काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER IV 87
अत्र निःश्वासैः प्राप्तैश्वर्या वायवः किं किं न कुर्वन्तीति
वस्तुना वस्तु व्यज्यते ।
सहि विरइऊण माणस्स मज्झ धीरत्तणेण आसासं ।
पिअदंसणविहंखलेलक्खणम्मि सहसत्ति तेण ओसरिअं ॥६९॥
अत्र वस्तुनाकृतेपि प्रार्थने प्रसन्नेति विभावना प्रियदर्शनस्य
सौभाग्यबलं धैर्येण सोढुं न शक्यते इत्युत्प्रेक्षा वा ।
ओल्लोल्लकरअरअरुखएहि तुह लोअणेसु मह दिण्णं ।
रत्तंसुअं पसाओ कोवेण पुणो इमे ण अक्कमिआ ॥ ७० ॥
berance of youth,—even though only new born—by
contact with the sighs of women suffering from the pangs
of separation from their lovers.’—(Fact suggested by Fact,
based upon the bold assertion of an imaginary person).
Here the fact that ‘ the winds strengthened by the
sighs become capable of doing anything ’ is suggested by
the fact (that the ‘ Malaya-winds have become youthful ’,
which is purely imaginary, being set forth by the particular
person, the lady’s friend, portrayed by the poet).
(10) ‘ Self-possession, after having encouraged my
self-respect, suddenly vanished at the exciting moment
of my lover’s visit ’.—(Figure suggested by fact asserted by
an imaginary person).
Here, either (a) the figure of ‘ Peculiar Causation,—in
the implication that ‘ the lady became reconciled to her
lover even before he made his protestations ’.—or (b)
the figure of ‘ Poetic Fancy ’,—in the implication that ‘ self-
possession cannot withstand the force of the charm of the
lover’s visit’,—is suggested by the fact (that the indignant
lady became reconciled) [and this is asserted by the ima-
ginary female character portrayed by the poet]’.
(11) ‘ These eyes of mine are not seized by anger ;
in fact they have received the red clothing as a reward from

88 KĀVYAPRAKĀŚA
अत्र किमिति लोचने कुपिते वहसि इति उत्तरालंकारेण
न केवलमार्द्रनखक्षतानि गोपायसि यावत्तेषामहं प्रसादपात्रं
जातेति वस्तु ।
महिलासहस्सभरिए तुह हिअए सुहअ सा अमाअन्ती ।
अणुदिणमण्णकम्मा अङ्गं तणुअं वि तणुएइ ॥७१॥
अत्र हेत्वलंकारेण तनोस्तनूकरणेपि तव हृदये न वर्तते
इति विशेषोक्तिः । एषु कविनिबद्धवक्तृप्रौढोक्तिमात्रनिष्पन्न-
the fresh marks of nails and teeth on your body'.-(Fact
suggested by figure set forth by an imaginary character).
On the question (being put by the lover)—'why are
your eyes looking angry ?'—the lady makes her answer,
in the above form, which involves the figure of 'Reply';
and this figure suggests the fact that 'the lover is not only
trying to hide the fresh marks, they are also rewarding
the lady (by enabling her to detect the lover's infidelity)'.
[and the said figurative assertion comes from an imaginary
character delineated by the poet].
(12) 'O blessed one ! All the place in your heart
being taken up by thousands of women, she is unable
to find place in it ; hence, giving up all other work, she
is making her already thin body still thinner and thinner
day by day'.-(Figure suggested by Figure in the assertion of
an imaginary character).
Here the figure of 'Poetic Reason' (in the implication
that 'the reason for her getting thinner lies in her attempt
to make herself thin enough to find room in your filled-
up heart') suggests the figure of 'Peculiar Allegation',
' in the implication that 'even though she is making herself
thinner and thinner, she finds no room in your heart'.

CHAPTER IV 89
शरीरो व्यञ्जकः । एवं द्वादश भेदाः ॥
शब्दार्थोभयभूरेकः
अतन्द्रचन्द्राभरणा समुद्दीपितमन्मथा ।
तारकातरला श्यामा सानन्दं न करोति कम् ॥ ७२ ॥
अत्रोपमा व्यङ्ग्या ॥
In these last four examples the suggestive factor is
based upon the assertion of an imaginary character delinea-
ted by the poet.
These are the twelve varieties (of Suggestion Based
upon the Force of Meaning).
That (suggestion) based upon both Word and Meaning is one
only.
For example—
‘ Atandrachandrābharaṇā samuddīpitamanmathā.
Tārakātaralā śyāmā sānandamna karoti kam’.
‘ Whom does the young woman not please—adorned
as she is, with a bright head-jewel, arousing love, and
with unsteady glances—being like the night adorned with
the bright moon, arousing thoughts of love, and glimmering
with stars ?’
Here the figure of ‘ Simile ’ is suggested.
[And all this is ‘suggested by the imaginary fact that the king
caught hold of the locks of one lady and the enemies were embraced
by other ladies.]
[And this suggestion is based upon the power of both word and
meaning ; the former, because the entire similitude rests upon the double
meanings of the words ‘śyāmā,’ ‘chandra’ and ‘tārākā,’ which cannot
be replaced by their synonyms without destroying the said effect ;
and the latter because the other words are such as can be easily replaced
by other synonyms without spoiling the effect.]

