काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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.

CHAPTER, IV 107
अत्र किरतीति किरणस्य साध्यमानत्वं निवृत्तेति निवर्तनस्य
सिद्धत्वं तिङा सुपा च तत्रापि क्तप्रत्ययेनातीतत्वं द्योत्यते ।
यथा वा
लिखन्नास्ते भूमिं बहिरवनतः प्राणदयितो
निराहाराः सख्यः सततरुदितोच्छूननयनाः ।
परित्यक्तं सर्वं हसितपठितं पञ्जरशुकैः
तवावस्था चेयं विसृज कठिने मानमधुना ॥१००॥
‘On every way-side there is the sheen of sprouts re-
sembling the parrot’s beak ; on every side the breeze is
making the creepers dance ; on every male is the Flower-
bowed God showering his arrows ; and in every town
has ceased the very talk of self-restraint on the part of
affronted women.’
The present tense form ‘kirati,’ ‘is showering,’ indi-
cates, by the conjugational affix, that the act of showering
arrows is still only in the course of accomplishment, and
the past-participle form ‘vinivṛttā,’ ‘has ceased,’ indicates
by the nominative ending, that the action of ceasing has
become a thing accomplished already ; and further, the
past-participle affix ‘kta’ (in ‘vinivṛttā) indicates that
the action (of ceasing) is past.
[And the suggestion here is that the circumstances described are
so effective in exciting the Erotic Passion that they accomplish their
purpose even before they are themselves accomplished.]
Another example of the same—
Likhannāste bhūmim vahiravanataḥ prāṇadayito
Nirāhārāḥ sakhyaḥ satataruditochchhūnanayanāḥ.
Parityaktam sarvam hasitapaṭhitam pañjaraśukais-
Tavāvasthā cheyam visṛja kaṭhine mānamadhunā.

108 KĀVYAPRAKĀŚA
अत्र लिखन्निति न तु लिखतीति तथा आस्ते इति न तु
आसीत इति अपि तु प्रसादपर्यन्तमास्ते इति भूमिमिति न तु
भूमाविति न हि बुद्धिपूर्वकमपरं किंचिल्लिखतीति तिङ्सुब्बि-
भक्तीनां व्यङ्ग्यम् ।
सम्बन्धस्य यथा
गामारुहम्हि गामे वसामि णअरट्ठिइं ण जाणामि ।
णाअरिआणं पइणो हरेमि जा होमि सा होमि ॥१०१॥
‘ The beloved of thy life sits outside, depressed, scratch-
ing the ground ; thy friends with eyes swollen by constant
weeping, have been without food ; all amusing talk has
been given up by the parrots in the cages ; thy own con-
dition is this ; even now, O cruel one, give up thy sense
of dignity injured.’
Here we have (a) the form ‘likhan’ (‘scratching,’
the present participle in which suggests the continuity
of an aimless act) and not ‘likhati’ (‘writes,’ in the present
tense, which would indicate writing with a purpose) ;—
again (b) ‘āste’ (‘stays’) which suggests that the man
will continue to so stay till reconciliation, and not ‘āsīta’
(‘is seated,’ which would indicate an accomplished
act, without regard to anything else);—again (c) ‘bhūmim’
(with the Accusative ending), —which suggests that he
is scratching the ground aimlessly—and not ‘bhūmau’
(with the locative ending, which would indicate that the
act was done with some purpose.) Thus we have here
suggestion by verbal and nominal affixes.
Example of suggestion by relationship (denoted by
the genitive ending)—
I am born in the village and live in the village, and
know not the ways of the city ; whatever I am, I capture
the husbands of city-women.’

