काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

XII
ction under the most favourable circumstances to the court of his
royal patron.
Mammaṭa was a member of a true Pandit family ; he was the son
of Jayyaṭa, the joint author with Vāmana of the celebrated grammatical
treatise, the Kāshikā; and the brother of Kayyaṭa, the author of the
standard gloss on Patañjali's Great Commentary and of the above-
mentioned Uvvaṭa, the author of a Bhāshya on the Vedas and other
Vedic works, which, however, have been superseded by the later
works of Sāyaṇa and Mādhava. Mammata is said, by Bhīmasena in
the opening verses of his commentary on the Kāvya-Prakāsha to have
travelled to Benares for purposes of study. The times of Mammaṭa
seem to have been times of a general outburst of literature and learn
ing in Kashmir, which had most likely something to do with the
Buddhist literature and learning, then on its way out of India to its
present Tibetan home across the Himālayas. A lot of literary names
ending with the characteristic syllable ṭa are to be found in the books
of this period, Vajjraṭa, Rudraṭa, Bhallaṭa, Vābhaṭa, Allaṭa, &c. How
these outbursts and revivals travel about from place to place is a phe-
nomenon which is observable in the literary history of ancient and
modern Europe also. Sāhitya in India appears to have passed on
from Kashmir to Mithilā, and thence to Bengal ; it is now almost
confined to the Deccan.
The mention of Allaṭa leads us to the fact that the Kāvya-Prakāsha
could not be completed by Mammaṭa, notwithstanding the inevitable
maṅgalācharaṇa, the propitiation of the appropriate Goddess of
Speech. Apparently in accordance with the very satisfactory ex-
planation of the ingenious Naiyāyika, the past evil karma of Mammaṭa's
previous births was too voluminous to be dispelled by the amount
of maṅgalācharaṇa he made, and so the thread of his life broke short !
But it broke short when he was in sight of his goal ; and he has prac-
tically completed his work. About a third of the last chapter on
Figures,—or rather as they are more becomingly named in Sanskrit,
Ornaments of Speech—which third amounts roughly to a tenth of
the whole work,—was written by Allaṭa, from the second half of the
118th verse onwards, (page 244 of the translation*). This is expressly
stated by Anand in his commentary entitled the Nidarshana on the
Kāvya-Prakāsha, who again, in explaining the last verse of the work
*Not in the present edition.

xiii
refers to the same fact in this wise, “ although this 10th chapter has
been written by two authors, still the appreciating I will miss no
pleasure of true excellence, indeed the general experience is that the
mango fruit bred out of crossed varieties is even more luscious
(than the fruit of either of its original parents).” Other commenta-
tors also interpret the shloka above referred to, to the same effect
Of commentaries and glosses on the Kāvya Prākāsha the number is
legion. Verses current amongst the Pandits refer to this fact thus—
काव्यप्रकाशस्य कृता गृहे गृहे टीका तथाप्येष तथैव दुर्गमः ॥
(commentaries on the Kāvya-Prakāsha have been done up in every
house, and yet it remains as difficult to understand as ever !)
Or again—
काव्यप्रकाशे टिप्पण्यः सहस्रं सन्ति तथापि ।
(although there are thousands of glosses on the Kāvya-Prakāsha
still, &c. &c.). There is no other Sanskrit work so much be-commen-
ted, except perhaps the Paribhāshendu-Shekhara of Nāgesha Bhatta It
might be worth mention in this connection that Vishwanātha Kavirāja,
the author of the other most famous work on Sāhitya, referred to
at the outset of this preface, thought fit to write an elaborate com-
mentary on the Kāvya-Prakāsha after composing his own independent
work, as is evident from the frequent references to the latter in the
former. Indeed the work seems to have excited a most singular
emulation amongst all classes of writers to show their appreciation
of it by means of comments; famous Naiyāyikas like Jagadīsha and
Gadādhara, leaders in Vyākaraṇa like Nāgesha Bhatta, renowned
Tāntrikas like Gokula-Nātha and Kalyāna Upādhyāya, have all tried
their hands at it. This gives us an idea of the high honour in which
the Kāvya-Prakāsha has always been held throughout India, as an
authority on its subject, and as a work, the careful study of which
is indispensable to every Pandit who aspires to be regarded as a
“ Sāhityāchārya ”.
A very full account of principal commentaries* on the work is
*Though no less than forty-six commentaries are enumerated,
there, three more commentaries have been found of which no men-
tion is made : (1) By one “ Paṇḍita-Rāja ” (identified by Pandits
with Raghunandana Rāya, the renowned disciple of Mahesha Thakk-
ura. This commentary begins thus : रघुवंशजलधिचन्द्रं रावणवनदन्तिपारीन्द्रम् ।