90 KĀVYAPRAKĀŚA
भेदा अष्टादशास्य तत् ॥ ४१ ॥
अस्येति ध्वनेः ॥ ४१ ॥
ननु रसादीनां बहुभेदत्वेन कथमष्टादशेत्यत आह ।
रसादीनामनन्तत्वाद्भेद एको हि गण्यते ।
अनन्तत्वादिति । तथाहि—नव रसाः । तत्र शृङ्गारस्य द्वौ
भेदौ । संभोगो विप्रलम्भश्च । संभोगस्यापि परस्परावलोकना-
लिङ्गनपरिचुम्बनादिकुसुमोच्चयजलकेलिसूर्यास्तमयचन्द्रोदयषड्-
Thus there are eighteen varieties of it.
‘of it’—i. e. of Suggestion. 41.
Objection :—“There being many varieties of Passion
(Emotion and so forth),—why are the varieties of sugges-
tion said to be eighteen only ?”
The answer to this is as follows :—
The varieties of ‘Passion’ and other forms being endless,
these (Passion, Emotion, etc.) are counted as a single variety.
‘Endless’.—For instance, there are nine Passions ;—
of the Erotic Passion there are two varieties —that in
union and that in privation ;—the former has several
varieties, in the form of ‘mutual glances’, ‘em-
brace’, ‘kissing’, ‘flower-picking,’ ‘amorous water-
sports’, descriptions of sunset, rise of the moon, the six
seasons and so forth ;—the Erotic in privation again has
been already described as being of several kinds, such as
longing and so forth ;—then again, these two kinds of the
Erotic vary with the variations in the particular Excitants,
Ensuants and Variants ;—the hero again is of three kinds,
noble, ignoble and middling ;—these vary with the pecu-
liarities of time, place and other circumstances ;—so that
of the single Passion of the Erotic there are ‘endless’
varieties ;—not to speak of others ?

CHAPTER IV 91
ऋतुवर्णनादयो बहवो भेदाः । विप्रलम्भस्याभिलाषादय
उक्ताः । तयोरपि विभावानुभावव्यभिचारिवैचित्र्यम् । तत्रापि
नायकयोरुत्तममध्यमाधमप्रकृतित्वम् । तत्रापि देशकालावस्थादि-
भेदा इत्येकस्यैव रसस्यानन्त्यम् । का गणना त्वन्येषाम् । असंलक्ष्य-
क्रमत्वं तु सामान्यमाश्रित्य रसादिध्वनिभेद एक एव गण्यते ॥
वाक्ये द्व्युत्थः
द्व्युत्थ इति शब्दार्थोभयशक्तिमूलः ॥
पदेऽप्यन्ये
अपिशब्दाद्वाक्येपि । एकावयवस्थितेन भूषणेन कामिनीव
पदद्योत्येन व्यङ्ग्येन वाक्यव्यङ्ग्यापि भारती भासते । तत्र
पदप्रकाश्यत्वे क्रमेणोदाहरणानि–
The suggestion, however, of all these, Passion and the
rest, is counted as one 'kind' only, on the basis of the com-
mon characteristic of having the 'sequence imperceptible'.
[Having described the eighteen varieties of suggestion, the
author proceeds to differentiate among them by pointing out that
while the one variety—that based upon the force of both word and
meaning—is found in sentences, only the other seventeen are found
in sentences as well as in single words.]
That arising from both is present in the sentence only.
'Arising from both'—i. e. suggestion based upon
the force of both word and meaning.
[Example cited above—‘Atandrachandrābharaṇā’ etc.]
The others in the word also.
The term 'also' indicates that they are also found
in the sentence. Even though a certain statement
is such as is suggested by the sentence, yet it acquires
additional charm through what is suggested by a word
occurring in that sentence, just as a lovely woman does
by an ornament worn on one part of her body.