CHAPTER IV 109
अत्र नागरिकाणामिति षष्ठ्याः ।
रमणीयः क्षत्रियकुमार आसीत् इति कालस्य ।
एषा हि भग्नमहेश्वरकार्मुकं दाशरथिं प्रति कुपितस्य भार्गवस्योक्ति ।
वचनस्य यथा ।
ताणं गुणग्गहणाणं ताणुक्कंठाणं तस्स पेम्मस्स ।
ताणं भणिआणं सुंदर एरिसिअँ जाअमवसाणं ॥१०२॥
अत्र गुणग्रहणादीनां बहुत्वं प्रेम्णश्चैकत्वं द्योत्यते ॥
पुरुषव्यत्ययस्य यथा
The suggestion here lies in the genitive ending in ‘of
city-women,’ ‘nāgarīkāṇāṁ.’
[The use of the expression ‘husbands of city-women,’ instead of
city-men, suggests the extreme cleverness of the speaker, who is able
to capture, not the ordinary men of the city, but those men of the city
who have acquired much cleverness by their connection with the
very clever ‘city-women.’]
In the sentence ‘lovely was this Kṣattriya boy,’ the
suggestion lies in the tense ; it is said by the enraged
Bhārgava with reference to Rāma who has broken the
bow of Shiva.
[The suggestion by the use of the Past Tense being that the boy
is as good as already killed by me and exists no more.]
The following is an example of suggestion by num-
ber—
‘O beautiful one ! such has been the end of those
appreciations of good qualities, of those longings, of that
love and of those conversations !’
What is suggested here (by the plural number in
‘appreciations’, ‘longings’ and ‘conversations’ and the
singular number in ‘love’) is that though the appreciation
and the rest (which aroused the love) have been many

110 KĀVYAPRAKĀŚA
रे रे चञ्चललोचनाञ्चितरुचे चेतः प्रमुच्य स्थिर-
प्रेमाणं महिमानमेणनयनामालोक्य किं नृत्यसि ।
किं मन्ये विहरिष्यसे बत हतां मुञ्चान्तराशामिमाम्
एषा कण्ठतटे कृता खलु शिला संसारवारानिधौ ॥१०३॥
अत्र प्रहासः ।
पूर्वनिपातस्य यथा
येषां दोर्बलमेव दुर्बलतया ते संमतास्तैरपि
प्रायः केवलनीतिरीतिशरणैः कार्यं किमुर्वीश्वरैः ।
and multifarious, the Love (aroused by them) is one and
uniform.
The following is an example of suggestion by the
change of ‘Person.’
‘O thou my heart, in whom has been aroused a hanker-
ing after the fickle-eyed woman ! Why dost thou relin-
quish that exalted position of lasting devotion and begin
to dance at the sight of the fawn-eyed one ? I think—you
will dally ! Ah ! give up this despicable desire ; this
is a piece of stone tied to one’s neck in the ocean of the
world.’
Here ridicule (is suggested by the sudden change into
the First Person in ‘I think,’ ‘manye,’ according to Pāṇini’s
rule 1.4.106 whereby the First Person singular affix added
to the root ‘man’ to ‘think’ implies ridicule).
The following is an example of suggestion by ‘irre-
gular priority.’—
Those men who have only the strength of arms have
been regarded as weak ; what useful work again can be
done by those kings who take shelter in mere statesman-
ship ? O terrestrial Indra ! Those who, like you, have

CHAPTER IV 111
ये क्ष्माशक्र पुनः पराक्रमनयस्वीकारकान्तक्रमास्--
ते स्युर्नैव भवादृशास्त्रिजगति द्वित्राः पवित्राः परम् ॥१०४॥
अत्र पराक्रमस्य प्राधान्यमवगम्यते ।
विभक्तिविशेषस्य यथा
प्रधनाध्वनि धीरधनुर्ध्वनिभृति विधुरैरयोधि तव दिवसम् ।
दिवसेन तु नरप भवानयुद्ध विधिसिद्धसाधुवादपदम् ॥१०५॥
अत्र दिवसेनेत्यपवर्गंतृतीया फलप्राप्तिं द्योतयति ।
भूयो भूयः सविधनगरीरथ्यया पर्यटन्तं
दृष्ट्वा दृष्ट्वा भवनवलभीतुङ्गवातायनस्था ।
साक्षात्कामं नवमिव रतिर्मांलती माधवं यत्
गाढोत्कण्ठालुलितलुलितैरङ्गकैस्ताम्यतीति ॥१०६॥
their actions guided by both valour and statesmanship
(“parākramanaya”),—of those there may, or may not be,
even two or three in all the three worlds !”
Here the placing of ‘parākrama’ (valour) before
‘naya’ (statesmanship) in the compound [which is irregular
in view of the rule that the shorter term should precede
the longer] suggests the superior importance of Valour.
Pradhanādhvani dhīradhanurdhvanibhṛti vidhurairayodhi tava
divasam.
Divasena tu narapa bhavānayuddha vidhisiddhasādhuvādapadam.
‘O protector of men ! in the battle resounding with
the twanging of bows wielded by the brave, thy enemies
fought all the day long; you, on the other hand, fought by the
day in such a way as to win encomiums from all good men.’
The Instrumental ending in ‘divasena’ (‘by the day ’),
which denotes ‘success’ (according to Pāṇini 2.3.6)),
suggests that the king addressed attained the object for
which he fought.
‘Seated in the high window of her mansion, whenever
Mālatī, who resembles Rati, sees Mādhava, who is a new

