन्त्राम्भसां प्रतिपदं पृषतैः पवित्रे ।
तारस्वनं प्रथितथूत्कमदात्प्रहारं
हाहा हतोहमिति रोदिति विष्णुशर्मा ॥ ३७ ॥
हा मातस्त्वरितासि कुत्र किमिदं हा देवताः क्वाशिषः
धिक् प्राणान् पतितोशनिर्हुतवहस्तेऽङ्गेषु दग्धे दृशौ ।
इत्थं घर्घरमध्यरुद्धकरुणाः पौराङ्गनानां गिर-
श्चित्रस्थानपि रोदयन्ति शतधा कुर्वन्ति भित्तीरपि ॥३८॥
soon as I think of representing myself as fallen upon thy
feet, my vision becomes blurred by the frequent outburst
of tears ; cruel Fate brooks not our union even in the
picture !’
[This is cited as an instance of ‘ privation due to curse’, as it
describes a lover who was separated from his lady by reason of a curse
of banishment pronounced upon him by his master.]
The following are examples, in due order, of the
Comic and other passions :—
(1) “ Clenching her dirty hands, the harlot struck
with a loud thumping sound upon my head, sanctified
with drops of water consecrated with incantations ;
—Ah ! I am damned !”—so cries Viṣṇu Śarman.”
—(The Comic).
(2) “ O mother, whereto hast thou hastened away ?
What is this ? O Gods, where be the blessings ? Fie
on our lives ! Thunderous fire has fallen on thy limbs !
Eyes scorched !”—These loud and pathetic lamentations
of the female citizens make even statues weep and shatter
even walls into hundreds of pieces’.—(The Pathetic).

CHAPTER IV 67
कृतमनुमतं दृष्टं वा यैरिदं गुरुपातकं
मनुजपशुभिर्निर्मर्यादैर्भवद्भिरुदायुधैः ।
नरकरिपुणा सार्धं तेषां सभीमकिरीटिना-
मयमहसृङ्मेदोमांसैः करोमि दिशां बलिम् ।।३९।।
क्षुद्रा संत्रासमेते विजहत हरयः क्षुण्णशक्रैभकुम्भा
युष्मद्देहेषु लज्जां दधति परममी सायका निष्पतन्तः ।
सौमित्रे तिष्ठ पात्रं त्वमसि न हि रुषां नन्वहं मेघनादः
किंचिद्भ्रूभङ्गलीलानियमितजलधिं राममन्वेषयामि ।।४०।।
ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बद्धदृष्टिः
पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम् ।
दर्भैरर्धावलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवर्त्मा ।
पश्योदग्रप्लुतत्वाद्वियति बहुतरं स्तोकमुर्व्यां प्रयाति ।।४१।।
(3) ‘O you dishonourable beasts of men wielding
weapons, by whom this heinous crime has been committed,
sanctioned or witnessed ! Here I am going to make to
the Quarters an offering of the blood, fat and flesh of all
these along with Bhīma and Arjuna and Kṛṣṇa.’—(The
Furious).
(4) ‘Poor monkeys ! Give up your fears ; these
arrows that have shattered the temple of Indra’s elephant
feel ashamed to fall upon your bodies ;—O son of Sumitrā,
stand where you are ; you are not a fit object of my wrath ;
—I, Meghanāda, am looking for Rāma, who has bound
down the ocean by a mere curving of his eye-brows !’—
(The Heroic).
(5) ‘Behold ! The deer, owing to the great speed
at which it is running, is moving more in the sky than
on the earth ; with a graceful turn of its neck, it is casting
backward glances at the pursuing chariot ; through fear