92 KĀVYAPRAKĀŚA
यस्य मित्राणि मित्राणि शत्रवः शत्रवस्तथा ।
अनुकम्प्योनुकम्प्यश्च स जातः स च जीवति ॥७३॥ (१)
अत्र द्वितीयमित्रादिशब्दा आश्वस्तत्वनियन्त्रणीयत्वस्नेहपात्र-
त्वादिसंक्रमितवाच्याः ।
खलववहारा दीसन्ति दारुणा जहवि तहवि धीराणं ।
हिअअवस्सवहुमआ ण हु ववसाआ विमुज्झन्ति ॥७४॥(२)
अत्र विमुह्यन्तीति ।
लावण्यं तदसौ कान्तिस्तद्रूपं स वचःक्रमः ।
तदा सुधास्पदमभूदधुना तु ज्वरो महान् ॥ ७५ ॥
The following are the examples in order of the se-
venteen kinds of suggestion as based upon the word :—
(1) [Transference of the expressed meaning to another
by a word]—‘ He alone is really born and lives whose
friends are friends, foes, foes and the affable, affable’.
Here the expressed meaning of the second term—
‘friends’—is altered into (stands for) reliability, that of the
second ‘enemies’ into reprehensibility, and that of the
second ‘affable’ into lovability.
(2) [The expressed meaning entirely ignored, in a
word]—
‘Even though the behaviour of the wicked is always
found to be terrible, the efforts of the wise are never
stupefied, being always approved by their heart, as if by
a friend’.
Here the suggestion lies in the single word ‘stupefied’.
[Stupefaction, which is impossible for the inanimate ‘efforts,’ stands
for being impeded.]
(3) [The ‘suggestion’ of imperceptible sequence’,
in a single word].

CHAPTER IV 93
अत्र तदादिपदैरनुभवैकगोचरा अर्थाः प्रकाश्यन्ते । यथा वा
मुग्धे मुग्धतयैव नेतुमखिलः कालः किमारभ्यते
मानं धत्स्व धृतिं बधान ऋजुतां दूरे कुरु प्रेयसि ।
सख्यैवं प्रतिबोधिता प्रतिवचस्तामाह भीतानना
नीचैः शंस हृदि स्थितो हि ननु मे प्राणेश्वरः श्रोष्यति॥७६॥ (३)
अत्र भीताननेति । एतेन हि नीचैःशंसनविधानस्य युक्तता गम्यते ।
भावादीनां पदप्रकाश्यत्वेधिकं न वैचित्र्यमिति न तदुदाह्रियते ।
'That loveliness, that brilliancy, that beauty, and that
sweetness of speech,—were all like nectar at that time ;
but now it is all a terrible fever'.
Here the term, 'that' used several times, suggests
that the things spoken of are such as can be only seen (and
cannot be described).
Another example of the same—
"O beautiful one, why do you proceed to pass the
whole time in mere simplicity? Have self-respect ;
hold out with patience ; set aside your artless behaviour
towards your lover" ;—on being thus exhorted by her
friend, the girl, replied with fear-stricken face—"Talk
low, lest the Lord of my life residing in my heart should
overhear what your are saying".
Here the epithet 'with fear-stricken face' suggests
the propriety of 'talking low'.
Emotion [and Aberration of Passion, Aberration
of Emotion, Allayment of Emotion, Conjuncture of
Emotions and Admixture of Emotions] do not acquire
any additional charm, when suggested by a single word
[to the same extent as that of 'Passion' does]; hence
examples of these have not been cited.

94 KĀVYAPRAKĀŚA
रुधिरविसरप्रसाधितकरवालकरालरुचिरभुजपरिघः ।
झटिति भ्रुकुटिविटङ्कितललाटपट्टो विभासि नृप भीम ॥७७॥ (४)
अत्र भीषणीयस्य भीमसेन उपमानम् ।
भुक्तिमुक्तिकृदेकान्तसमादेशनतत्परः ।
कस्य नानन्दनिष्यन्दं विदधाति सदागमः ॥७८॥ (५)
काचित् संकेतदायिनमेवं मुख्यया वृत्त्या शंसति ।
(4) [Suggestion of perceptible process by a word—founded
on the power of words—of figure by fact]—
‘O King, thou awe-inspiring one (Bhīma) ! Thou
art resplendent, with thy bolt-like arm pleasing and terrible
through the sword reddened with the flow of blood, and
with thy broad forehead marked with creases caused by
the sudden curvature of the eye-brows.’
The similitude (Simile) of the awe-inspiring King
to Bhīmasena is suggested (by the fact of the King’s sword
being reddened with blood and so forth, and this is done
through the force of the single word ‘bhīma,’ the replacing
of which by its synonym would spoil the whole effect).
(5) [Suggestion of perceptible process—founded on the power
of a word—of fact by fact.]
‘To whom does Sadāgama, (a) true scripture, [(b) lover’s
visit] not bring continued bliss,—(a) always offering
salutary advice and leading to heavenly pleasure and beati-
tude [(b) always bent upon indicating secluded rendezvous,
and bringing about enjoyment and deliverance from the
pangs of separation] ?’”
The woman is conveying (her acquiescence) to the
lover suggesting a meeting-place, by means of suggestion.
[And this is done through the double meanings of the words
chosen; it is the suggestion of the fact of her acceptance by the fact
described.]