X V
to be found in the elaborate Sanskrit Introduction (from which
many of the facts stated above have been taken) to his edition of it,
(with his own—the latest, perhaps the best, and certainly the fullest
commentary), by the eminently learned Mahāmahopadhyāya Pandit
Vāmanāchārya Zhalkīkar of Poona.
In bringing the above remarks to a conclusion, I have to thank
the gentlemen who have, in one way or another, helped me in the
मीतामुदितमयूरीमुदिरमुदारमहं कलये ॥ १ ॥ मौलौ निधाय पाणी वाणीमनिशं नमस्कृत्य । पण्डित-
राजः कुरुते टीकां काव्यप्रकाशस्य ॥ २॥ इयताऽपि बुद्धिविभवेन मोहतो यदमूष्य भावशतवर्णनोधमः ।
अपि सत्सु सत्सु गुणभावगौरवादवधेहि बाणिकरवाणि साहसम् ॥३॥ वलिशादपि वक्रहृदः कुलिशादपि
कठिनकर्माण.। गरलादपि मर्मभिदो ये केचन तान्नमस्कार्मं ॥४॥ हरमौलिगलितगङ्गावीचिविचित्रिताशया
सुधिय. । मत्कृतिमतिदीर्घकृपादृक्पातसुधारसेन सिञ्चन्तु ॥ ५ ॥ प्रथमत. प्रेक्षावत्प्रवृत्तिनिमित्तत्वेन
प्रयोजनाभिधेयसम्बन्धस्याभिधातुमुचितस्यानभिधाभाद् भारतीस्तुतिमत्यात्मकमङ्गलस्य समाप्तौ व्यभि-
चारात् फलान्तरस्याभावात् ... प्रथमश्लोकमवतारयति ग्रन्थान्तरम्भ इति ।। and ends thus :
उल्लासमुपसंहरति तदेत इति । इतीति ग्रन्थसमाप्तौ ॥ इति महामहोपाध्याय श्रीमत्पण्डितराजविरचिता-
काव्यप्रकाशटीकाया दशमोल्लासः ॥ The MS. found is dated शाके १५५९ (A. C.
1637) (2) By Mahāmahopādhyāya Gokula-Nātha Upādhyāya. This
begins thus • नत्वा परमात्मानं श्रीगोकुलनाथशर्मणा रचिता । काव्यप्रकाशिकायटीका प्रीत्यै
सूनामस्तु ॥ १ ॥ कारिकानिबद्धमङ्गलश्लोकानुवचना देवानुषङ्गिकविघ्नध्वंससिद्धौ वृत्तिकारो न मङ्गलम्
प्रणीतवान् न चोपनिबबन्ध । किन्तु कारिकाप्रबन्धमारिप्समानस्य ग्रन्थकृत प्रथमम् मङ्गलमाचरतो
निबध्नतश्च निष्फलकर्मकर्तृ त्वादनवधेयवचमत्वशङ्कामपाकर्तुमवतारयन्नानुषङ्गिकमङ्गलसम्पत्तये मौल-
म्पद्यमनुवदति ग्रन्थेत्यादिना जयतीत्यन्तेत । अधिकरणसमूहः शास्त्रम् . . . ॥
The MS. found does not extend to the end.¹ (3) By Kallyāna
Upādhyāya—only fragments of this work have been found.
In a foot-note in connection with commentary No 25, the Sanskrit
Introduction says that it is by Vāchaspati Mishra, the "सर्वतन्त्रज्ञः"
I venture to point out that this is an oversight : because the Vāchas-
pati Mishra, who is generally styled 'सर्वतन्त्रज्ञ'—the author of "Bha-
matī" &c.—is much older than Mammaṭa, and further, this author
has enumerated all his works at the end of "Bhāmatī" where no
mention is made of any commentary on the Kāvya-Prakāsha. The
Vāchaspati Mishra who wrote a commentary on the Kāvya-Prakāsha,
is the legist, the author of a series of Dharmasāshstra works—Āchāra-
chintāmaṇi, &c.
[ 1. Fragment extending up to the chapter V edited by Kavi-
shekhara Badarinatha Jha and published by the Sanskrit University,
Varanasi 1961. ]

xv
translation. First among these comes Pandit Jayadeva Mishra,
Professor of Vyākaraṇa in the “Darbhanga Pāṭhashālā,” Benares, from
whom I got my first lessons in Kāvya-Prakāsha, and then Rai Bahadur
Pramadā Dāsa Mittra of Benares, already mentioned, who not only
encouraged me in the work, but also took upon himself the trouble
of correcting an important portion of it. My thanks are also due to
my honoured tutor, late Mr. Arthur Venis, M. A., Principal of the
Queen’s College, Benares, without whose encouraging words and
example, I should probably have never ventured upon literary work,
and to whose kind help is due the publication of the present trans-
lation. The last person, but not the least, whom I cannot leave un-
mentioned, is Babu Govinda-Dāsa of Benares, who has ever been the
guiding spirit of literary life
DARBHANGA $\quad\quad\quad\quad\quad\quad\quad\quad$ GANGĀNĀTHA JHĀ.
April, 1918

