काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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 ॥

132 KĀVYAPRAKĀŚA
असुन्दरं यथा
वाणीरकुञ्जउड्डीणसउणिकोलाहलं सुणंतीए ।
घरकम्मवावडाए बहुए सीअन्ति अंगाइं ॥१३२॥ (८)
अत्र दत्तसंकेतः कश्चिल्लतागहनं प्रविष्ट इति व्यङ्ग्यात्
सीदन्त्यङ्गानीति वाच्यं सचमत्कारम् ॥
एषां भेदा यथायोगं वेदितव्याश्च पूर्ववत् ॥ ४६ ॥
यथायोगमिति
“व्यज्यन्ते वस्तुमात्रेण यदालंकृतयस्तदा ।
ध्रुवं ध्वन्यङ्गता तासां काव्यवृत्तेस्तदाश्रयात् ॥”
इति ध्वनिकारोक्तदिशा वस्तुमात्रेण यत्रालंकारो व्यज्यते
न तत्र गुणीभूतव्यङ्ग्यत्वम् ।
(8) Example of the ‘not beautiful’ suggestion—
“When she heard the chatter of parrots flying from
the Vetasa-bower, on account of her being engaged in her
house-hold work, her limbs began to writhe.’
Here the directly expressed meaning—that ‘her limbs
are suffering (from her deep longing for her lover)’ is
more charming than the suggested meaning (that into the
bower has entered a lover with whom she had made an
engagement].
The varieties of these (eight kinds of Poetry of Sub-ordinate
Suggestion should be understood to be, as far as possible,
like those of what has gone before (i. e. Suggestive Poetry).—(46).
‘As far as possible.’—This has been added with a
view to the fact that there is no ‘subordination of
suggestion’ in a case where a Figure is manifested by a
mere Fact;—as has been declared by the author of the
Dhvani in the following passage—“Whenever Figures

CHAPTER V 133
सालङ्कारैर्ध्वनेस्तैश्च योगः ] संसृष्ट्यलङ्कारैः ।
सालंकारैरिति तैरेवालंकारैः अलंकारयुक्तैश्च तैः। तदुक्तं ध्वनिकृता
“स गुणीभूतव्यङ्ग्यैः सालंकारैः सह प्रभेदैः स्वैः।
संकरसंसृष्टिभ्यां पुनरप्युद्द्योतते बहुधा ॥” इति ।
अन्योन्ययोगादेवं स्याद्भेदसंख्यातिभूयसी ॥ ४७ ॥
of Speech are suggested by a mere Fact, they only serve
the purpose of making it regarded as ‘Suggestive Poetry’;
because the existence of poetry rests upon those
Figures (which, therefore, cannot be regarded as ‘Subor-
dinate’ to the expressed meaning). 46.
There is a combination of ‘Suggestive Poetry, with these
(eight varieties of Poetry of Subordinate Suggestion) (a) as
transformed into ‘Figures’ (the ‘sentimental,’ the ‘agreeable’
and so forth), and also (b) as accompanied (embellished) by
(other) Figures (directly expressed),—this combination being
per subserviency as also per equality.
The term ‘sālaṅkāraiḥ’ is to be expounded as
‘alaṅkāraiḥ’—‘with these as themselves transformed
into, assuming the character of, Figures of speech,’—
and ‘alaṅkārayuktaiḥ,’ ‘with those as embellished by
other figures of speech.’
The following declaration has been made by the author
of the Dhvani :—
‘This (Suggestive Poetry),—combining, per sub-
serviency and per equality, with its own varieties, as also
with the varieties of Poetry of Subordinate Suggestion,
along with the Figure of Speech,—appears in many
forms’.
Thus by mutual combination the number of its varieties
becomes very large.—(47).