CHAPTER IV 95
सायं स्नानमुपासितं मलयजेनाङ्गं समालेपितं
यातोस्ताचलमौलिमम्बरमणिर्विस्रब्धमत्रागतिः ।
आश्चर्यं तव सौकुमार्यमभितः क्लान्तासि येनाधुना
नेत्रद्वन्द्वममीलनव्यतिकरं शक्नोति तेनासितुम् ॥७९॥(६)
अत्र वस्तुना कृतपुरुषपरिचया क्लान्तासीति वस्तु अधुनापद-
द्योत्यं व्यज्यते ।
तदप्राप्तिमहादुःखविलीनाशेषपातका ।
तच्चिन्ताविपुलाह्लादक्षीणपुण्यचया तथा ॥ ८० ॥
चिन्तयन्ती जगत्सूतिं परब्रह्मस्वरूपिणम् ।
निरुच्छ्वासतया मुक्तिं गतान्या गोपकन्यका ॥८१। (७)
(6) [Suggestion of perceptible process—by word—founded
on the force of meaning—of fact by self-existent fact]—
‘In the evening thou hadst recourse to bath and anoin-
ted thy body with sandal-paste ; the ethereal gem has
passed the crest of the setting mount ; and thy coming
here has been unflurried ; [thus there being no external
cause for fatigue], astonishing then is thy tenderness by
virtue of which thou art at this time so completely ex-
hausted that thy eyes cannot help being closed frequently.’
Here the fact that ‘thou art exhausted by reason of
having met a paramour’ is suggested, through the impli-
cation of the term ‘at this time’, ‘adhunā’.
(7) [Suggestion of perceptible process—by word—founded
on the force of meaning—of figure by a self-existent fact]—
‘Meditating upon the Origin of the World, the in-
carnation of supreme Brahma (i. e. ‘Kṛṣṇa), another milk-
maid had her breath suspended and obtained beatitude ;
all her sins being dissolved by the great suffering caused

96 KĀVYAPRAKĀŚA
अत्र जन्मसहस्रैरुपभोक्तव्यानि दुष्कृतसुकृतफलानि वियोग-
दुःखचिन्तनाह्लादाभ्यामनुभूतानीत्युक्तम् । एवं चाशेषचय-
पदद्योत्ये अतिशयोक्ती ।
क्षणदासावक्षणदा वनमवनं व्यसनमव्यसनम् ।
बत वीर तव द्विषतां पराङ्मुखे त्वयि पराङ्मुखं सर्वम् ॥८२॥ (८)
अत्र शब्दशक्तिमूलविरोधाङ्गेनाथान्तरन्यासेन 'विधिरपि
त्वामनुवर्तते' इति सर्वपदद्योत्यं वस्तु ।
by her not meeting him, and the store of her spiritual
merit exhausted in the deep joy of contemplating upon
Him.'
What is meant here is that the sins and spiritual merit,
the fruition of which would ordinarily extend over thou-
sands of lives, were passed through merely by the pangs
of separation and the joy of contemplation ; and thus the
figure of Hyperbole is suggested by the two terms 'all'
and 'store' (by the fact of the girl having attained beati-
tude).
(8) [Suggestion of perceptible process—by word—based on
force of meaning of fact by self-existent figure]—
‘O heroic king! When you become contrary to your ene-
mies, every thing of theirs becomes contradictory—Kṣaṇadā
[(a) night] becomes akṣaṇadā [(a) non-night, (b) uneasy],
vana (forest) becomes a-vana [(a) non-vana, (b) shelter],
and vyasana (occupation) becomes a-vyasana [(a) non-vyasana,
(b) sheep-tending]. [i.e. They pass uncomfortable nights,
fly to the forest and take to the tending of sheep].’
Through the implication of the term ‘everything’ the
fact that ‘even Fate follows your lead’ is suggested
by the Figure of ‘Transition’, which subserves the figure