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KĀVYAPRAKĀSHA
CONTENTS
Text with translation, etc.
Page
काव्यप्रकाशकारिकापाठः १–१२
पाठान्तरचक्रम् १२–१६
CHAPTER I
Invocation इष्टदेवतापरामर्श : . 1
Contrast between the Creation of Brahma and that of
the Poet’s Speech. ब्रह्मनिर्मितिकविनिर्मितिभेद . 1
Effects of Poetry : Fame Etc काव्यप्रयोजनम् 2
Cause of Poetry : Genius, &c काव्यकारणम् .. 3
Definition of Poetry काव्यलक्षणम् .. 4
Divisions of Poetry • (a) “ Dhvani ” काव्यभेदा (क) ध्वनि. . 6
(b) Poetry of Subordinate Suggestion (ख) गुणीभूतव्यङ्ग्यकाव्यम् 7
(c) Third Class Poetry—“ Fanciful ” (ग) चित्रकाव्यम् .. 7
CHAPTER II
Three kinds of Words शब्दस्य त्रयो भेदाः वाचकलाक्षणिकव्यञ्जकाः .. 9
A Fourth Kind (according to some) चतुर्थ तात्पर्याख्यः .. 9
Suggestion belonging to all meanings सर्वेषा व्यञ्जकत्वम् .. 10 ,
Expressive Word defined वाचक लक्षणम् .. 12
Fourfold Convention चतुर्भेद. संकेत. .. 12
The “ Individualistic ” and “ Class ” Theories Contrasted
जातिव्यक्तिभेदः .. 12
Divisions of Upādhi उपाधिभेदौ .. 13
‘ Denotation ’ Defined अभिधालक्षणम् . .. 17
Indication Defined लक्षणालक्षणम् .. 17
Examples of Indication लक्षणायाः उदाहरणानि .. 17
Different Kinds of ‘ Indication ’ लक्षणाभेदाः .. 19
What is Pure Indication शुद्धालक्षणा .. 19

xvii
Inclusive Indication उपादानलक्षणा .. .. 19
Indicative Indication लक्षणलक्षणा .. . 21
Superimponent Indication सारोपा लक्षणा .: . 22
Intro-susceptive Indication साध्यवसाना लक्षणा . .. 23
Qualitative Indication गौणी लक्षणा 23
Difference between Pure and Qualitative Indications
गौणशुद्धलक्षणयोर्भेदः 26
Six Kinds of Indication षड्विधा लक्षणा .. .. 27
Indication based on Motive is endowed with Suggestive
Meaning. प्रयोजनमूला लक्षणाया. व्यङ्ग्यसहितत्वम् .. . 27
‘ Suggestion ’ either Abstruse or Explicit गूढागूढव्यङ्ग्यत्वम् . 27
Examples of both द्वयो उदाहरणानि . .. 28
‘ Indication ’ of three kinds लक्षणाया. त्रैविध्यम् .. 29
Indicative Word Defined लाक्षणिकशब्द. .. 29
Suggestion in the comprehension of the Motive लक्षणामूलकव्यञ्जना-
व्यवस्थापनम् 30
Reasons for admitting of such Suggestion व्यञ्जनाग्रहणे को हेतुः .. 30
It cannot be Denotation अभिधा न .. .. 30
It cannot be Indication लक्षणा न .. . 31
Why not Indication ? कथ न लक्षणा .. 31
Admission of Indication leads to a Regressus ad infinitum ..
अनवस्थादोषः स्यात् 32
Motive does not accompany the Indicated Meaning ..
प्रयोजनेन सहित लक्षणीयं न 33
Reasons for the Assertion तद्धेतुः .. .. 33
Definition of Suggestion based on Denotation अभिधामूला व्यञ्जना 34
The Different Causes of Suggestion व्यञ्जनाहेतवः .. .. 34
Examples उदाहरणानि .. .. 35
The Suggestive Word Defined व्यञ्जकशब्दलक्षणम् .. .. 39
Meaning Auxiliary to Suggestion शब्दस्य व्यञ्जकतायामर्थस्य सहकारिता 39
CHAPTER III
Suggestiveness Defined व्यञ्जकतालक्षणम् .. .. 40