112 KĀVYAPRAKĀŚA
अत्रानुकम्पावृत्तेः करूपतद्धितस्य ।
परिच्छेदातीतः सकलवचनानामविषयः
पुनर्जन्मन्यस्मिन्ननुभवपथं यो न गतवान् ।
विवेकप्रध्वंसादुपचितमहामोहगहनो
विकारः कोप्यन्तर्जडयति च तापं च कुरुते ॥१०७॥
अत्र प्रशब्दस्योपसर्गस्य ।
कृतं च गर्वाभिमुखं मनस्त्वया
किमन्यदेवं निहताश्च नो द्विषः ।
तमांसि तिष्ठन्ति हि तावदंशुमान्
न यावदायात्युदयाद्रिमौलिताम् ॥१०८॥
personification of the Love-god himself, passing by the
adjacent highway, she suffers from her poor limbs (aṅgakaiḥ)
being charmingly affected by deep longings.’
Here the suggestion (of the fragility of the limbs due
to the Erotic Passion) is made by the nominal affix ‘Ka’
(in ‘aṅgakaiḥ’) which signifies pitiableness.
‘An indescribable feeling benumbs and inflames my
heart,—a feeling above all measure and beyond all power
of expression, which has never in this life come within
the range of experience, and which, owing to the entire
destruction (‘pradhvaṁsāt’) of my discriminative faculty,
has become deep and has brought about extreme stupor.’
Here the suggestion ( of the Erotic in privation ) is
made by the prefix ‘pra’ (in ‘pradhvaṁsāt’, which means
entire).
‘You turned your mind towards glory, and—what
else?—our enemies were destroyed [kṛtañcha garvā-
bhimukhaṁ manastvayā...nihatāshcha no dviṣaḥ];—Darkness
prevails only so long as the sun does not reach the crest
of the Rising Mount.’

CHAPTER IV 113
अत्र तुल्ययोगिताद्योतकस्य ‘च’ इति निपातस्य ।
रामोसौ भुवनेषु विक्रमगुणैः प्राप्तः प्रसिद्धिं परा-
मस्मद्भाग्यविपर्ययाद्यदि परं देवो न जानाति तम् ।
बन्दीवैष यशांसि गायति मरुद्यस्यैकबाणाहति-
श्रेणीभूतविशालतालविवरोद्गीर्णैः स्वरैः सप्तभिः ॥१०९॥
Here the suggestion of Heroic Passion is made by the
Indeclinable ‘cha’ (‘and’), which implies the figure of
‘Equal Pairing’ [the simultaneity of the king's thinking of
glory and the destruction of the enemies.]
Rāmosau bhuvaneṣu vikramaguṇaiḥ prāptaḥ prasiddhiṁ parām
Asmadbhāgyaviparyayād yadi paraṁ devo na jānāti tam.
Bandīvaiṣa yaśāṁsi gāyati marud yasyaikabāṇāhati—
Śreṇībhūtaviśālatālavivarodgīrṇaiḥ svaraiḥ saptabhiḥ.
‘Through his valour and other excellences, this Rāma
has attained great renown in the worlds; through the
reversal of our fortune, your majesty does not yet re-
cognise him; his fame is being sung, as if by a bard,
by the wind, in all the seven notes of music issuing forth
from the holes made by the stroke of a single arrow in
the seven huge palm-trees standing in a line.’
The passion of the Heroic is suggested here—(a)
by the pronoun ‘asau’, ‘this’ (which indicates that the
person is well-known), (b) by the basic noun ‘bhuvaneṣu’
‘in the worlds’ (which mean that the person's fame is not
confined to any particular province or country), (c) by
the number in ‘guṇaiḥ’ (which means that he is famous
not only for one or two qualities but for many), (d) by the
use of the term ‘asmat’ (our) in preference to ‘tvat’ (your)
or ‘mat’ (mine) [in the compound ‘asmadbhāgya’...],
which implies that the misfortune is of all the persons
8

