काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

196 KĀVYAPRAKĀŚA
अत्र य उत्पत्स्यते तं प्रतीति ।
एवं च तच्छब्दानुपादानेत्र साकाङ्क्षत्वम् । न चासाविति
तच्छब्दार्थमाह ।
असौ मरुच्चुम्बितचारुकेसरः प्रसन्नताराधिपमण्डलाग्रणीः ।
वियुक्तरामातुरदृष्टिवीक्षितो वसन्तकालो हनुमानिवागतः॥१९०॥
अत्र हि न तच्छब्दार्थप्रतीतिः ।
[The first half of the verse is an example of this correct use of both
‘yat’ and ‘tat’ and the second half that of the correct suppression
of both.]
[Having thus discussed the correct use of the relative
pronouns ‘yat’ and ‘tat’, the author takes up the thread
of his remarks on the verse ‘apāṅgasaṁsargi’ &c.’, see
above]. Thus in the above-mentioned verse, the ab-
sence of the pronoun ‘tat’ causes a deficiency, and leaves
something wanting to complete the sentence.—It cannot
be said that the pronoun ‘asau’ has the same sense at
‘tat’; because in such sentences as the following we do not
find the word ‘asau’ conveying the sense of ‘tat’—
‘Asau maruchchumbita ......āgataḥ’
‘Like Hanumān, (a) having his beautiful locks kissed
by the Wind-god (his father), (b) the leader of the army
of the Lord of Tārā (Sugrīva), and (c) eagerly looked up
to by Rāma, separated from his wife,—has this spring-
time season arrived, (a) having its flower-pollen wafted
by the breeze, (b) beautified by the bright moon, and (c)
eagerly looked upon by women separated from their
lovers.’
In fact if the pronoun ‘asau’ conveyed the same sense
as ‘tat’, then the use of the pronoun ‘sa’ (the masculine

CHAPTER VII 197
प्रतीतौ वा
करवालकरालदोः सहायो युधि योऽसौ विजयार्जुनैकमल्लः ।
यदि भूपतिना स तत्र कार्ये विनियुज्येत ततः कृतं कृतं स्यात् ॥१९१॥
अत्र स इत्यस्यानर्थक्यं स्यात् ।
अथ
योविकल्पमिदमर्थमण्डलं पश्यतीश निखिलं भवद्वपुः ।
आत्मपक्षपरिपूरिते जगत्यस्य नित्यसुखिनः कुतो भयम् ॥१९२॥
nominative form of ‘tat’) in the following example would
be entirely superfluous :—
‘Karabāla......yosau......
‘Yadi........sa tatra......syāt’
‘If this person, who is the only equal of Arjuna, atten-
ded by his sword, were employed by the King in this
work, then would it be perfectly accomplished’.
It might be argued that the pronoun ‘asau’ in the
passage in question may be taken in the sense of ‘tat’
(even though it may not be quite synonymous with it) ;
just as we find, in the following passage the pronoun
‘asya’ (the genitive form of ‘idam’) used in the sense of
‘tat’ (‘that’, though its ordinary meaning is ‘this’]—
‘yovikalpa...........asya.........bhayam’—‘For one who
perceives, without any doubt, your body in all this world,
where is there any fear in this universe, filled as it is with
his own self ?’
Our answer to this is that if in the passage in question
the pronoun ‘asau’ were really intended to convey the
sense of ‘tat’, (as ‘idam’ is in the passage just quoted),
then it would have been used in a clause other than the
one in which the pronoun ‘yat’ (‘yaḥ’) occurs,—as in
the passage just quoted, ‘asya’ occurs in a separate clause,—