xviii
Suggestion Defined व्यञ्जनालक्षणम् .. .. 40
Suggestion due to the special character of the Speaker, &c.
वक्त्रादीना वैशिष्ट्ये व्यञ्जनाया उदाहरणानि
(1) Of the Speaker वक्तुः .. 41
(2) Of the Person Spoken to बोद्धव्यस्य . 41
(3) Of Intonation काको 42
(4) Of the Sentence वाक्यस्य .. . 43
(5) Of the Expressed Meaning वाच्यार्थस्य . 43
(6) Of Presence of another अन्यसन्निधेः 44
(7) Of Context प्रस्तावस्य . .. 44
(8) Of Place देशस्य .. 45
(9) Of Time &c. कालादीनाम् 45
Suggestiveness of a Combination of the aforesaid specialities
वक्त्रादीना मिथःसयोगे .. 47
Words help the Suggestiveness of Meaning
अर्थव्यञ्जकताया शब्दस्य साहाय्यम् .. 47
CHAPTER IV
Justification of taking up Divisions of Poetry काव्यभेदाभिधानसमर्थनम् 48
Two kinds of Suggestive Poetry काव्यभेदौ .. .. 48
(1) Suggestive Poetry based on Indication, where the
Direct Meaning is transferred to another ..
अर्थान्तरसङ्क्रमितवाच्यः 48
(2) Where the Direct Meaning is altogether neglected ..
अत्यन्ततिरस्कृतवाच्य 49
Suggestion based on Denotation विवक्षितान्यपरवाच्य. .. 50
The two kinds of "Vivakshitānyaparavāchya" तद्‌भेदौ .. 50
I That in which The Order of Sequence is not perceptible ..
असंलक्ष्यक्रमव्य ङ्ग्यः 51
Rasa Defined. रसस्वरूपम् .. . 52
Bharata’s Sūtra भरतसूत्रम् . 52
Bhattalollata’s Interpretation of Bharata भट्टलोल्लटमतम् .. 52
Shaṅkuka’s Interpretation of Bhārata शङ्कुकमतम् .. 53

XIX
Bhattanāyaka's Interpretation of Bharata भट्टनायकमतम् .. 56
Abhinavagupta's Interpretation of Bharata अभिनवगुप्तमतम् 57
The Eight Rasas Enumerated अष्टौ रसाः . . 62
(a) The Erotic शृङ्गारः . 63
Erotic in Enjoyment सम्भोगशृङ्गार 63
Of Privation विप्रलम्भशृङ्गारः . 64
Of Longing अभिलाषः . 64
Of Separation विरह 64
Of Jealousy ईर्ष्या 65
Of Residence Abroad प्रवासः 65
Of Curse शापः 65
(b) The Comic हास्य 66
(c) The Pathetic करुण 66
(d) The Furious रौद्र . 67
(e) The Heroic वीरः 67
(f) The Frightful भयानक . 67
(g) The Disgustful बीभत्स . 68
(h) The Marvellous अद्भुत. . 68
The Permanent Emotions Underlying the Rasas स्थायिभावाः 68
The Thirty-Three Accessary Emotions Enumerated
व्यभिचारिभावा . 69
The Ninth Rasa—The Quietistic नवमो रसः—शान्त .. 70
Bhāva (Emotion) Defined भावः .. 70
The Aberrations of Rasa and Bhāva रसाभासभावाभासौ . 72
Allayment. Manifestation, Mixture and Variegation of
Emotions. भावस्य शान्तिरुदयः संधिः शबलता च . .. 73
(1) Allayment of Emotion भावशान्तिः .. 73
(2) Manifestation of Emotion भावोदयः .. 74
(3) Conjunction of Emotion भावसंधिः .. 75
(4) Admixture of Emotion भावशबलता . .. 75
Allayment, etc. sometimes the Predominent Factor ..
भावाशान्त्यादीना क्वचित् प्राधान्यम् 75

xx
II Suggestive Poetry of Perceptible order of Sequence ..
is Three-fold संलक्ष्यक्रमव्यङ्ग्यध्वनिः 76
Suggestion arising from the power of the Word शब्दशक्त्युत्थध्वनिः 77
Of figure of speech by Word शब्दशक्त्युत्थालकारध्वनि. 77
Of fact by word शब्दशक्त्युद्भववस्तुध्वनिः .. 80
Suggested Meaning arising from power of Meaning
अर्थशक्त्युद्भवध्वनि 81
I The Self-Existent स्वतः सम्भवी .. 81
II That created by the Poet's Imagination कविप्रौढोक्तिसिद्ध .. 81
III Created by a character portrayed by the Poet
कविनिबद्धनायकोम्भित 81
Example of the first kind of the Self-Existent स्वतः सम्भविनः ..
उदाहरणानि 82
—Fact suggested by Fact वस्तुना
वस्तुध्वनिः 82
,, ,, ,, 2nd kind ,, Figure suggested Matter वस्तुना
अलंकारध्वनि. 83
,, ,’ ,, 3rd king ,, Fact by Figure अलंकारेण
वस्तुध्वनिः 83
,, ,, ,, 4th kind ,, Figure by Figure अलंकारेण ..
अलंकारध्वनिः 83
Example of the 1st kind of that which is established by the
Poet’s Assertion. कविप्रौढोक्तिसिद्धानामुदाहरणानि—
Fact by Fact वस्तुना वस्तुध्वनिः .. 84
,, ,, ,, 2nd king ,, Figure by Fact वस्तुना अलंकारध्वनिः 84
,, ,, ,, 3rd kind ,, Fact by Figure अलंकारेण वस्तु-
ध्वनिः 85
,, ’ ,, 4th kind ,, Figure by Figure अलंकारेण ..
अलंकारध्वनि. 85
Example of the 1st kind of that created by a character portrayed
by the poet:—कविनिबद्धनायकोम्भितस्योदाहरणानि
.. Fact by Fact वस्तुना वस्तुध्वनिः 86

