काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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-

118 KĀVYAPRAKĀŚA
अत्र लिप्तेति पयोदसुहृदामिति च अत्यन्ततिरस्कृतवाच्ययोः
संसृष्टिः । ताभ्यां सह रामोस्मीत्यर्थान्तरसंक्रमितवाच्यस्या-
नुग्राह्यग्राहकभावेन रामपदलक्षणैकव्यञ्जकानुप्रवेशेन चार्थान्तरसं-
क्रमितवाच्यरसध्वन्योः संकरः । एवमन्यदप्युदाहार्यम् ॥
इति काव्यप्रकाशे ध्वनिनिर्णयो नाम चतुर्थ उल्लासः ॥ ४ ॥
dent) of the two suggestions (where the expressed mean-
ing is entirely ignored) ;—and (b) again with these two
there is ‘commixture’ with the suggestion in the expression
‘I am Rāma’, whose expressed meaning is transformed
into something else (i. e. disregard for himself, who is
known to be the receptacle of constant sufferings); in
which commixture (of the second kind) the two factors
help each other,—and another ‘commixture’ (of the
third kind) of the suggestion (by the whole sentence)
of the ‘erotic in privation’ and that (by the single word
‘rāmaḥ’) of ‘self-abnegation’, in both of which the
Expressed meaning is transformed, and both of which
form part and parcel of what is indicated by the single
word ‘rāmaḥ’.
The other varieties may be similarly illustrated. 43-44.
[Here ends the chapter IV entitled Description of Suggestion of
the Kāvyaprakāśa.]

अथ पञ्चम उल्लासः
एवं ध्वनौ निर्णीते गुणीभूतव्यङ्ग्यप्रभेदानाह ।
अगूढमपरस्याङ्गं वाच्यसिद्धयङ्गमस्फुटम् ।
सन्दिग्धतुल्यप्राधान्ये काक्वाक्षिप्तमसुन्दरम् ॥ ४५ ॥
व्यङ्ग्यमेवं गुणीभूतव्यङ्ग्यस्याष्टौ भिदाः स्मृताः ।
कामिनीकुचकलशवत् गूढं चमत्करोति । अगूढं तु स्फुटतया
वाच्यायमानमिति गुणीभूतमेव ।
CHAPTER V
POETRY OF SUBORDINATE SUGGESTION
(POETRY OF INTERMEDIATE ORDER).
Suggestive Poetry having been described, the
author proceeds to describe the varieties of 'Poetry of
Subordinate Suggestion'—
There are eight varieties of the Poetry of Subordinate
Suggestion, according as the suggested meaning is—(1) obvious,
(2) subservient to something else, (3) subservient to the accom-
plishment of the 'expressed' meaning, (4) abstruse, (5)
of doubtful prominence (in comparison to the expressed meaning),
(6) of equal importance (with the expressed meaning), (7)
rendered manifest by intonation, or (8) not beautiful.
Like the breasts of a young girl, suggestion has
a charm only while it is concealed ; when it is not
concealed, it becomes too obvious and hence as prosaic
as the expressed meaning ; this is what is meant by its
being 'subordinate'.

120 KĀVYAPRAKĀŚA
अगूढं यथा
यस्यासुहृत्कृततिरस्कृतिरेत्य तप्त-
सूचीव्यधव्यतिकरेण युनक्ति कर्णौ ।
काञ्चीगुणग्रथनभाजनमेष सोस्मि
जीवन्न संप्रति भवामि किमावहामि ॥११३॥
अत्र जीवन्नित्यर्थान्तरसंक्रमितवाच्यस्य ।
उन्निद्रकोकनदरेणुपिशङ्गिताङ्गा
गायन्ति मञ्जु मधुपा गृहदीर्घिकासु ।
एतच्चकास्ति च रवेर्नवबन्धुजीव-
पुष्पच्छदाभमुदयाचलचुम्बि बिम्बम् ॥११४॥
अत्र चुम्बनस्यात्यन्ततिरस्कृतवाच्यस्य ।
(1) Example of obvious suggestion—
‘ In former times the taunts of an enemy always appeared
in my ears like piercing hot needles,—and now that same
I have been reduced to this position that I am entrusted
with the work of knitting the girdle-zones of ladies !
Even though existing, I am not alive ! What can I do ?’
Here the suggestion lies in the term ‘existing,’ which
has its expressed meaning of ‘living’ transformed into some-
thing else (i. e., ignominious existence) [and this is too ‘obvious’
to be charming].
Another example—
‘ Among the house-hold pools, the black bees, are
humming sweetly, their bodies rendered tawny with the
dust of the full-blown red lotus ; and here shines the
Sun, bright as the petals of the Bandhujīva flower, kissing
the Rising Mount.’
Here the suggestion of dawn lies in the term ‘kissing’,