198 KĀVYAPRAKĀŚA
इतीदंशब्दवददःशब्दस्तच्छब्दार्थमभिधत्ते इति उच्यते।
तर्ह्यत्रैव वाक्यान्तरे उपादानमर्हति न तत्रैव। यच्छब्दस्य हि
निकटे स्थितः प्रसिद्धिं परामृशति। यथा
यत्तदूर्जितमत्युग्रं क्षात्रं तेजोस्य भूपतेः।
दीव्यताक्षैस्तदानेन नूनं तदपि हारितम् ॥१९३॥
इत्यत्र तच्छब्दः।
ननु कथम्
कल्याणानां त्वमसि महसां भाजनं विश्वमूर्ते
धुर्यां लक्ष्मीमथ मयि भृशं धेहि देव प्रसीद।
यद्यत्पापं प्रतिजहि जगन्नाथ नम्रस्य तन्मे
भद्रं भद्रं वितर भगवन् भूयसे मङ्गलाय ॥१९४॥
and not in the same clause (as it does in the passage in
question, where we have the two pronouns appearing in
juxtaposition, ‘yosau’). In fact when pronouns like
‘tat’ and ‘adas’, appear in close juxtaposition to ‘yat’,
they signify the well-known character of the thing spoken
of [and they are not used predicatively];—e. g. in the
passage—‘yattadūrjita.......hāritam’—‘Even that well-
known virile and glorious warlike spirit of the king was
lost in the gambling,’—where the pronoun ‘tat’ signifies
the well-known character of the ‘spirit.’
It might be argued that, if such be the rule (that the
pronoun ‘yat’ in one clause must be followed by a corres-
ponding ‘tat’ in a subsequent clause), then how is it that
in the following passage, though the preceding clause
contains the pronoun ‘yat’ repeated twice—‘yat-yat’—
the corresponding ‘tat’ occurs only once in the subse-
quent clause—‘Kalyāṇāṁ.....yadyat pāpaṁ......tanme......
maṅgalāya’—‘Oh Thou of form universal! Thou art

CHAPTER VII 199
अत्र यद्यदित्युक्त्वा तन्मे इत्युक्तम्। उच्यते--यद्यदिति येन
केनचिद्रूपेण स्थितं सर्वात्मकं वस्वाक्षिप्तं तथाभूतमेव तच्छब्देन
परामृश्यते।
यथा वा
किं लोभेन विलङ्घितः स भरतो येनतदेवं कृतं
मात्रा स्त्रीलघुतां गता किमथ वा मातैव मे मध्यमा।
मिथ्यैतन्मम चिन्तितं द्वितयमप्यार्यानुजोसौ गुरु-
र्माता तातकलत्रमित्यनुचितं मन्ये विधात्रा कृतम् ।।१९५।।
the receptacle of the most auspicious effulgence ! Be
pleased to ordain for me the highest prosperity ! O Lord
of the world ! destroy whatever sin there is in me,—I
bow down to thee ! O Blessed Lord ! bestow upon me
for my welfare, everything that is good !'
Our answer to this is that 'yad—yat' stands for any-
thing and everything that exists, that is the entire world
regarded as a single entity, and it is this single entity that
is referred to in the subsequent clause by the pronoun
'tat' [so that there is perfect co-ordination].
[Finding that the example of the defect cited by him above has
given rise to difficulties, the author cites another example of the
defect, whereby the predicative factor is not discriminated.]
Kiṁ lobhena...āryānujosau......tātakalatram...kṛtam'.
‘ Was Bharata beset with greed that he got this done
through his mother ? Or , did my second mother herself
succumb to the meanness common among women ?—
Both these ideas of mine are wrong ; as he (Bharata) is
the younger brother of my noble brother, and she, my
revered mother, is my father’s wife. So I think that this
improper deed is the work of Providence itself.’
Here stress is meant to be laid upon the terms ‘ ārya ’
and ‘ tāta ’ [the idea being that ‘ it is of my noble brother

200 KĀVYAPRAKĀŚA
अत्रार्यस्येति तातस्येति च वाच्यम् । न त्वनयोः समासे
गुणीभावः कार्यः । एवं समासान्तरेष्वप्युदाहार्यम् ।।
विरुद्धमतिकृद्यथा
श्रितक्षमा रक्तभुवः शिवालिङ्गितमूर्तयः ।
विग्रहक्षपणेनाद्य शेरते ते गतासुखाः ।।१९६।।
अत्र क्षमादिगुणयुक्ताः सुखमासते इति विवक्षिते हता इति
विरुद्धा प्रतीतिः ।।
Rāma, that Bharata is the younger brother ;’ and ‘it is of
my father that Kaikeyī is the wife,’ and ‘it is not possible
for a brother of Rāma or for the wife of my father to do
anything wrong’], [and hence these two being the pre-
dicative factors] the proper expressions should have been
‘āryasyānujosau’ ‘tātasya kalatram’; and it was not right
to make both these the subordinate factors of compounds.
Similar examples may be cited of this defect occurring
in other compounds.
(13) The following is an example of ‘repugnant im-
plication.’—
‘Shritakṣamā raktabhuvaḥ
‘Shivāliṅgitamūrtayaḥ
‘Vigrahakṣapaṇenādya
‘Sherate te gatāsukhāḥ’
‘They, having recourse to forgiveness, with the world
attached to them, and their bodies embraced by all that
is good, lie down, with all their troubles gone through the
removal of all quarrels.’
Here the meaning intended is that ‘persons of forgiving
nature remain happy’ (as translated above), but the words
chosen have another signification, which is entirely repug-
nant to this [‘Lying down on the ground (shṛtakṣamāḥ),