XXI
” ” ” 2nd kind ” Figure by Fact वस्तुना अलकार-
ध्वनि 87
” ” ” 3rd kind ” Fact by Figure अलकारेण वस्तु-
ध्वनि 87
” ” 4th kind ” Figure by Figure अलकारेण अलकार-
ध्वनि. 88
Only one kind of Suggestive Meaning due to both Word and
Meaning शब्दार्थोभयशक्त्युत्थध्वनिः . 89
Eighteen-foldness of Suggestive Poetry ध्वनेरष्टादश भेदा˙ .. 90
Rasa and other forms, etc. counted as one रसादीना एक एव भेद 90
In a Sentence, we have Suggestion due to both Word and
Meaning वाक्ये ह्युत्थ. .. . 91
In Words, these and others पदेप्यन्ये . 91
(1) Having the Expressed Meaning transferred to another
अर्थान्तरसक्रमितवाच्यध्वनि. 92
(2) Having the Expressed Meaning Entirely Ignored
अत्यन्ततिरस्कृतवाच्यध्वनि 92
(3) Having the Suggestion of imperceptible sequence असंलक्ष्य-
क्रमव्यङ्ग्यध्वनिः 92
(4) Suggestion of perceptible process by Words संलक्ष्यक्रमव्यङ्ग्य-
ध्वनि˙; founded on the power of a Word शब्दशक्तिमूल. : of
Figure by Fact वस्तुना अलकारध्वनि . 94
(5) Suggestion of perceptible process : by Words : founded
on the power of Word · of Fact by Fact वस्तुना वस्तुध्वनि 94
(6) Suggestion of perceptible sequence : by Word अर्थशक्तिमूल :
founded on the power of Sense स्वत सम्भवी:, Self-Existent
of Fact by Fact वस्तुना वस्तुध्वनि 95
(7) ‘ ” of Figure by Fact वस्तुना अलकारध्वनि .. 95
(8) ” of Fact by Figure अलकारेण वस्तुध्वनि˙ 96
(9) ” of Figure by Figure अलंकारेण अलकारध्वनि .. 97
(10) Suggestion of perceptible process : by Words : founded
on the bold assertion of the Poet : कविप्रौढोक्तिनिष्पन्नः ..
‘ Fact by Fact वस्तुना वस्तुध्वनिः .. 97

xxii
(11) ,, Figure by Fact वस्तुना अलंकारध्वनिः .. 98
(12) ,, Fact by Figure अलंकारेण वस्तुध्वनिः .. 98
(13) ,, Figure by Figure अलंकारेण अलंकारध्वनिः .. 99
(14) Suggestion of perceptible process : by Word : founded
on the assertion of a character portrayed by the Poet : कवि-
निबद्धवक्तृप्रौढोक्तिनिष्पन्नः Fact by Fact वस्तुना
वस्तुध्वनिः 99
(15) ,, Figure by Fact वस्तुना वस्तुध्वनि· 100
(16) ,, Fact by Figure अलंकारेण वस्तुध्वनि .. 101
(17) ,, Figure by Figure अलंकारेण अलंकारध्वनिः 102
Suggestion in a Prabandha-Context प्रबन्धे अर्थशक्त्युद्भवध्वनि 103
Suggestiveness of the Particles of Words पदैकदेशध्वनि· 105
(1) Suggestion by the base of a Word प्रकृत्या . 105
(2) ,, of Inflexion and Declension तिङ्‌सुपोः . 106
(3) ,, by the Genitive Case-termination सबन्धस्य . 108
(4) ,, of Number वचनस्य .. . 109
(5) ,, of Person पुरुषव्यत्ययस्य .. 110
(6) ,, of the Irregular Order of Words पूर्वनिपातस्य 110
(7) ,, of the Peculiar Case Affix विभक्तिविशेषस्य . 111
(8) ,, of the Nominal Affix तद्धितस्य .. 111
(9) ,, of the Preposition उपसर्गस्य .. . 112
(10) ,, of the Nipāta निपातस्य . 112
(11) ,, of the Pronouns, Substantives and Numbers
सर्वनामप्रातिपादिकवचनानाम् 113
(12) ,, of Affixes, Compounds, etc. प्रत्ययसमासादीनाम् 114
Total—51 Forms of Suggestion एकपञ्चाशद् भेदाः .. 115
These by Various Combinations come to 10,404 संकरेण संसृष्ट्या
सह १०४०४ भेदाः 116
Grand Total : 10,455 शुद्धभेदैः सह १०४५५ भेदाः 116
Examples उदाहरणानि ... 117
Comixture of Dubiousness ... .. 117
Mutual Subserviency ... ... 118