.. CHAPTER IV 97
तुह वल्लहस्स गोसम्मि आसि अहरो मिलाणकमलदलो ।
इअ णववहुआ सोऊण कुणइ वअणं महिसँमुहं ॥८३॥ (९)
अत्र रूपकेण त्वयास्य मुहुर्मुहुः परिचुम्बनं तथा कृतं येन
म्लानत्वमिति मिलाणादिपदद्योत्यं काव्यलिङ्गम् । एषु स्वतः-
संभवी व्यञ्जकः ।
राईसु चंदधवलासु ललिअमप्फालिऊण जो चावं ।
एकच्छत्तं विअ कुणइ भुअणरज्जं विजंभंतो ॥८४॥ (१०)
अत्र वस्तुना येषां कामिनामसौ राजा स्मरस्तेभ्यो न कश्चि-
दपि तदादेशपराङ्मुख इति जाग्रद्भीरुपभोगपरैरेव तैर्निशाति-
of ‘Contradiction’, which is based on the force of the words
with double meanings, which cannot be replaced by others.
(9) Suggestion of perceptible process,—based on the force
of meaning—of Figure by self-existent Figure.]—
“In the morning your lover’s lips were withered
lotus-leaves,”—on hearing this, the young bride cast her
face towards the ground.”
The Figure of ‘Metaphor’ involved in the term
‘withered lotus-leaves’ suggests the ‘Poetic Reason’,
in the implication that ‘your lover’s lips looked faded
on account of your having continued to kiss him fre-
quently (till the very morning).’
In these examples the suggestive factor is self-existent.
(10) [Suggestion of perceptible process—based on the force
of meaning—of fact by imaginary fact.]—
‘He who, brandishing his beautiful bow, during
moon-lit nights, brings the three worlds under his own
undisputed sway.’
The (imaginary) fact (of Cupid’s undisputed sway over
the world), expressed by the term ‘sway over the three
worlds’, suggests the fact that ‘not a single one of those
7

98 KĀVYAPRAKĀŚA
वाह्यते इति भुअणरज्जपदद्योत्यं वस्तु प्रकाश्यते ।
निशितशरधियार्पयत्यनङ्गो
दृशि सुदृशः स्वबलं वयस्यराले ।
दिशि निपतति यत्र सा च तत्र
व्यतिकरमेत्य समुन्मिषन्त्यवस्थाः ॥ ॥८५॥ (११)
अत्र वस्तुना युगपदवस्थाः परस्परविरुद्धा अपि प्रभवन्तीति
व्यतिकरपदद्योत्यो विरोधः ।
वारिज्जंतो वि पुणो संदावकदत्थिएण हिअएण ।
थणहरवअस्सएण विसुद्धजाई ण चलइ से हारो ॥८६॥ (१२)
अत्र विशुद्धजातित्वलक्षणहेत्वलंकारेण हारोनवरतं कम्पमान
persons over whom Cupid has his sway ever goes against
his orders, hence they spend the nights in wakeful dalliance.’
(11) Suggestion of perceptible process—of Figure by an
imaginary Fact.]—
‘Regarding it as his sharp arrow, the Bodiless God
(Cupid) lends all his force to the glance of the beautiful-
eyed woman at her saucy age ; whenever on whatever
side it falls, it produces quite an admixture of conditions.’
The Figure of ‘Contradiction’,—in the implication
that ‘even mutually incompatible conditions appear
simultaneously’—involved in the term ‘admixture’, is
suggested by the (imaginary) fact (of Cupid lending his
forces to the arrow and bringing about mixed conditions).
(12) [Suggestion of perceptible process—of a fact by an
imaginary Figure.]—
‘Even though forbidden by the heart suffering from
pain (due to the impediment to embrace caused by the
presence of the ornament), the necklace, being of pure
breed, does not abandon its friends, the breasts.’
The (imaginary) Figure of ‘Poetic Reason’ involved

CHAPTER IV 99
एवास्ते इति ण चलइ-पदद्योत्यं वस्तु ।
सो मुद्धसामलंगो धम्मिल्लो कलिअललिअणिअदेहो ।
तीए खंधाहि बलं गहिअ सरो सुरअसंगरे जअइ ।।८७।। (१३)
अत्र रूपकेण मुहुर्मुहुराकर्षणेन तथा केशपाशः स्कन्धयोः
प्राप्तो यथा रतिविरतावप्यनिवृत्ताभिलाषः कामुकोभूदिति
खंध-पदद्योत्या विभावना ।।
एषु कविप्रौढोक्तिमात्रनिष्पन्नशरीरः ।।
णवपुण्णिमामिअंकस्स सुहअ को तं सि भणसु मह सच्चं ।
का सोहग्गसमग्गा पओसरअणिव्व तुह अज्ज ।।८८।। (१४)
in the epithet ‘being of pure breed’ (which accounts
for the constancy of the heart) suggests the Fact that
‘the necklace remained constantly scintillating’, which is
expressed by the phrase ‘abandons not.’
(13) [Suggestion of perceptible process—of a Figure by
an imaginary Figure]—
‘Cupid has, as it were, regained his beautiful body
in the shape of the black and lovely tresses of the girl,
and having borrowed strength from here shoulder, trium-
phs in the battle of dalliance.’
The Figure of ‘Peculiar Causation’, involved in the
word ‘shoulder’, and implying that ‘when the lover
pulled the locks frequently they fell upon her shoulder
in such a ravishing way that, even at the close of the
intercourse, the man’s passion did not cease’,—is sugges-
ted by the Metaphor (involved in the comparing of ‘dalli-
ance’ to ‘battle’ and of ‘Cupid’ to the ‘tresses’).
In the last four examples the suggestion is reared en-
tirely by the imaginary assertion of the poet.
(14) [Suggestion of fact by fact, founded upon the assertion
of an imaginary person.]—