CHAPTER VII 201
पदैकदेशे यथासंभवं क्रमेणोदाहरणम्
अलमतिचपलत्वात्स्वप्नमायोपमत्वात्
परिणतिविरसत्वात्संगमेनाङ्गनायाः ।
इति यदि शतकृत्वस्तत्त्वमालोचयाम-
स्तदपि न हरिणाक्षीं विस्मरत्यन्तरात्मा ॥१९७॥
अत्र त्वादिति । यथा वा
तद्गच्छ सिद्धयै कुरु देवकार्यमर्थोयमर्थान्तरलभ्य एव ।
अपेक्षते प्रत्ययमङ्गलब्ध्यै बीजाङ्कुरः प्रागुदयादिवाम्भः ॥१९८॥
having reddened the earth with their blood (raktabhūvaḥ),
their bodies tossed about by jackals (śivāliṅgitamūrtayaḥ),
they lie down with their life and organs all gone (gatāsukhāḥ),
through the destruction of their body (vigrahakṣapaṇena)'.]
The text has said that ‘ some of those defects occur in
parts of words also ;’ the following are the examples—
(1) [ The ‘ Disagreeable to the ear ’]
‘ Alamatichapalatvāt
Svapnamāyopamatvāt
Pariṇativirasatvāt
...............ātmā ’
“ Have done with this association with women, which
is extremely fickle, resembling dreamy illusion, and leads
to unpleasant consequences ;”—even though this truth
I ponder over hundreds of times, yet my inner soul for-
gets not the fawn-eyed one ’.
Here the repetition of the syllable ‘ tvāt ’ is ‘ unpleasant
to the ear ’.
Another example of the same—
‘ Tad gachchha siddhyai.........labdhyai.........vāmbhaḥ ’.
‘ Thus you go forward to success, do the work of
the gods ; this end in view, which can be attained only

202 KĀVYAPRAKĀŚA
अत्र द्धयै ब्ध्यै, इति कटु ॥
यश्चाप्सरोविभ्रममण्डनानां संपादयित्रीं शिखरैर्बिभर्ति ।
बलाहकच्छेदविभक्तरागामकालसंध्यामिव धातुमत्ताम् ॥१९९॥
अत्र मत्ताशब्दः क्षीबार्थे निहतार्थः ॥
आदावञ्जनपुञ्जलिप्तवपुषां श्वासानिल्लोल्लासित-
प्रोत्सर्पद्विरहानलेन च ततः संतापितानां दृशाम् ।
संप्रत्येव निषेकमश्रुपयसा देवस्य चेतोभुवो
भल्लीनामिव पानकर्म कुरुते कामं कुरङ्गेक्षणा ॥२००॥
through something else, stands in need of an operative
agent, just as the sprouting of the seed, before it appears,
needs water’.
Here the repetition of ‘ddhyai’ and bdhai is ‘unpleasant
to the ear’.
(2) [The ‘suppressed meaning’]—
‘Yashchāpsaro..................dhātumattām’.
‘Who bears on his (snowy) summits a supply of (red)
minerals which help in making up the coquettish toilet of
celestial women,—as if it were the red hue of the suddenly
falling evening, interspersed with pieces of (white clouds)’.
The term ‘mattā’ (which forms part of the word
‘dhātumattā’) is better known in the sense of ‘intoxica-
ted,’ (which suppresses the sense of the possessive, which
is intended).
(3) [‘The useless’.]—
Ādāvañjana...................dṛśāṁ :
............kurute kāmaṁ kuraṅgekṣaṇā’
‘Her eyes having been painted with collyrium, and
then heated by the fire of the pangs of separation formed
by the hot sighs, the fawn-eyed one is now sprinkling
her tears, and thereby is doing, as it were,the sharpening
of the arrows of the Love-god’.