Poetry of Subordinate Suggestion described गुणीभूतव्यङ्ग्यम् .. 119
(1) The Explicit (Obvious) Subordinate Suggestion अगूढम् .. 119
.... (a) having the Expressed Meaning transferred
to another object अर्थान्तरसक्रमितवाच्यस्य . 120
,, (b) in which the Expressed Meaning is
altogether neglected अत्यन्ततिरस्कृतवाच्यस्य 120
,, (c) based on the power of Meaning अर्थशक्ति-
मूलानुरणनरूपस्य 121
(2) Subservient to some thing else (a) Rasa to Rasa रसो रसस्य .. 122
,, (b) Rasa to Emotion रसो भावस्य .. 122
,, (c) Emotion to Emotion भावो भावस्य .. 123
,, (d) Semblance of Rasa and Emotion to
Emotion रसाभासभावाभासौ भावस्य . 123
,, (e) Allayment of Emotion to Emotion
भावशान्ति भावस्य 124
,, (f) Appearance of Emotion to Emotion
भावोदयः भावस्य 124
,, (g) Mixture of Emotion to Emotion
भावसन्धिः भावस्य 125
,, (h) Variegation of Emotion to Emotion भाव-
शबलता भावस्य 125
,, (i) Suggested Figure, a part of Expressed
Meaning अनुरणनरूपस्य अलङ्कारस्य वाच्याङ्गता 127
,, (j) Suggested matter a part of Expressed
Meaning तद्रूपस्य वस्तुनो वाच्याङ्गता .. 128
(3) Suggestion, part of the development of the suggested
meaning वाच्यसिद्ध्यङ्गम् . 128
(4) Abstruse Subordinate Suggestion क्लिष्टम् .. 130
(5) Of Doubtful Predominance सन्दिग्धप्राधान्यम् . .. 130
(6) Of Equal Prominence तुल्यप्राधान्यम् . .. 131
(7) Rendered manifest by Intonation काक्वाक्षिप्तम् .. .. 131
(8) The Not-Beautiful असुन्दरम् .. .. 132

xx v
Divisions of the Poetry of Subordinate Suggestion follow
those of Suggestive Peotry. गुणीभूतव्यङ्ग्यानां ध्वनिवद् भेदाः .. 132
Combination of the Various kinds of Poetry Suggestive and those
of the Poetry of Subordinate Suggestion संसृष्टिसंकरैः योगः .. 133
Suggestion as a process of Signification, necessary, apart from
all other processes. रसादिलक्षणार्थस्य व्यङ्ग्यत्वम् .. 135
Points of Difference between the Direct (Expressed) and
Indirect (Suggested) Significations वाच्यव्यङ्ग्ययोर्भेदः .. 149
CHAPTER VI
Fanciful Word and Meaning शब्दचित्रार्थचित्रयोः स्वरूपम् 161
Fanciful Word शब्दचित्रम् . . 162
Fanciful Meaning अर्थचित्रम् .. . 163
CHAPTER VII
Definition of Defect दोषलक्षणम् .. . 165
Defects of the Word पददोषाः . 165
(1) The Unpleasant to the ear श्रुतिकटु 166
(2) Lacking Correctness च्युतसंस्कृतिः 166
(3) 'Unconventinal' अप्रयुक्तम् . . 168
(4) Incapable of giving sense असमर्थम् . 168
(5) Suppressed Meaning निहतार्थम् . 169
(6) Improper Signification अनुचितार्थम् . 169
(7) Useless निरर्थकम् . .. 170
(8) Not-expressive अवाचकम् 170
(9) Three fold Indecorousness त्रिविधम् अश्लीलम् . 173
(10) Ambiguousness सन्दिग्धम् . . 174
(11) Unintelligibility अप्रतीतम् .. 175
(12) Vulgar ग्राम्यम् .. .. 175
(13) That of which the meaning has to be guessed out नेयार्थम् 176
(14) Obscure क्लिष्टम् .. .. 177
(15) Non-discrimination of the Predicate अविमृष्टविधेयांशम् .. 177