68 KĀVYAPRAKĀŚA
उत्कृत्योत्कृत्य कृत्तिं प्रथममथ पृथूत्सेधभूयांसि मांसा-
न्यंसस्फिक्पृष्ठपिण्डाद्यवयवसुलभान्यग्रपूतीनि जग्ध्वा ।
आर्तः पर्यस्तनेत्रः प्रकटितदशनः प्रेतरङ्कः करङ्का-
दङ्कस्थादस्थिसंस्थं स्थपुटगतमपि क्रव्यमव्यग्रमत्ति ॥४२॥
चित्रं महानेष बतावतारः क्व कान्तिरेषाभिनवैव भङ्गिः ।
लोकोत्तरं धैर्यमहो प्रभावः काप्याकृतिर्नूतन एष सर्गः ॥४३॥
एषां स्थायिभावानाह—
रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा ।
जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः ॥ ३० ॥
of the falling of the arrow, it has much of its hinder
part contracted within the fore-part ; and it scatters on
the path half-chewed morsels of grass out of its mouth
gaping with fatigue’.—(The Frightful).
(6) ‘Having first torn and stripped off the skin, and
then devoured the swollen and fearfully stinking lumps
of flesh that could be easily got at from such parts of the
body as the shoulder, the back and the buttocks, the
beggarly ghost casts its glances all round, and displaying
its teeth, is leisurely devouring the flesh that remains on
the bones and joints of the skeleton lying on its lap.’—(The
Disgustful).
(7) ‘How wonderful ! A superb incarnation this !
What effulgence ! An unprecedented grace ! Super-
natural equanimity ! Marvellous majesty ! An indes-
cribable figure ! Quite a novel creation !’—(The Mar-
vellous). 29.
The author now mentions the ‘basic feelings’ of the
above-mentioned Passions—
Love, Mirth, Sorrow, Resentment, Heroism, Fear, Loathing
and Wonder have been declared to be the ‘Basic Feelings.’—(30)

CHAPTER VI 69
स्पष्टम् ॥ ३० ॥
व्यभिचारिणो ब्रूते--
निर्वेदग्लानिशङ्काख्यास्तथासूया मदश्रमाः ।
आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिर्धृतिः ॥ ३१ ॥
व्रीडा चपलता हर्ष आवेगो जडता तथा ।
गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च ॥ ३२ ॥
सुप्तं प्रबोधोमर्षश्चाप्यवहित्थमथोग्रता ।
मतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च ॥ ३३ ॥
त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः ।
त्रयस्त्रिंशदमी भावाः समाख्यातास्तु नामतः ॥ ३४ ॥
निर्वेदस्यामङ्गलप्रायस्य प्रथममनुपादेयत्वेप्युपादानं व्यभि-
चारित्वेपि स्थायिताभिधानार्थम् । तेन

He next describes the Variants—
(1) Self-disparagement, (2) Debility, (3) Apprehension,
(4) Hatred, (5) Intoxication, (6) Lassitude, (7) Indolence,
(8) Depression, (9) Painful Reflection, (10) Distraction, (11)
Recollection, (12) Serenity, (13) Shame, (14) Unsteadiness, (15)
Joy, (16) Flurry, (17) Stupefaction, (18) Arrogance, (19)
Despondency, (20) Impatience, (21) Drowsiness, (22)
Dementedness, (23) Dreaming, (24) Awakening, (25) Animosity,
(26) Constraint, (27) Irascibility, (28) Resolve, (29) Sickness,
(30) Mental Derangement, (31) Demise, (32) Alarm and (33)
Trepidation,—these are the thirty-three Variants described by
name.—(31-34).
Though ‘self-disparagement’ is an almost inaus-
picious feeling, and as such should not have been
mentioned first, yet it has been so mentioned with a view
to indicate that though it is a ‘variant’, it serves as a
‘basic emotion’ also; hence it is that—