CHAPTER VII 203
अत्र दृशामिति बहुवचनं निरर्थकम् कुरङ्गेक्षणाया एकस्या
एवोपादानात् । न चालसवलितैरित्यादिवत् व्यापारभेदाद्-
बहुत्वम् व्यापाराणामनुपात्तत्वात् । न च व्यापारेऽत्र दृक्शब्दो
वर्तते । अत्रैव 'कुरुते' इत्यात्मनेपदमप्यनर्थकम् । प्रधानक्रिया-
फलस्य कर्त्रसंबन्धे कर्त्रभिप्रायक्रियाफलाभावात् ॥
चापाचार्यस्त्रिपुरविजयी कार्तिकेयो विजेयः
शस्त्रव्यस्तः सदनमुदधिर्भूरियं हन्तकारः ।

[In sharpening a weapon, the mechanic smears it with acid and
ashes, then heats it and then sprinkles water over it ;—the eyes
being the love-god's arrows these arrows are sharpened in the
manner described.]
Here the plural number in ‘dṛśām’ is ‘useless’ or
meaningless, as only one ‘fawn-eyed girl’ is spoken of.
It is true that in certain cases,—e. g., in the verse ‘alasava-
litaiḥ etc.,’—the plural number is used in view of the multi-
plicity or manifoldness of functions ; but in the present
instance it cannot be due to any such manifoldness ; as no
such manifold functions are mentioned ; nor does the
term ‘dṛk’ (‘eye’) denote any functions.
Then again, in this same verse the Ātmanepada ending
in ‘kurute’ is also ‘useless’, because the effect of the
action connoted does not belong to the subject (‘woman’),
and hence the condition necessary for the use of the Ātma-
nepada ending—that the result of the action should pertain
to the subject—is not fulfilled.
(4) [The ‘Inexpressive’]
‘Chāpāchāryas....’
............................chandrahāsaḥ.’
‘Your preceptor in archery is the victor of the three
cities (Śhiva), Kārtikeya is your subduable, the ocean,

204 KĀVYAPRAKĀŚA
अस्त्येवैतत् किमु कृतवता रेणुकाकण्ठबाधां
बद्धस्पर्धस्तव परशुना लज्जते चन्द्रहासः ॥२०१॥
अत्र विजेय इति कृत्यप्रत्ययः क्तप्रत्ययार्थवाचकः ॥
अतिपेलवमतिपरिमितवर्णं लघुतरमुदाहरति शठः ।
परमार्थतः स हृदयं वहति पुनः कालकूटघटितमिव ॥२०२॥
अत्र पेलवशब्दः ॥
यः पूयते सुरसरिन्मुखतीर्थसार्थ-
स्नानेन शास्त्रपरिशीलनकीलनेन ।
सौजन्यमान्यजनिनिरूजितमूर्जितानां
सोयं दृशोः पतति कस्यचिदेव पुंसः ॥२०३॥
forced back by your weapons, is your abode, and the
earth is for you an object to be given away ; though all
this is so, yet my sword Chandrahāsa is ashamed at being
pitted against your axe which cut off Reṇukā’s head !’
The verbal potential affix (‘yat ’) in ‘vijeya ’ has been
used in the sense of the past participle affix ‘kta ’, which
sense it can never have.
[What is meant is that Kartikeya has been subdued by you, while
the word used is ‘vijeya’ which means ‘subduable’.]
(5) [The ‘ Indecorous ’]—
(a) ‘ Atipelava........ghaṭitamiva ’
‘ A rogue always speaks very little, and that softly
and gently; in reality ‘however’ he has his heart full of
poison.’
Here the term ‘ pelava ’ is ‘ indecorous ’ (being the
name in the Lāṭa language of a secret part of the human
body).
(b) ‘ Yaḥ pūyate........puṁsaḥ ’
‘ Rare is the person before whose eyes comes a great
man like this, who is sanctified by bathing in the Gaṅgā
and other sacred places, and also by the consolidation of