xxv
(16) Repugnant Implication विरुद्धमतिकृत् .. .. 181
Unmelodiousness in Compounds समासगत श्रुतिकटु .. .. 183
Defects of sentence (all the above except "Lack of
Correctness "." Incapability of giving sense" and "Use-
lessness ".) वाक्यदोषाः .. .. 184
Defects occurring in parts of words पदांशगतदोषाः.. .. 201
The Defects occurring in a sentence only वाक्यदोषाः . 207
(1) Discord of Letters प्रतिकूलवर्णम् .. .. 207
(2) and (3) The Blunted Visarga and the Rejected Visarga
उपहतविसर्गलुप्तविसर्गं च . 210
(4) Cacaphony विसन्धि .. . 210
(5) Unrhythmical हतवृत्तम् . . 213
(6) Deficiency in Word न्यूनपदम् . . 215
(7) Redundant Word अधिकपदम् .. . 216
(8) Repetition of Words कथितपदम् .. .. 217
(9) Falling off of Excellence पतत्प्रकर्षम् .. .. 217
(10) Resumption of the Concluded समाप्तपुनरात्तम् .. .. 218
(11) Isolation, in the second half of a Shloka of an expressive
word required in the first half अर्धान्तरैकवाचकम् .. 219
(12) Want of Intended Connection अभवन्मतयोगम् .. .. 219
(13) Omission of a Necessary Statement अनभिहितवाच्यम् .. 225
(14) Misplacement of a Word अस्थानस्थपदम् . . 227
(15) Misplaced Compound अपदस्थपदसमासम् . . 228
(16) Confusion संकीर्णम् .. .. 229
(17) The Parenthetical गर्भितम् .. .. 230
(18) Opposed to Usage प्रसिद्धिहतम् .. .. 231
(19) Violation of the Uniformity of Expression भग्नप्रक्रमम् .. 232
(20) Absence of order (Syntactical Irregularity अक्रमम् :. 239
(21) Undesirable Second Intention अमतपरार्थम् .. .. 241
Defects of sense Enumerated अर्थदोषाः .. ..
(1) Irrelevant अपुष्टार्थः .. .. 241
(2) Obscure कष्टार्थः .. .. 243
(3) Contradictory or Inconsistent व्याहतार्थः .. .. 244

xxvi
(4) Tautophonous पुनरुक्त 244
(5) Irregular दुष्क्रमः 245
(6) Vulgar ग्राम्य 246
(7) Dubious सन्दिग्ध. 246
(8) Inconsequential निर्हेतु. 246
(9) Opposed to Popular Notations प्रसिद्धिविरोध 247
(10) Unscientific विद्याविरोध 248
(11) Monotonous and Wanting in Variety अनवीकृतः 250
(12) Too Unspecific सनियमपरिवृत्तः 251
(13) Too Specific अनियमपरिवृत्त 251
(14) Too unrestricted विशेषपरिवृत्त 252
(15) Too Unrestrected अविशेषपरिवृत्त 252
(16) Incomplete साकाङ्क्ष 253
(17) Misplaced अपदयुक्त. 254
(18) Mismatched सहचरभिन्न 254
(19) Of Repurnant Implication प्रकाशितविरुद्ध. 255
(20) Of Improper Predication विध्ययुक्त 255
(21) Having Improper Adjuncts अनुवादायुक्त 256
(22) Resuming the Concluded त्यक्तपुन स्वीकृत 257
(23) Indecorous अश्लील. 257
Exceptions to the aforesaid अपवादा 258
First Exception प्रथम अपवाद 261
Second Exception द्वितीय अपवाद 263
Third Exception तृतीय अपवादः 263
Fourth Exception चतुर्थ अपवाद 264
Defects of the Rasa रसदोषा 279
(1) Mention by Name of either the Rasa or the
Accessory or Permanent Emotion व्यभिचारिण.
रसस्य स्थायिभावस्य वा स्वशब्दोपादानम् .. .. 280
(2) For-fetched Indication of Excitants and Ensuants
विभावानुभावयोः कष्टकल्पना .. 282
(3) Admission of Adverse Concommitants प्रतिकूलविभावा-
दिग्रहः .. 283

xxvii
(4) Repeated Heightening पुन पुनर्दीप्तिः .. 284
(5) Untimely Introduction अकाण्डे प्रथनम् .. 284
(6) Untimely Interruption अकाण्डेच्छेदः .. 284
(7) Excessive Dilation of Subordinate Factor अङ्गस्यातिविस्तृति 285
(8) Neglect of the Principal Factor अङ्गिनोननुसंधानम् .. 285
(9) Perversion of Characters प्रकृतीना विपर्ययः . 285
(10) Celebration of Unimportant Object अनङ्गस्याभिधानम् .. 287
Exceptions to the above अपवादाः .. 288
Laws governing the Admixture of Rasas रसविरोधपरिहारविधि. 292