114 KĀVYAPRAKĀŚA
अत्रासाविति भुवनेष्विति गुणैरिति सर्वनामप्रातिपदिकवच-
नानां न त्वदिति न मदिति अपि अस्मदित्यस्य सर्वाक्षेपिणः
भाग्यविपर्ययादित्यन्यथासंपत्तिमुखेन न त्वभावमुखेनाभिधानस्य ।
तरुणिमनि कलयति कलामनुमदनधनुर्भ्रुवोः पठत्यग्रे ।
अधिवसति सकलललनामौलिमियं चकितहरिणचलनयना ॥१९०॥
अत्र इमनिजव्ययीभावकर्मभूताधाराणां स्वरूपस्य तरुणत्वे,
इति धनुषः समीपे, इति मौलौ वसतीति त्वादिभिस्तुल्ये, एषां
वाचकत्वे, अस्ति कश्चित् स्वरूपस्य विशेषो यश्चमत्कारकारी
स एव व्यञ्जकत्वं प्राप्नोति ।
concerned,—and (e) by the term ‘bhāgyaviparyayāt,’
‘reversal of fortune,’ which means that it is not only that
we have no fortune or luck, but that our fortune has taken
an entirely wrong turn.
Taruṇimani kalayati kalāmanumadanadhanurbhruvoḥ
paṭhatyagre.
Adhivasati sakalalalanāmaulimiyam chakitahariṇachalana-
yanā.
‘On youthfulness being fully developed in vivacity,
and the eye-brows having become instructed in liveliness
under the guidance of Cupid’s Bow, she with eyes unsteady
like that of the fawn occupies the highest position among
damsels.’
Here the Erotic Passion is suggested by the form (a)
of the ‘imanich’ affix (in ‘taruṇimani’), (b) of the Avyayī-
bhāva compound (‘anumadanadhanuḥ’), (c) of the locative
used accusatively (in ‘maulim’). The expressed meaning
of each of these would be exactly the same as that res-
pectively of (a) ‘taruṇatve’, with the nominal affix ‘tva’
(instead of ‘imanich’), (b) ‘madanadhanuṣaḥ samīpe,’ and

CHAPTER IV 115
एवमन्येषामपि बोद्धव्यम् ।
वर्णरचनानां व्यञ्जकत्वं गुणस्वरूपनिरूपणे उदाहरिष्यते
अपिशब्दात् प्रबन्धेषु नाटकादिषु ।
एवं रसादीनां पूर्वगणितभेदाभ्यां सह षड् भेदाः ।
भेदास्तदेकपञ्चाशत्
व्याख्याताः ॥
(c) 'maulau'; and yet there is something distinctly charm-
ing in the use of the forms used by the poet ; and it is in
these forms that there lies the said suggestiveness.
Suggestion by other (parts of words) may be similarly
explained.
The suggestiveness of Letters and Style is going to
be described in the section dealing with Qualities (under
Chapter VIII).
Thus, along with the two kinds previously enumerated,
there are six varieties of Suggestion of Passion and the rest.
[i. e. As suggested by (1) Sentence, (2) Word, (3) Part of Word,
(-4) Style, (5) Letter and (6) Context].
Thus there are fifty-one varieties.
These have been already described.
(A) That where the expressed meaning is not intended has two
varieties—(a) That in which the expressed meaning is transferred
into another and (b) in which it is entirely ignored, and each of these
belonging to word and meaning, make up Four varieties ;—(B) that
where the expressed meaning is intended to be subservient to another,
and the suggestive process is imperceptible, belongs to word, sentence,
part of word, style, letters and context, makes up six varieties ;—
(c) The same where the suggestive process is perceptible has forty-one
varieties as follows :—2 varieties of that, based on word and each belong-
ing to word and sentence, make four,—12 varieties of that based on
meaning and each belonging to word, sentence and context, make
thirty-six; and one variety of that based on both word and meaning;
and 4+6+41 make 51.

