काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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-

126 KĀVYAPRAKĀŚA
अत्र शङ्कासूयाधृतिस्मृतिश्रमदैन्यविबोधौत्सुक्यानां शबलता ।
एते च रसवदाद्यलंकाराः । यद्यपि भावोदयभावसंधिभाव-
शबलत्वानि नालंकारतया उक्तानि तथापि कश्चित् ब्रूयादि-
त्येवमुक्तम् ।
यद्यपि स नास्ति कश्चिद्विषयः यत्र ध्वनिगुणीभूतव्यङ्ग्ययोः
स्वप्रभेदादिभिः सह संकरः संसृष्टिर्वा नास्ति तथापि प्राधान्येन
व्यपदेशा भवन्तीति क्वचित्केनचिद्व्यवहारः ।
guor (‘offer me the support of your arms’), Depression
(‘Ah, ah’), Determination (‘what a perverted order of
things’), and Longing (‘whither are you going?’),—
(which is ‘subordinate’ to the poet’s regard for the king).
These [(1) Passion, (2) Feeling, (3) Aberration of
Passion, (4) Aberration of Feeling, (5) Manifestation of
Feeling, (6) Conjunction of Feeling and (7) Commixture
of Feeling—as ‘subordinate’ to another Passion or Feel-
ing] are what are known as the Figures of Speech [called
(1) the Sentimental, (2) the Agreeable, (3) the Forcible,
(4) the Quiescent, (5) Manifested Feeling, (6) Conjunct
Feeling and (7) Commingled Feeling respectively].
Though as a matter of fact, ‘Manifested Feeling’,
‘Conjunct Feeling’ and ‘Commingled Feeling’ (the last
three of those just mentioned) have nowhere been spoken
of as ‘Figures’, yet, we have made the above assertion
(including these also) in view of the possibility of some
one describing them as such.
Though there is no single case where there is no
commixture of both ‘Suggestive Poetry’ and ‘Poetry
of Subordinate Suggestion’ and their respective varieties—
where one or the other is the more prominent or where
both are of equal importance [and hence no example can

CHAPTER V 127
जनस्थाने भ्रान्तं कनकमृगतृष्णान्धितधिया
वचो वैदेहीति प्रतिपदमुदश्रु प्रलपितम् ।
कृतालंकाभर्तुर्वदनपरिपाटीषुघटना
मयाप्तं रामत्वं कुशलवसुता न त्वधिगता ॥१२४॥
अत्र शब्दशक्तिमूलानुरणनरूपो रामेण सहोपमानोपमेय-
भावो वाच्याङ्गतां नीतः ।
be cited as a pure unmixed example of any one kind],—yet
we classify the examples as of one or the other, according
as one or the other happens to be the prominent factor ;
and this is done in accordance with the principle that
appellations are applied to things in accordance with what
happens to be their most prominent element.
[ Example of Suggested Figure subservient to the
expressed meaning]—
Janasthāne bhrāntaṁ kanakamṛgatṛṣṇāndhitadhiyā
Vacho vai-dehīti pratipadamudaśru pralapitam
Kṛtā-laṅkābharturvadanaparipāṭīṣughaṭanā
Mayāptaṁ rāmatvaṁ kuśalavasutā na tvadhigatā
‘I wandered among men’s haunts [in the Janasthāna for-
est], with my mind blinded by a miragic solicitude for gold
[by a desire for the golden deer] ;—at every step, with
tearful eyes, I said the words “ Please give me ” [“ O Vai-
dehī ”) ;—enough attempt was made by me at flattering the
meanly rich people [I directed my arrows at the serried heads
of the king of Laṅkā] ;—thus though I attained the position
of Rāma, yet I did not obtain perfect affluence [the mother of
Kuśa and Lava, Sītā].’
Here the similitude between the speaker and Rāma,
which is suggested through the force of the reverberating

128 KĀVYAPRAKĀŚA
आगत्य संप्रति वियोगविसंष्ठुलाङ्गी
मम्भोजिनीं क्वचिदपि क्षपितत्रियामः ।
एतां प्रसादयति पश्य शनैः प्रभाते
तन्वङ्गि पादपतनेन सहस्ररश्मिः ॥१२५॥ (२)
अत्र नायकवृत्तान्तोऽर्थशक्तिमूलो वस्तुरूपो निरपेक्ष-
रविकमलिनीवृत्तान्ताध्यारोपेणैव स्थितः ॥
वाच्यसिद्ध्यङ्गं यथा
भ्रममर्तिमलसहृदयतां प्रलयं मूर्च्छा तमः शरीरसादम् ।
मरणं च जलदभुजगर्जं प्रसह्य कुरुते विषं वियोगिनीनाम् ॥१२६॥
echo of the words (with double meanings), has been made
subservient to the expressed meaning.
[Since all that the suggested similitude does is to justify the
assertion 'I have attained the position of Rāma'.]
[Example of the 'Suggestion of Fact' being made
subservient to the expressed meaning].
' See, O delicate lady, the Sun, having passed the
night somewhere else, is propitiating the Lotus withered
through separation from him, by falling at her feet.'
Here the fact of the lover (propitiating his lady-love),—
which is suggested by the force of the meaning of the
word,—appears merely as an imposition upon (as lending
additional charm to) the entirely different fact of the Lotus
(blooming on the contact of the Sun's rays).
(3) Example of ' suggestion subservient to the accom-
plishment of the expressed meaning,'—
' The rain (poison) emanating from the serpent-like
clouds forcibly brings about, in ladies separated from