100 KĀVYAPRAKĀŚA
अत्र वस्तुना मयीवान्यस्यामपि प्रथममनुरक्तस्त्वं न तत इति
णवेत्यादि-पओसेत्यादिपदद्योत्यं वस्तु व्यज्यते ॥
सहि णवणिहुवणसमरम्मि अंकवालीसहीए णिबिडाए ।
हारो णिवारिओ विअ उच्छेरन्तो तदो कहं रमिअं ॥८९॥ (१५)
अत्र वस्तुना हारच्छेदानन्तरमन्यदेव रतमवश्यमभूत्
तत्कथय कीदृगिति व्यतिरेकः कहंपदगम्यः ॥
‘O beautiful one, tell me truly how you are related
to the moon newly risen on the fullmoon night, and who
is the lady that enjoys your love as the early evening does
that of the moon.’
[During the early part of the evening the full moon appears
‘red’; this redness, is regarded figuratively, as representing the moon’s
love towards the evening; it is fleeting, disappearing with the advent
of night ; and the indignant wife insinuates that her husband’s love
for his new found lady will be as fleeting.]
The fact (described in the verse) suggests the fact
that ‘you are attached to this other lady only now in the
beginning, and you will not remain so much longer, just
as it was in my case,’—this suggestion being based upon
the terms ‘newly risen’, ‘early evening.’
(15) [Suggestion of perceptible process—of Figure by
fact asserted by the fanciful assertion of an imaginary person.]—
‘O friend’! When in the battle of dalliance, your
necklace snapped, on being restrained (from intruding)
by your fast friend in the shape of the lover’s embrace,—
in what manner did your enjoyment proceed?’
The figure of ‘Dissimilitude’, indicated by the term
‘in what manner’, and implying that ‘after the snapping
of the necklace, the form of the enjoyment must have
been peculiarly sweet’,—is suggested by the fact (des-
cribed in the verse).

CHAPTER IV 101
पविसंती घरवारं विवलिअवअणा विलोइऊण पहं ।
खंधे घेत्तूण घडं हा हा णट्ठोत्ति रुअसि सहि किंति ॥९०॥
अत्र हेत्वलंकारेण संकेतनिकेतनं गच्छन्तं दृष्ट्वा यदि तत्र
गन्तुमिच्छसि तदा अपरं घटं गृहीत्वा गच्छेति वस्तु किंति-पद-
द्योत्यम् । यथा वा
विहलंखलं तुमं सहि दट्ठूण कुडेण तरलतरदिट्ठिं ।
वारप्फंसमिसेण अ अप्पा गुरुओत्ति पाडिअ विहिण्णो॥९१॥(१६)
अत्र नदीकूले लतागहने कृतसंकेतमप्राप्तं गृहप्रवेशावसरे
पश्चादागतं दृष्ट्वा पुनर्नदीगमनाय द्वारोपघातव्याजेन बुद्धिपूर्वं
व्याकुलतया त्वया घटः स्फोटित इति मया चिन्तितं तत्किमिति
(16) [Suggestion of perceptible process—of a fact by a figure
resting upon the fanciful assertion of an imaginary person.]—
‘O friend ! You were entering your house-door,
with the jar on your shoulders, and turning your face
and looking towards the road, you say “ the jar is broken ”
and are weeping :—why is this ?’
The Figure of ‘ Poetic Reason ’ (implying ‘ you are
weeping because the jar is broken’), suggests the follow-
ing fact—‘ on seeing your lover going to the place of
appointment, if you wish to go there, then you take up
another jar and go there ’, which is implied by the ex-
pression ‘ why is this ’.
Another example of the same—
‘ The jar, seeing that you were exhausted and your
eyes were unsteady, thought itself too heavy for you,
and therefore, it has broken itself under the pretext of
having struck against the door.’
The Figure of ‘concealment ’, involved in the expre-
ssion ‘ under the pretext of having struck against the door ’,