CHAPTER VIII
Excellences गुणाः
Page
Difference between ‘Excellences’ & ‘Ornaments
गुणालकारविवेक .. 299
Varieties of Excellences गुणाना भेदा 305
Sweetness माधुर्यम् 305
Floridity ओज 306
Lucidity प्रसाद. 307
Coalescence 1 श्लेष 308
Smoothness 2 समाधि. ,,
Magnificence 3 उदारता ,,
Simplicity 4 प्रसाद ,,
Sweetness 5 माधुर्यम् ,,
Clearness of Meaning 6 अर्थव्यक्ति ,,
Uniformity 7 साम्यम् ,,
Softness 8 सौकुमार्यम् ,,
Polish 9 कान्ति. ,,
CHAPTER IX
Verbal Figures of Speech शब्दालंकाराः
Equivoque (two kinds) वक्रोक्ति द्वैविध्यम् 317
Equivoque Based on Punning वक्रोक्ति श्लेष . . 317
Equivoque Based On Intonation वक्रोक्तिः काक्वा . .. 317
Alliteration अनुप्रास . 319
Alliteration Chheka (Experts) छेकानुप्रास . . 320
Alliteration Vritti (Diction) वृत्त्यनुप्रासः . 320
Polished and Harsh Diction उपनागरिका-परुषा वृत्ति 320

11
Page
Three Styles of Diction : Vaidarbhī, Gauḍī
and pāñchālī तिस्रो वृत्तया-वैदर्भी, गौडी, पाञ्चाली च . .. 322
Coalescence or Pun श्लेष .. 330
Eight Kinds of Pun अष्टधा श्लेषः . 330
CHAPTER X
The Ideal Figures of Speech अर्थालंकाराः
Sımile (I) उपमा . 349
Complete Sımile पूर्णोपमा 350
Comparison Absolute (II) अनन्वय. 365
Reciprocal Comparison (III) उपमेयोपमा 365
Poetic Fancy (IV) उत्प्रेक्षा 366
Doubtful (V) ससन्देह . 367
Metaphor (VI) रूपकम् 369
Concealment (VII) अपह्नुति . 377
Paronomasia (VIII) श्लेष. . . 379
Modal Metaphor (IX) समासोक्ति. .. . 380
Illustration (X) निदर्शना .. . 381
Indirect Description (XI) अप्रस्तुतप्रशंसा . . 383
Hyperbole (XII) अतिशयोक्तिः .. 390
Typical Comparison (XIII) प्रतिवस्तूपमा .. .. 392
Exemplification (XIV) दृष्टान्त. . .. 393
Illuminator (XV) दीपकालंकारः . . 395
Equal Pairing (XVI) तुल्ययोगिता . .. 396
Dissimilitude (XVII) व्यतिरेकः . 396
Hint (XVIII) आक्षेप. 402
Peculiar Causation (XIX) विभावना . . 404
Peculiar Allegation (XX) विशेषोक्तिः . 404
Symmetrical (XXI) यथासंख्यम् . .. 405
Transition (XXII) अर्थान्तरन्यास . .. 406
Contradiction (XXIII) विरोधः .. .. 407

iii
Page
Natural Description (XXIV) स्वभावोक्तिः . . 411
Dissembling Eulogy (XXV) व्याजस्तुतिः . 411
Connected Description (XXVI) सहोक्तिः 412
Private Description (XXVII) विनोक्तिः . 413
Exchange (XXVIII) परिवृत्तिः .. . 414
Visualisation (XXIX) भाविकम् . . 415
Poetic Reason (XXX) काव्यलिङ्गम् 416
Periphrasis (XXXI) पर्यायोक्तम् 418
Exalted (XXXII) उदात्तम् 419
Concatenation (XXXIII) समुच्चयः . 421
Sequence (XXXIV) पर्याय 424
Inference (XXXV) अनुमानम् . 426
Insinuation (XXXVI) परिकरः 427
Artful Assertion (XXXVII) व्याजोक्तिः . .. 428
Exclusion (XXXVIII) परिसंख्या 430
The Spring of Causes (XXXIX) कारणमाला . 432
Reciprocal (XL) अन्योन्यम् . 433
Answer (XLI) उत्तरम् . 434
Subtle (XLII) सूक्ष्मम् .. 436
Climax (XLIII) सारः . 437
Disconnection (XLIV) असङ्गतिः . 438
Convenience (XLV) समाधिः . . 439
Compatible (XLVI) समम् . .. 440
Incongruous (XLVII) विषमः .. .. 441
The Exceeding (XLVIII) अधिकम् .. . 443
Hostile (XLIX) प्रत्यनीकम् .. .. 444
Obscured (L) मीलितम् .. .. 446
Necklace (LI) एकावली .. .. 448
Reminiscence (LII) स्मरणम् .. .. 449
Illusion (LIII) भ्रान्तिमान् .. .. 450