CHAPTER VII 205
अत्र पूयशब्दः ॥
विनयप्रणयैककेतनं सततं योभवदङ्ग तादृशः ।
कथमद्य स तद्वदीक्ष्यतां तदभिप्रेतपदं समागतः ॥२०४॥
अथ प्रेतशब्दः ॥
कस्मिन् कर्मणि सामर्थ्यमस्य नोत्तपतेतराम् ।
अयं साधुचरस्तस्मादञ्जलिर्बध्यतामिह ॥२०५॥
अत्र किं पूर्वं साधुः उत साधुषु चरतीति संदेहः ॥
this knowledge of the scriptures,—of noble and respectable
birth, the personified spirit of all that is spirited.’
The term ‘pūyā’ is ‘indecorous’ (as it denotes pus).
(c) ‘Vinaya......tadabhipretapadaṁ samāgataḥ’.
‘O friend! he who used to be the one receptacle of
humility and love,—how can be looked upon as the same,
when he has attained the position he desired (of becoming
the lover of another woman)?’
Here the term ‘preta’ is ‘indecorous’ (as it denotes
the ‘departed dead’).
(6) [The ‘Ambiguous’]—
‘Kasmin karmaṇi sāmarthyam...ayam sādhucharaḥ...iha’.
‘In what action does his capacity not shine?—And
he is of virtuous character; so salute him.’
The exact meaning of the part (‘chara’) of the word
‘Sādhucharaḥ’ is ‘ambiguous’;—‘chara’ is an affix
denoting ‘something that is past’, and in that sense
‘Sādhucharaḥ’ means ‘who was good in the past’; on
the other hand, ‘chara’ may be a noun derived from the
root ‘chara’ (to behave), in which case the compound
‘Sādhucharaḥ’ would mean ‘he who behaves virtuously’

206 KĀVYAPRAKĀŚA
समुच्यतेस्य भूपालमौलिमालामहामणेः ।
सुदुर्लभं वचोबाणैस्तेजो यस्य विभाव्यते ॥२०६॥
अत्र वचःशब्देन गीःशब्दो लक्ष्यते । अत्र खलु न केवलं
पूर्वपदम् यावदुत्तरपदमपि पर्यायपरिवर्तनं न क्षमते । जलध्यादा-
वुत्तरपदमेव वडवानलादौ पूर्वपदमेव ॥
(7) [‘The meaning having to be guessed’]—
‘Kimuchyate……vachobāṇaiḥ...vībhāvyate.’
‘What is to be said to this central crest-jewel of kings !—
whose splendour is such as is difficult even for the gods
to attain !’
Here the term ‘vachaḥ’ (in ‘vachobāṇaiḥ’) is meant to
indicate its synonym ‘gīḥ’ (which gives the word ‘gīr-
bāṇa’,—which is one of the names of the gods), and thus
the meaning of the compound ‘vachobāṇaiḥ’ is such as
can be ‘guessed’ with difficulty].
In fact the compound word ‘gīrbāṇa’ (as a name of the
gods) is such that it is not only the first term of the com-
pound that does not admit of being replaced by a synonym;
the second term also does not admit of being so replaced
[i.e. just as we cannot have ‘vachobāṇa’ so also we cannot
have ‘gīḥ-śara’]. As compound names where the
second term does not admit of being replaced by a synonym,
we have such words as ‘jaladhi’ (ocean) and the like
(which become entirely altered in sense by being trans-
formed into ‘jaladhara’, which means cloud); and as ins-
tances of compound names in which the first term does
not admit of being replaced by a synonym, we have such
words as ‘vāḍavānala’ (the submarine fire) [which, when
changed into ‘aśvānala’ does not mean the same thing].

CHAPTER VII 207
यद्यप्यसमर्थस्यैवाप्रयुक्तादयः केचन भेदाः तथाप्यन्यैरा-
लंकारिकैर्विभागेन प्रदर्शिता इति भेदप्रदर्शनेनोदाहर्तव्या इति
च विभज्योक्ताः ॥५२॥
प्रतिकूलवर्णमुपहतलुप्तविसर्गं विसन्धि हतवृत्तम् ।
न्यूनाधिककथितपदं पतत्प्रकर्षं समाप्तपुनरात्तम् ॥ ५३ ॥
अर्धान्तरैकवाचकमभवन्मतयोगमनभिहितवाच्यम् ।
अपदस्थपदसमासं संकीर्णं गर्भितं प्रसिद्धिहतम् ॥ ५४ ॥
भग्नप्रक्रममक्रमममतपरार्थं च वाक्यमेव तथा ।
( १ ) रसानुगुणत्वं वर्णानां वक्ष्यते । तद्विपरीतं प्रतिकूलवर्णम ।
Though the words classed as 'unconventional' and
the rest are only sub-classes of what is 'incapable of giving
sense', yet they have been described separately, because
some rhetoricians have treated of them as separate and
hence it was thought proper to cite separate examples of
them. 52.
That sentence is defective which (1) contains discordant
letters, (2) has the visarga blunted, (3) has the visarga deleted,
(4) involves an unharmonious euphony, (5) involves a marred
metre, (6) is deficient in words, (7) is redundant in words,
(8) contains repeated words, (9) has its excellence receding,
(10) resumes the concluded, (11) has a word isolated in a
distinct half, (12) is devoid of intended connection, (13) omits a
necessary statement, (14) has a word misplaced, (15) has a
compound misplaced, (16) is confused, (17) is parenthetical,
(18) is opposed to usage, (19) has its uniformity broken,
(20) has no uniformity and (21) has an undesirable second meaning.
(1) It is going to be explained later on (Ch. VIII)
how certain letters are in consonance with the delinea-
tion of certain particular Passions ; and letters that are