102 KĀVYAPRAKĀŚA
नाश्वसिषि तत्समीहितसिद्धये व्रज अहं ते श्वश्रूनिकटे सर्वं
समर्थयिष्ये इति द्वारस्पर्शनव्याजेनेत्यपहृत्या वस्तु ।
जोण्हाइँ महुरसेण अ विइण्णतारुण्णच्छुअमणा सा ।
वुड्ढावि णवोढव्विअ परवहुआ अहह हरइ तुह हिअअं॥९२॥ (१७)
अत्र काव्यलिङ्गेन वृद्धां परवधूं त्वमस्मानुज्झित्वाभिलषसीति
त्वदीयमाचरितं वक्तुं न शक्यमित्याक्षेपः परवहूपदप्रकाश्यः ।
suggests the following fact—‘you had made an appoint-
ment with your lover that you would meet him in the
bower on the river-bank,—you went there but he was
not there ; so you returned ; but entering the house you
found that he had come to the place after you had left ;—
so in order to be able to return to the river you have in-
tentionally broken the jar under the pretext of striking
against the door ;—all this I have understood ; why then
don't you take heart ? Go and fulfil your desires,
I justify everything to your mother-in-law.’
(17) Suggestion of perceptible process—of figure by figure
based upon the fanciful assertion of an imaginary person.
‘What a pity that your concubine captivates your heart,
like a young girl, even though she is an old hag, to
whose mind youthful sensuality is lent by moonlight and
wine’.
The figure of ‘Poetic Reason’ (involved in the state-
ment that the fact of her being the concubine, and not
your wife, is the reason why she captivates your heart)
suggests the figure of ‘Hint’, on the following implica-
tion—‘you neglect young girls like myself and go after
old women who are the wives of other men,—this conduct
of yours is simply inexplicable’ ; all this being indicated
by the word ‘concubine’.

CHAPTER IV 103
एषु कविनिबद्धवक्तृप्रौढोक्तिमात्रनिष्पन्नशरीरः ॥
वाक्यप्रकाशे तु पूर्वमुदाहृतम् ॥
शब्दार्थोभयशक्त्युद्भवस्तु पदप्रकाश्यो न भवतीति
पञ्चत्रिंशद्भेदाः ॥
प्रबन्धेऽप्यर्थशक्तिभूः ॥ ४२ ॥
यथा गृध्रगोमायुसंवादादौ ।
अलं स्थित्वा श्मशानेस्मिन् गृध्रगोमायुसंकुले ।
कङ्कालबहले घोरे सर्वप्राणिभयंकरे ॥ ९३ ॥
In these last examples the suggestion is based entirely
upon the fanciful assertion of a person portrayed by the
poet.
Suggestion manifested by a sentence has already been
exemplified before (in the commentary on Text 24)—
‘Tvāmasmi vachmi etc.’
That arising from both word and meaning is never
manifested by a word ; hence there are thirty-five varieties
of Suggestion.
[Eighteen manifested by sentence and seventeen manifested by
word.]
That (suggestion) which is based upon the force of meaning
occurs in Context also.—(42).
As is found in the following dialogue of the Vulture
and the Jackal.—
Says the vulture to the men (who have brought the
dead body of a boy to the cremation ground and are
mourning over it) whom it is anxious to send away, while
it is yet day, in order to enable it to feed upon the body
which it could do during the day only—
‘There is no necessity for staying in this horrible
crematorium crowded with vultures and jackals, abound-
ing in skeletons, frightful and full of terror to all living

104 KĀVYAPRAKĀŚA
न चेह जीवितः कश्चित् कालधर्ममुपागतः ।
प्रियो वा यदि वा द्वेष्यः प्राणिनां गतिरीदृशी ॥ ९४ ॥
इति दिवा प्रभवतो गृध्रस्य पुरुषविसर्जनपरमिदं वचनम् ॥
आदित्योयं स्थितो मूढाः स्नेहं कुरुत सांप्रतम् ।
बहुविघ्नो मुहूर्तोयं जीवेदपि कदाचन ॥ ९५ ॥
अमुं कनकवर्णाभं बालमप्राप्तयौवनम् ।
गृध्रवाक्यात्कथं मूढास्त्यजध्वमविशङ्किताः ॥ ९६ ॥
इति निशि विजृम्भमाणस्य गोमायोर्जनव्यावर्तननिष्ठं च
वचनमिति प्रबन्ध एव प्रथते ॥
beings; when once one has fallen a victim to death, one
never revives, whether one be loved or hated; such is the
end of all living beings'.
This is followed by the following from the jackal who
can feed on the body only when night has arrived and
who tries to dissuade the people from going away early—
'O foolish men! the sun is still up; satisfy your
affections yet; the present may be an inauspicious mo-
ment, and it is just possible the dead may come back to
life after sometime; how is it that like fools you are with-
out any hesitation, merely on the word of the vulture,
leaving behind this boy of golden complexion who has
scarcely attained youth?'
Exactly what is meant by the two speakers here is
indicated only by the context.
The other eleven varieties of this suggestion (through
Context) are not illustrated here; as that would make
our work too prolix; they can be easily followed from
the definition itself.