116 KĀVYAPRAKĀŚA
तेषां चान्योन्ययोजने ॥ ४३ ॥
संकरेण त्रिरूपेण संसृष्ट्या चैकरूपया ।
न केवलं शुद्धा एवैकपञ्चाशद्भेदा भवन्ति । यावत्तेषां
स्वप्रभेदैरेकपञ्चाशता संशयास्पदत्वेनानुग्राहकतयैकव्यञ्जकानु-
प्रवेशेन चेति त्रिविधेन संकरेण परस्परनिरपेक्षरूपयैकप्रकारया
संसृष्ट्या चेति चतुर्भिर्गुणने ।
वेदखाब्धिवियच्चन्द्राः
शुद्धभेदैः सह
शरेषुयुगखेन्दवः ॥ ४४ ॥
By the mutual combination of these, in the three forms of
commixture and one form of uniform conjunction, they come to
the number made up of (a) the Vedas (4), (b) the sky (0),
(c) the oceans (4). (d) the sky (0) and the moon (1) [i. e. 10404].
There are not only the 51 simple varieties ; each
of these 51 has its own 51 varieties, and each of
these combines with the other in three ways (in which
there is mutual dependency)—viz. (1) where it is doubtful
which one is the predominant factor, (2) where one dis-
tinctly helps the other (and is hence the predominant fac-
tor, and (3) where both form part of a single suggestive
factor—and also in one another way (in which both are
independent of each other) ; and thus by multiplying by
4 the fifty-one times fifty-one varieties) the number be-
comes 10404.
These mixed varieties along with the (51) pure varie-
ties make the number—
made up of—(a) arrows (5), (b) arrows (5), (c) age-cycles
(4), (d) sky (0) and (e) the Moon (1)—i. e. 10455.

CHAPTER IV. 117
तत्र दिङ्मात्रमुदाह्रियते ।
खणपाहुणिआ देअर जायाए सुहअ किंपि दे भणिआ ।
रुअइ पडोहरवलहीघरम्मि अणुणिज्जउ वराई ॥१९१॥
अत्रानुनयः किमुपभोगलक्षणेऽर्थान्तरे संक्रमितः किमनुरण-
न्न्यायेनोपभोगे एव व्यङ्ग्ये व्यञ्जकः इति संदेहः ।
स्निग्धश्यामलकान्तिलिप्तवियतो वेल्लद्बलाका घनाः
वाताः शीकरिणः पयोदसुहृदामानन्दकेकाः कलाः ।
कामं सन्तु दृढं कठोरहृदयो रामोऽस्मि सर्वं सहे
वैदेही तु कथं भविष्यति ह हा हा देवि धीरा भव ॥१९२॥
These are illustrated only partially—
‘ O brother ! Has the girl, a guest for the moment,
been told something by your wife ? She is weeping
behind the house ; go, console the poor creature ’.
Here it is doubtful whether the ‘ consoling ’ is
meant to be transformed into something else, in the
form of dalliance, (thus making the suggestion one of
‘ transferred denotation ’), or it itself suggests, in the
manner of an echo, the dalliance (making the suggestion
one in which the expressed meaning, while applicable, is
subservient to another meaning).
‘ The clouds have overspread the sky with dense
black lustre, and are adorned with lines of cranes ; the
wind is blowing in sprays ; there is joyous shrieking of
the friends of clouds (Peacocks).—Let all these be ! I
am surely Rāma of the hard heart and shall bear all ;
but how will Vaidehī be keeping ? Ah ! O Lady, bear
up with fortitude !’
Here (a) in the terms ‘ overspread ’ and ‘ friends of
clouds ’ we have the ‘ conjunction ’ (mutually indepen-