134 KĀVYAPRAKĀŚA
एवमनेन प्रकारेण अवान्तरभेदगणनेतिप्रभूततरा
गणना । तथाहि—शृङ्गारस्यैव भेदप्रभेदगणनायामानन्त्यम् ।
का गणना तु सर्वेषाम् ।
संकलनेन पुनरस्य ध्वनेस्त्रयो भेदाः । व्यङ्ग्यस्य त्रिरूपत्वात् ।
तथाहि—किंचिद्वाच्यतां सहते किंचित्त्वन्यथा । तत्र वाच्यतासहम्
अविचित्रं विचित्रं चेति । अविचित्रं वस्तुमात्रं विचित्रं त्वलंकार-
रूपम् । यद्यपि प्राधान्येन तदलंकार्यं तथापि ब्राह्मणश्रमण-
न्यायेन तथोच्यते । रसादिलक्षणस्त्वर्थः स्वप्नेपि न वाच्यः ।
‘Thus’,—in the manner described,—by counting
all the sub-divisions,—the number becomes very large;
e. g. the varieties of the Erotic Passion itself are endless,—
not to speak of others.
Thus, briefly, of Suggestive Poetry there are three
varieties, there being three kinds of what is suggested
(according as it happens to be a Fact or a Figure or Passion,
Feeling and the rest);—of these again, some (i. e. Figure
and Fact) are such as can be expressed also, while others
(e. g. Passion and the rest) can never be expressed. Of those
that can be also expressed, some are fanciful, while others are
not fanciful; what is not fanciful is the mere fact, and what
is fanciful is the Figure.—Though, in this connection the
Figure (when suggested) is really what is itself embellished
(and hence cannot be called a ‘figure’, ‘embellishment,’
in the exact sense of the term), yet it is called by the name
of ‘figure,’ on the same principle as the Brāhmaṇa, who has
become a mendicant and thereby has ceased to be a real
Brāhmaṇa, is still called a ‘Brāhmaṇa’ in view of his
having formerly been a Brāhmaṇa. Passion and the
rest, however, cannot be regarded even in a dream to

CHAPTER V 135
स हि रसादिशब्देन शृङ्गारादिशब्देन वाभिधीयेत । न चाभि-
धीयते तत्प्रयोगेपि विभावाद्यप्रयोगे तस्याप्रतिपत्तेस्तदप्रयोगेपि
विभावादिप्रयोगे तस्य प्रतिपत्तेश्चेत्यन्वयव्यतिरेकाभ्यां विभा-
वाद्यभिधानद्वारेणैव प्रतीयते इति निश्चीयते ।
तेनासौ व्यङ्ग्य एव । मुख्यार्थबाधाद्यभावान्न पुनर्लक्षणीयः ।
be directly expressed. If these were expressed, they
could be so, either by the (generic) words ‘rasa’
(Passion) and the rest, or by the (particular) words
‘śṛṅgāra’ (erotic) and the rest ; as a matter of fact they
are not so expressed ; as is clear from the facts (a) that
even though these words are used, the Passion and the
rest are not cognised, so long as the excitants (ensuants
and variants) are not mentioned, and (b) that even when
those words are not used, if the excitants (ensuants and
variants) are mentioned, there is due cognition of Passion
and the rest ; and from these two premises—both affir-
mative and negative—it follows that what brings about
the cognition of these latter is the mention of the excitants
(ensuants and variants) (and not any verbal expressions
at all).
It is for this reason that Passion and the rest can be
only suggested, and not even indicated, because the necessary
conditions of Indication,—such as incompatibility of the
primary meaning and so forth—are wanting. Then again,
it has been already explained how there can be no ‘Indica-
tion’ without that kind of ‘suggestion of Fact in which
the expressed meaning is either transformed into some-
thing else or entirely ignored. In that ‘suggestion’
which is based upon the force of the words, the denota-
tion itself being restricted, any other that may be denoted,

136 KĀVYAPRAKĀŚA
अर्थान्तरसंक्रमितवाच्ययोरत्यन्ततिरस्कृतवाच्ययोर्वस्तुमात्ररूपं व्यङ्ग्यं
विना लक्षणैव न भवतीति प्राक् प्रतिपादितम्। शब्दशक्तिमूले
तु अभिधाया नियन्त्रणेनानभिधेयस्यार्थान्तरस्य तेन सहोपमा-
देरलंकारस्य च निर्विवादं व्यङ्ग्यत्वम्।
अर्थशक्तिमूलेपि विशेषे संकेत: कर्तुं न युज्यते इति
सामान्यरूपाणां पदार्थानामाकाङ्क्षा-संनिधि-योग्यतावशात्पर-
स्परसंसर्गो यत्रापदार्थोपि विशेषरूपो वाक्यार्थस्तत्राभिहितान्वय-
वादे का वार्ता व्यङ्ग्यस्याभिधेयतायाम्।
as also the Simile or any other figure of speech that may
be perceptible, must doubtless be regarded as ‘suggest-
ted’.
In cases of ‘suggestion’ based upon the force of mean-
ing also, how can there be any possibility of the ‘suggest-
ted’ meaning being regarded as ‘expressed’ or ‘deno-
ted’, when,—in accordance with the ‘Abhihitānvaya’
theory—what is expressed by a sentence is the mutual
relationship among the denotation of the component words
based upon their mutual need, proximity and capability ;
and as such it must be confined to particular individuals,
and hence cannot be ‘denoted’ by any single word, whose
denotation must always pertain to Universals only, for the
simple reason that convention, upon which alone ‘deno-
tation’ is based, can never pertain to particular individuals.
[‘Suggestion’ being shown to be inevitable according
to the Bhāṭṭa theory of ‘Abhihitānvaya,’ the author proceeds
to show that it must be accepted under the Prābhākara
theory of ‘Anvitābhidhāna’ also ; and for this purpose
he sets forth this latter theory, as bearing upon the matter
under consideration.]