CHAPTER V 121
अत्रासीत् फणिपाशबन्धनविधिः शक्त्या भवद्देवरे
गाढं वक्षसि ताडिते हनुमता द्रोणाद्रिरत्राहृतः ।
दिव्यैरिन्द्रजिदत्र लक्ष्मणशरैर्लोकान्तरं प्रापितः
केनाप्यत्र मृगाक्षि राक्षसपतेः कृत्ता च कण्ठाटवी ॥११५॥(१)
अत्र केनाप्यत्रेत्यर्थशक्तिमूलानुरणनरूपस्य । 'तस्याप्यत्र' इति
युक्तः पाठः ।
अपरस्य रसादेर्वाच्यस्य वा (वाक्यार्थीभूतस्य) अङ्गं रसादि
अनुरणनरूपं वा । यथा
which has its expressed meaning entirely ignored, [and this is
too 'obvious'.]
Another example—
'Here occurred the act of being bound in the serpentine
noose ; here was the Droṇa mountain brought by Hanu-
man when your younger brother-in-law was wounded by
the missile in his chest ; here was Indrajit sent to the re-
gions of the dead by the celestial arrows of Lakṣmaṇa ;
and O fawn-eyed one, here was cut down by some one
the line of heads of the Demon-king.'
Here the suggestion of the speaker himself lies in the
term 'by some one', where the suggestive reverberation is
based upon the force of the meaning. [And this is too 'ob-
vious'.]
'Tasyāpyatra' (of that) would be the better reading
(in which case the suggestion would not be too obvious
or subordinated).
(2) Example of that Passion (Emotion and so forth)
which is 'subservient to—a mere echo of—' something
else'—i. e., of another Passion (Emotion and so forth),
or of the expressed meaning, denoted by a sentence,—

122 KĀVYAPRAKĀŚA
अयं स रशनोत्कर्षी पीनस्तनविमर्दनः ।
नाभ्यूरूजघनस्पर्शी नीवीविस्रंसनः करः ॥११६॥
अत्र शृङ्गारः करुणस्य ।
कैलासालयभाललोचनरुचा निर्वर्तितालक्तक-
व्यक्तिः पादनखद्युतिर्गिरिभुवः सा वः सदा त्रायताम् ।
स्पर्धाबन्धसमृद्धयेव सुदृढं रूढा यया नेत्रयोः
कान्तिः कोकनदानुकारसरसा सद्यः समुत्सार्यते ॥११७॥
अत्र भावस्य रसः ।
अत्युच्चाः परितः स्फुरन्ति गिरयः स्फारास्तथाम्भोधय-
स्तानेतानपि बिभ्रती किमपि न क्लान्तासि तुभ्यं नमः ।
‘ This is that same hand which used to pull (my)
girdle-zone, press the plump breasts, touch the navel,
the thighs and the hips and loosen the cloth-knot.’
Here the Erotic is ‘ subservient ’ to the Pathetic.
[It is the speech of the wife of a hero in the Mahābhārata war,
addressed on seeing the dead body of her husband].
Another example—
‘ May the sheen of the foot-nails of Pārvatī ever protect
you,—the red paint wherein has become heightened by
the (red) light emanating from the eye on the forehead
of Śiva (who has fallen upon her feet for the purpose of
propitiating her) ; and this sheen, urged by emulation as
it were, speedily and steadily sets aside the red-lotus-like
lustre of her eyes (by depriving them of the redness due
to her anger which has ceased upon her husband falling
at her feet)’.
Here the Passion (Erotic) is ‘ subservient ’ to the Emo-
tion (the poet’s devotion to the goddess).