208 KĀVYAPRAKĀŚA
यथा शृङ्गारे
अकुण्ठोत्कण्ठया पूर्णमाकण्ठं कलकण्ठि माम् ।
कम्बुकण्ठ्याः क्षणं कण्ठे कुरु कण्ठार्तिमुद्धर ॥२०७॥
रौद्रे यथा
देशः सोयमरातिशोणितजलैर्यस्मिन् ह्रदाः पूरिताः
क्षत्रादेव तथाविधः परिभवस्तातस्य केशग्रहः ।
तान्येवाहितहेतिघस्मरगुरूण्यस्त्राणि भास्वन्ति मे
यद्रामेण कृतं तदेव कुरुते द्रोणात्मजः क्रोधनः ॥२०८॥
not in such consonance are called ‘discordant’. For
example in the following delineation of the Erotic—
‘Akuṇṭhotkaṇṭhayā pūrṇamākaṇṭhaṁ kalakaṇṭhi mām
Kambukaṇṭhyāḥ kṣaṇaṁ kaṇṭhe kuru kaṇṭhārtimuddhara.’
‘O sweet-voiced one ! Do place me, who am full up
to the throat with unimpeded longing, on the neck of the
conch-necked one, and thereby remove the pangs of my
neck’;—
[The frequent repetition of the harsh letter ṇṭha is
highly discordant with the sentiment depicted].
Or, in the following delineation of the Furious—
‘Deśaḥ soyamarātiśoṇitajalairyasmin hradāḥ pūritāḥ
Kṣattrādeva tathāvidhaḥ paribhavastātasya keśagrahaḥ
Tānyevāhitahetighasmaragurūṇyastrāṇi bhāsvanti me
Yad rāmeṇa kṛtantadeva kurute droṇātmajaḥ krodhanaḥ’.
‘This land is the same where pools were filled (by
Paraśurāma) with the blood of slaughtered enemies ;
insult at the hands of a Kṣattriya, in the shape of the father’s
locks being pulled, is also similar ; these resplendent
weapons of mine also are similarly famous as being des-
tructive of the weapons of enemies ; the wrathful son of

CHAPTER, VII 209
अत्र हि विकटवर्णत्वं दीर्घसमासत्वं चोचितम् । यथा
प्रागप्राप्तनिशुम्भशांभवधनुर्द्वेधाविधाविर्भवत्-
क्रोधप्रेरितभीमभार्गवभुजस्तम्भापविद्धः क्षणात् ।
उज्जवालः परशुर्भवत्वशिथिलस्त्वत्कण्ठपीठातिथि-
र्येनानेन जगत्सु खण्डपरशुर्देवो हरः ख्याप्यते ॥२०९॥
यत्र तु न क्रोधस्तत्र चतुर्थपादाभिधाने तथैव शब्दप्रयोगः ॥
Droṇa is going to do precisely what was done by Paraśu-
rāma '.—
What would have been in consonance with the senti-
ment depicted would be [not the soft letters and simple
words used, but] harsh sounding letters and long com-
pounds ; as in the following—
‘ Prāgaprāptaniśumbhaśāmbhava-
dhanurdvedhāvidhāvirbhavat-
Krodhapreritabhīmabhārgavabhuja-
stambhāpaviddhaḥ kṣaṇāt
Ujjvālaḥ parashurbhavatvashithilas-
tvatkaṇṭhapīṭhātithir-
Yenānena jagatsu khaṇḍaparashur-
devo haraḥ khyāpyate ’.
‘ May this blazing and powerful axe of mine, by reason
whereof the god Shiva is known as ‘the god of the broken
axe,’ (He having bestowed a part of his axe to me), be
the guest of the back of your neck,—being wielded by my
pillar-like terrific arms urged into action by the wrath
excited by the breaking of the ever unbent bow of Śiva ’;—
[We find long compounds and harsh-sounding words] ;
but in the last quarter of the verse, where no anger is
expressed (but only a deferential reference to the God
Shiva), we have words suited to the sentiment.