CHAPTER V 137
यप्याहुः
“शब्दवृद्धाभिधेयांश्च प्रत्यक्षेणात्र पश्यति ।
श्रोतुश्च प्रतिपन्नत्वमनुमानेन चेष्टया ।। १ ।।
अन्यथानुपपत्त्या तु बोधेच्छक्तिं द्वयात्मिकाम् ।
अर्थापत्त्यावबोधेत संबन्धं त्रिप्रमाणकम् ।। २ ।।
इति प्रतिपादितदिशा देवदत्त गामानय इत्याद्युत्तमवृद्धवाक्य-
प्रयोगाद्देशाद्देशान्तरं सास्नादिमन्तमर्थं मध्यमवृद्धे नयति सति
अनेनास्माद्वाक्यादेवंविधोर्थः प्रतिपन्नः इति तच्चेष्टयानुमाय
The upholders of the ‘Anvitābhidhāna’ theory have
offered the following explanation of the process of
denotation:—(a)
“The word, the experienced elderly man uttering
it, and the object denoted by the word, these three
things the young child perceives by his senses,—(b) that
the young man to whom the word has been addressed
has understood its meaning, he deduces by inference from
the action of the young man,—(c) and the two-fold
potency (of the word to denote and of the object to be
denoted) he recognises by means of presumption based
upon ‘apparent inexplicability;’—thus the denotative
relationship (of the word and its meaning) is cognised
through three means of cognition.”—
According to this account what happens is that—(a) the
elder person utters the words ‘bring the cow,’—(b) upon
which the younger person (to whom the words are add-
ressed) is found to bring from one place to another an
animal with the dewlap and other distinguishing features,—
(c) the youngest person (the child) then deduces from
this action that ‘such and such a meaning has been under-
stood by the younger person from the words that have
been uttered’;—(d) thus he comes to recognise the de-

138 KĀVYAPRAKĀŚA
तयोरखण्डवाक्यवाक्यार्थयोरर्थापत्त्या वाच्यवाचकभावलक्षणं
संबन्धमवधार्य बालस्तत्र व्युत्पद्यते । परतः चैत्र गामानय देवदत्त
अश्वमानय देवदत्त गां नय इत्यादिवाक्यप्रयोगे तस्य तस्य
शब्दस्य तं तमर्थमवधारयतीति अन्वयव्यतिरेकाभ्यां प्रवृत्ति-
निवृत्तिकारि वाक्यमेव प्रयोगयोग्यमिति वाक्यस्थितानामेव
notative relationship subsisting between the said sentence
and its meaning as one impartible whole, and thereby he
himself comes to comprehend its signification ;—(e) after
sometimes he hears such sentences as ‘ Chaitra, bring
the cow,’ ‘ Devadatta, bring the horse.’ ‘ Devadatta, take
away the cow,’ and so forth, and thence deduces the mean-
ing of the several words and expressions. Thus it is
clear from positive as well as negative concomitance that
what is really significant and hence capable of being used
is the sentence only ; so that the denotative convention
pertaining to each individual word is cognised only
when it occurs in a sentence, and is connected with other
words ; so that the meaning of the sentence consists only
in the denotations of its component words as related to
one another ; and it is not that each word expresses its
own meaning and then these several meanings become
correlated (through proximity etc.) ; though it is true
that individual words when found to be used in other
sentences become recognised as the same (as the one that
was heard for the first time). Thus what forms the subject
of denotative convention is the denotation of a single
word only as correlated to the denotation of other words ;
thus though, when the said convention comes to be com-
prehended, it is comprehended in a particular form, yet
this particular form is one that is always overshadowed