आश्चर्य्येण मुहुर्मुहुः स्तुतिमिति प्रस्तौमि यावद्भुव-
स्तावद्बिभ्रदिमां स्मृतस्तव भुजो वाचस्ततो मुद्रिताः॥११८॥
अत्र भूविषयो रत्याख्यो भावो राजविषयस्य रतिभावस्य ।
बन्दीकृत्य नृप द्विषां मृगदृशस्ताः पश्यतां प्रेयसां
श्लिष्यन्ति प्रणमन्ति लान्ति परितश्चुम्बन्ति ते सैनिकाः ।
अस्माकं सुकृतैर्दृशोर्निपतितोस्यौचित्यवारान्निधे
विध्वस्ता विपदोखिलास्तदिति तैः प्रत्यर्थिभिः स्तूयसे॥११९॥
अत्र भावस्य रसाभासभावाभासौ प्रथमार्धद्वितीयार्धद्योत्यौ ।

124 KĀVYAPRAKĀŚA
अविरलकरवालकम्पनैर्भ्रुकुटीतर्जनगर्जनैर्मुहुः ।
ददृशे तव वैरिणां मदः स गतः क्वापि तवेक्षणे क्षणात् ॥१२०॥
अत्र भावस्य भावप्रशमः ।
साकं कुरङ्गकदृशा मधुपानलीलां
कर्तुं सुहृद्भिरपि वैरिणि ते प्रवृत्ते ।
अन्याभिधायि तव नाम विभो गृहीतं
केनापि तत्र विषमामकरोदवस्थाम् ॥१२१॥
अत्र त्रासोदयः ।
tion (for the king, on the part of his enemies)—implied
in the second half—are ‘ subservient ’ to the (poet's)
feeling of veneration for the king.
Another example—
‘ The haughtiness of your enemies was seen in the
constant brandishing of swords, in the curvature of the
eye-brows and in frequent roaring ; but at sight of you,
it instantly disappeared’.
The ‘ Allayment of the Feeling ’ (of pride) is sub-
servient to the (poet's) feeling (of veneration for the
king).
Another example—
‘ On the occasion of your enemy setting about a
drinking revelry in the company of the fawn-eyed girl
and his friends,—your name, even though mentioned
by some one in another connection, filled him with dis-
tress’.
Here the ‘ appearance of the feeling of fear ’ (is
subservient to the poet’s feeling of veneration for the
king).

CHAPTER V 125
असोढा तत्कालोल्लसदसहभावस्य तपसः
कथानां विश्रम्भेष्वथ च रसिकः शैलदुहितुः ।
प्रमोदं वो दिश्यात् कपटबटुवेषापनयने
त्वराशैथिल्याभ्यां युगपदभियुक्तः स्मरहरः ॥१२२॥
अत्रावेगधैर्ययोः संधिः ॥
पश्येत्कश्चिच्चल चपल रे का त्वराहं कुमारी
हस्तालम्बं वितर ह ह हा व्युत्क्रमः क्वासि यासि ।
इत्थं पृथ्वीपरिवृढ भवद्विद्विषोरण्यवृत्तेः
कन्या कंचित् फलकिसलयान्याददानाभिधत्ते ॥१२३॥
Another example—
‘May the Destroyer of Kāma (Śiva) ordain your
happiness,—He who, being unable to bear any longer
the zealousness of Pārvatī’s austerities, and fondly grati-
fied at her confidently loving manner of address, was
seized simultaneously by both precipitancy and languor’.
Here we have the ‘Conjunction’ of the feelings of
Flurry and Equanimity, (which is ‘subordinate’ to the
poet’s feeling of devotion to the king).
Another example—
‘“O impetuous one! Some one might be looking!
Move aside.—What is the hurry?—I a virgin!—Offer
me the support of your arms.—Ah! Ah! this perverted
order of things!—Where are you? Whither are you
going?”—O Lord of the earth, thus does the daughter
of your enemy who has retired to the forest address some
man while she is collecting fruits and leaves’.
Here there is the ‘Commixture’ of the feelings of
Apprehension (‘some one might be looking’), Calmness
(‘what is the hurry?’), Remembrance (‘I, a virgin’), Lan-