CHAPTER V 129
अत्र हालाहलं व्यङ्ग्यं भुजगरूपस्य वाच्यस्य सिद्धिकृत् ।
यथा वा
गच्छाम्यच्युत दर्शनेन भवतः किं तृप्तिरुत्पद्यते
किं त्वेवं विजनस्थयोर्हतजनः संभावयत्यन्यथा ।
इत्यामन्त्रणभङ्गिसूचितवृथावस्थानखेदालसाम्
आश्लिष्यन् पुलकोत्कराञ्चिततनुर्गोपीं हरिः पातु वः ।।१२७।। (३)
अत्राच्युतादिपदव्यङ्ग्यमामन्त्रणेत्यादिवाच्यस्य ।
एतच्चैकत्र एकवक्तृगतत्वेन अपरत्र भिन्नवक्तृगतत्वेनेत्य-
नयोर्भेदः ॥
अस्फुटं यथा
their lovers, vertigo, apathy, lassitude, insensibility, coma,
stupefaction, physical prostration and death.’
Here the suggestion of ‘poison’ only serves to com-
plete the expressed meaning (serpent) of the term ‘bhujaga.’
Another example—
“O Achyuta (Immovable One), I am going ; is any
satisfaction to be obtained from merely looking at you ?
In fact, if we remain together in this solitary place, wret-
ched people will think quite otherwise ;”—after the cow-
girl signified her depression and languor due to her
futile stay by the special form of address, Kṛṣṇa embraced
her and the hairs on his body were thrilled ;—may Kṛṣṇa,
in this condition, protect you.’
Here the suggestion (of unperturbability) made by
the term ‘achyuta’ (‘looking on’ and so forth) only
serves to help in the fulfilment of what is expressed by
the expression “having signified....form of address.”
The difference between the two examples just cited
lies in the fact that the former consists of the speech
9

130 KĀVYAPRAKĀŚA
अदृष्टे दर्शनोत्कण्ठा दृष्टे विच्छेदभीरुता ।
नादृष्टेन न दृष्टेन भवता लभ्यते सुखम् ।।१२८।। (४)
अत्रादृष्टो यथा न भवसि वियोगभयं च यथा नोत्पद्यते तथा
कुर्या इति क्लिष्टम् ।।
संदिग्धप्राधान्यं यथा
हरस्तु किंचित्परिवृत्तधैर्यश्चन्द्रोदयारम्भ इवाम्बुराशिः ।
उमामुखे बिम्बफलाधरोष्ठे व्यापारयामास विलोचनानि ।।१२९।।५
अत्र परिचुम्बितुमैच्छदिति किं प्रतीयमानं किं वा
विलोचनव्यापारं वाच्यं प्रधानमिति संदेहः ।।
of only one speaker (the poet) while the latter consists
of the speeches of two persons (the poet and the cow-
girl).
(4) Example of the Abstruse Suggestion.
‘ While you are not seen, there is longing to see you,
and when you are seen, there is fear of separation ; there
is no comfort either on seeing you or not seeing you.’
What is sugested here is that ‘ you should act in such
a way that you may not remain unseen and yet there may
be no fear of separation,’—and this is not very clear (abs-
truse).
(5) Example of the suggestion ‘ of doubtful promi-
nence.’—
‘ Śiva, having his equanimity slightly perturbed,
like the ocean at the appearance of the moon, directed
his eyes towards Pārvatī’s face with bimba-like lips.’
Here it is doubtful whether prominence attaches to
the suggested meaning that ‘ he wished to kiss her.’ or to
the expressed meaning that ‘ the eyes were turned towards
the face.’

तुल्यप्राधान्यं यथा
ब्राह्मणातिक्रमत्यागो भवतामेव भूतये ।
जामदग्न्यस्तथा मित्रमन्यथा दुर्मनायते ॥१३०॥ (६)
अत्र जामदग्न्यः सर्वेषां क्षत्रियाणामिव रक्षसां क्षणात् क्षयं
करिष्यतीति व्यङ्ग्यस्य वाच्यस्य च समं प्राधान्यम् ॥
काक्वाक्षिप्तं यथा
मथ्नामि कौरवशतं समरे न कोपात्
दुःशासनस्य रुधिरं न पिबाम्युरस्तः ॥
संचूर्णयामि गदया न सुयोधनोरू
संधिं करोतु भवतां नृपतिः पणेन ॥१३१॥ (७)
अत्र मथ्नाम्येवेत्यादि व्यङ्ग्यं वाच्यनिषेधसहभावेन स्थितम् ॥