210 KĀVYAPRAKĀŚA
(२) उपहत उत्त्वं प्राप्तो (३) लुप्तो वा विसर्गो यत्र तत् । यथा
धीरो विनीतो निपुणो वराकारो नृपोत्र सः ।
यस्य भृत्या बलोत्सिक्ता भक्ता बुद्धिप्रभावितः ॥२१०॥
(४) विसंधि संधेर्वैरूप्यम् विश्लेषोश्लीलत्वं कष्टत्वं च ।
तत्राद्यं यथा
राजन्विभान्ति भवतश्चरितानि तानि
इन्दोर्द्युतिं दधति यानि रसातलेन्तः ।
धीदोर्बले अतितते उचितानुवृत्ती
आतन्वती विजयसंपदमेत्य भातः ॥२११॥
(2) and (3) The following is an example of the ‘visarga
blunted’,—i. e., transformed into ‘o’,—as also of the
‘visarga deleted’—
‘Dhīro vinīto nipuṇo
varākāro nṛpotra saḥ—(2)
Yasya bhṛtyā balotsiktā
bhaktā buddhiprabhāvitāḥ’—(3)
‘This king is dignified, modest, efficient and of hand-
some presence ; his dependants are strong in intelligence,
devoted to their master and proud of their strength.’
[In the first half the visarga is transformed into ‘o’ no less than
five times; and in the second half it is deleted thrice.]
(4) The ‘Cacophonous’ is that which involves a dis-
cordant euphony,—this discordance manifesting itself
in three ways : (a) in disjunction, (b) in indecorousness and
(c) in harshness.
(a) The following is an example of the euphony of
discordant disjunction—
‘Rājan...tāni indor......dhīdorbale atitate uchitānuvṛttī
ātanvatī.........bhātaḥ’...

CHAPTER VII 211
यथा वा
तत उदित उदारहारहारिद्युतिरुच्चैरुदयाचलादिवेन्दुः ।।
निजवंश उदात्तकान्तकान्तिर्बत मुक्तामणिवच्चकास्त्यनर्घः ।।२१२।।
‘ O King ! thy deeds shine resplendent even in the
nethermost regions, resembling the sheen of the moon ;
and the power of thy intellect and arms, functioning in the
right manner, brings about thy victory and glory and shines
in the world ’.
[Here the disjunction between ‘tāni’ and ‘indoḥ’, between ‘bale’
and ‘atitate’ and ‘uchitānuvṛtti’ and ‘ātanvati’ even though gramma-
tically correct, is highly discordant’.]
Or in the following—
‘ Tata udita udārahāra......nijavaṁsha-
.........udātta...........narghaḥ’.
‘ That great man of the exquisitely fascinating splen-
dour rises resplendent in his family, resembling the pearl
(appearing from the bamboo) ; and having his resplendence
enhanced by the beautiful pearl-necklace, he resembles
the moon (whose sheen is like that of the flawless pearl) ’.
[Here the visarga is deleted twice after ‘tataḥ’ and ‘uditaḥ.]
In this connection it has to be borne in mind that there
are two conditions under which the disjunction in euphony
is grammatically permissible,—in the first place, there is the
very wide rule which makes all euphonious combination
purely optional, and secondly in the case of the preceding
word being a noun with a dual termination ending in the
vowel ‘ī’ or ‘ū’, where according to ‘Pāṇini (1.1.11 and
6.1.125), no conjunction takes place. Now if the disjunc-
tion in euphony is of the former kind, then even a single
instance makes the sentence defective ; while if it belongs