CHAPTER IV 105
अन्ये त्वेकादश भेदा ग्रन्थविस्तरभयान्नोदाहृताः स्वयं तु
लक्षणतोनुसर्तव्याः ॥
अपिशब्दात्पदवाक्ययोः ॥४२॥
पदैकदेशरचनावर्णेष्वपि रसादयः ।
तत्र प्रकृत्या यथा
रइकेलिहिअणिवसणकरकिसलअरुद्धणअणजुअलस्स ।
रुद्दस्स तइअणअणं पव्वइपरिचुंबिअं जअइ ॥ ९७ ॥
अथ जयतीति न तु शोभते इत्यादि । समानेपि हि स्थगन-
व्यापारे लोकोत्तरेणैव व्यापारेणास्य पिधानमिति तदेवोत्कृष्टम् ।
‘Also’;—this means that the said suggestion is found
in word and sentence also. 42.
Passion (Emotion, Aberrations of Passion, Aberrations of
Emotion, Allayment of Emotion, Conjunction of Emotions and
Admixture of Emotions) are (suggested imperceptibly) also (a)
by parts of words, (b) by style and (c) by individual letters.
(a) Example of suggestion by the base of a word—
Ratikelihṛtanivasanakarakisalayaruddhanayanayugalasya.
Rudrasya tṛtīyanayanaṁ pārvatīparichumbitañjayati.
‘The two eyes of Śiva having been closed by her
two lotus-like hands when she was deprived of her cloth,—
His third eye being (closed by being) kissed by Pārvatī
scores a triumph.’
Here the suggestion of the Erotic ‘Passion’ lies in the
use of the root ‘ji’ in the verb ‘jayati’, ‘scores a triumph’,
in preference to the verb ‘shobhate’, ‘appears beautiful’;
—the implication of the particular root being that, ‘though
the action of being closed was common to all the three
eyes, yet there is a distinct superiority in the third eye, the
manner of whose closing was entirely unique.’

106 KĀVYAPRAKĀŚA
यथा वा
प्रेयान् सोयमपाकृतः सशपथं पादानतः कान्तया
द्वित्राण्येव पदानि वासभवनाद्यावन्न यात्युन्मनाः ।
तावत्प्रत्युत पाणिसंपुटगलन्नीविनिबन्धं धृतो
धावित्वेव कृतप्रणामकमहो प्रेम्णो विचित्रा गतिः ॥९८॥
अत्र पदानीति न तु द्वाराणीति ॥
तिङ्सुपोर्यथा
पथि पथि शुकचञ्चूचारुराभाङ्कुराणां
दिशि दिशि पवमानो वीरुधां लासकश्च ।
नरि नरि किरति द्राक् सायकान् पुष्पधन्वा
पुरि पुरि विनिवृत्ता मानिनीमानचर्चा ॥ ९९ ॥
Another example of the same kind of suggestion—
Preyān soyamapākṛtaḥ saśapathaṁ pādānataḥ kāntayā.
Dvitrāṇyeva padāni vāsabhavanād yāvanna yātyunmanāḥ.
Tāvat pratyuta pāṇisampuṭagalannīvibandhandhṛto.
Dhāvitveva kṛtapraṇāmakamaho premṇo vichitrā gatiḥ.
‘Though when the lover lay adjuringly at her feet,
he was rejected by his beloved, yet no sooner does he,
in a dejected mood, go two or three steps out of the love-
chamber, than she runs up to him with her loosened cloth
held in her hands and falling on his feet, embraces him.’
Here the suggestion (of loving anxiety) lies in the use of
the noun ‘pada’ (steps) instead of ‘dvāra’ (gates.)
[The suggestion being that she was so anxious that he may not
go away that she could not bear his moving away even a few steps to
the door of the room itself.]
Suggestion by verbal and nominal affixes—
Pathi pathi śukachañchūchārurābhāṅkurāṇāṁ
Dishi dishi pavamāno vīrudhāṁ lāsakaścha.
Nari nari kirati drāk sāyakān puṣpadhanvā
Puri puri vinivṛttā māninīmānacharchā.