70 KĀVYAPRAKĀŚA
निर्वेदस्थायिभावोऽस्ति शान्तोऽपि नवमो रसः ।
यथा
अहौ वा हारे वा कुसुमशयने वा दृषदि वा
मणौ वा लोष्टे वा बलवति रिपौ वा सुहृदि वा ।
तृणे वा स्त्रैणे वा मम समदृशो यान्ति दिवसाः
क्वचित्पुण्यारण्ये शिव शिव शिवेति प्रलपतः ॥ ४४ ॥
रतिर्देवादिविषया व्यभिचारी तथाञ्जितः ॥ ३५ ॥
भावः प्रोक्तः
आदिशब्दान्मुनिगुरुनृपपुत्रादिविषया । कान्ताविषया तु
व्यक्ता शृङ्गारः ।
The Quietistic is the ninth Passion, of which Self-disparage-
ment is the basic feeling.
Example.—
‘May my days pass in some sacred forest, while I
am muttering Śiva, Śiva, with an equal eye towards
a snake or a necklace, a flower-bed or a stone-slab, a
jewel or a clod of earth, a powerful enemy or a friend, a
straw or a woman !’
[Having provided a full account of ‘Passion,’ the author proceeds
to define ‘Emotion’ and the other subdivisions of ‘suggestion with
imperceptible sequence,’ mentioned in Text 26.]
‘Love’ (and the other feelings) towards a god or such other
beings, as also a ‘Variant’ when suggested (as a primary
factor), is described as ‘Bhāva’, ‘Emotion’.
[The ‘Basic Feeling,’ when not sufficiently developed into
‘Passion,’—e.g. when the feeling of Love is towards a god or some
such superior being,—it is known simply as ‘Emotion,’ Bhāva,
as distinguished from the ‘Latent Emotion,’ Sthāyī Bhāva.]
‘Such other beings’ refers to sages, preceptors, king,
son and so forth; when Love is manifested towards
a woman, it becomes the ‘Erotic’ passion.

CHAPTER IV 71
उदाहरणम्
कण्ठकोणविनिविष्टमीश ते कालकूटमपि मे महामृतम् ।
अप्युपात्तममृतं भवद्वपुर्भेदवृत्ति यदि मे न रोचते ॥ ४५ ॥
हरत्यघं संप्रति हेतुरेष्यतः शुभस्य पूर्वाचरितैः कृतं शुभैः ।
शरीरभाजां भवदीयदर्शनं व्यनक्ति कालत्रितयेपि योग्यताम् ॥४६॥
एवमन्यदप्युदाहार्यम् ।
अञ्जितव्यभिचारी यथा
जाने कोपपराङ्मुखी प्रियतमा स्वप्नेद्य दृष्टा मया
मा मां संस्पृश पाणिनेति रुदती गन्तुं प्रवृत्ता पुरः ।
नो यावत्परिरभ्य चाटुशतकैराश्वासयामि प्रियां
भ्रातस्तावदहं शठेन विधिना निद्रादरिद्रीकृतः ॥ ४७ ॥
Example (of the said ‘Emotion’)—
(a) ‘O Lord ! Even the deadly poison, though hidden
within Thy throat, is pure nectar to me ; while nectar
itself (in the shape of the moon), even though held high
(on Thy head), pleases me not, as it does not form part of
Thy body’,—(Love towards a God).
(b) ‘It destroys sin at the present time, it is the cause
of forthcoming blessings, and is brought about by (and
indicative of) virtuous acts of the past : thus does your
visit to all corporeal beings bear testimony to their ex-
cellent character at all the three periods of time’.
—(Love towards a sage, Nārada).
Example of the Variant suggested (as the predominant
factor).—
‘ My best loved one was seen by me to-day in a dream,
having her face turned away through anger, weeping and
saying “don’t, don’t touch me with your hand,” and
proceeding to go away ; as soon as I was going to em-

अत्र विधिं प्रत्यसूया ।
तदाभासा अनौचित्यप्रवर्त्तिताः ।
तदाभासा रसाभासा भावाभासाश्च ।
तत्र रसाभासो यथा
स्तुमः कं वामाक्षि क्षणमपि विना यं न रमसे
विलेभे कः प्राणान् रणमखमुखे यं मृगयसे ।
सुलग्ने को जातः शशिमुखि यमालिङ्गसि बलात्
तपःश्रीः कस्यैषा मदननगरि ध्यायसि तु यम् ॥ ४८ ॥
अत्रानेककामुकविषयमभिलाषं तस्याः स्तुम इत्याद्यनुगतं
बहुव्यापारोपादानं व्यनक्ति ।

भावाभासो यथा
राकासुधाकरमुखी तरलायताक्षी
सा स्मेरयौवनतरङ्गितविभ्रमाङ्गी ।
तत् किं करोमि विदधे कथमत्र मैत्रीं
तत्स्वीकृतिव्यतिकरे क इवाभ्युपायः ॥ ४९ ॥
अत्र चिन्ता अनौचित्यप्रवर्तिता । एवमन्येऽप्युदाहार्याः ॥
भावस्य शान्तिरुदयः सन्धिः शबलता तथा ॥ ३६ ॥