212 KĀVYAPRAKĀŚA
संहितां न करोमीति स्वच्छया सकृदपि दोषः प्रगृह्यादिहेतुकत्वे
त्वसकृत् ॥
वेगादुड्डीय गगने चलण्डामरचेष्टितः ।
अयमुत्तपते पत्री ततोत्रैव रुचिङ्कुरु ॥२१३॥
अत्र संधावश्लीलता ॥
उर्व्यसावत्र तर्वाली मर्वन्ते चार्ववस्थितिः ।
नात्रर्जु युज्यते गन्तुं शिरो नमय तन्मनाक् ॥२१४॥
(५) हतं लक्षणानुसरणेप्यश्रव्यम् । अप्राप्तगुरुभावान्तलघु रसान-
नुगुणं च वृत्तं यत्र तत् हतवृत्तम् । क्रमेणोदाहरणम्--
to the latter class, then it renders the sentence defective
if it occurs more than once.
(b) ‘Vegā......chalaṇḍāmara.........ruchiṅkuru’ ‘This bird
of unrestrained activity, flying in the sky with great force,
finds it extremely hot ; so take your rest here.’
Here the euphonious combination (involved in the
expressions ‘chalaṇḍāmara’ and ‘ruchiṅkuru’) lead to in-
decorousness (in this that they give rise to sounds mani-
festing the terms ‘laṇḍa’ and ‘chiṅku’ respectively, both
of which are the names of certain private parts of the
human body).
(c) ‘Urvyasāvatra tarvālī
marvante charvavasthitiḥ
nātrārju............manāk’.
‘Hence on the outskirts of a sandy desert the ground
is covered by a line of trees affording a nice resting place ;
it is not right to go through it standing ; so just lower your
head a little.’
[Here the euphonious combination becomes harsh.]
(5) The ‘marred metre’ is of three kinds—(a) Though
technically satisfying the formal conditions, it may be

CHAPTER VII 213
अमृतममृतं कः संदेहो मधून्यपि नान्यथा
मधुरमधिकं चूतस्यापि प्रसन्नरसं फलम् ।
सकृदपि पुनर्मध्यस्थः सन् रसान्तरविज्जनो
वदतु यदिहान्यत्स्वादु स्यात्प्रियादशनच्छदात् ॥२१५॥
अत्र ‘यदिहान्यत्स्वादु स्यात्’ इत्यश्रव्यम् । यथा वा
जं परिहरिउं तीरइ मणअंपि ण सुन्दरत्तणगुणेण ।
अह णवरँ जस्स दोसो पडिपक्खेहिं पि पडिवण्णो ॥२१६॥
अत्र द्वितीयतृतीयगणौ सकारभकारौ ।
unpleasant to the ear, unmelodious,—(b) it may not have
the last syllable of the foot elongated,—and (c) it may not
be in harmony with the sentiment depicted.
The following are the examples of each of these three.
(a) ‘Amṛtam........vadatu yadihānyat svādu......chhadāt.’
What doubt is that nectar is really nectar; honey also
is not otherwise ; the fruit of the mango also is very
sweet and of pleasing flavour ; yet let any disinterested
person, who is capable of appreciating the various
kinds of flavours; say if anything in this world is sweeter
than the lips of one’s beloved !’
In the fourth line the portion ‘yadihānyat svādu syāt’
(though formally correct) is not pleasant to the ear.
Or again in the following—
‘Jaṁ pari........paḍivaṇṇo’.
‘That by reason of their very fascinating character
affairs of love cannot be avoided is their one defect, which
has been admitted even by their opponents’.
Here the close proximity of the group of three letters
‘ha-ri-uṁ’—which is technically named ‘sa’ (i. e. the group
of three in which, the first two letters are short and the
third long),—to the next group, ‘tī—ra-i’—which is
technically called ‘bha’ (i. e. one long letter followed by

214 KĀVYAPRAKĀŚA
विकसितसहकारतारहारिपरिमलगुञ्जितपुञ्जितद्विरेफः ।
नवकिसलयचारुचामरश्रीहरति मुनेरपि मानसं वसन्तः ॥२१७॥
अत्र हारिशब्दः । हारिप्रमुदितसौरभेति पाठो युक्तः । यथा वा
अन्यास्ता गुणरत्नरोहणभुवो धन्या मृदन्यैव सा
संभाराः खलु तेन्य एव विधिना यैरेष सृष्टो युवा ।
श्रीमत्कान्तिजुषां द्विषां करतलात् स्त्रीणां नितम्बस्थलात्
दृष्टे यत्र पतन्ति मूढमनसामस्त्राणि वस्त्राणि च ॥२१८॥
two short ones),—is unmelodious [as has been recognised
by standard writers on metrics also].
(b) ‘Vikasitasahakāratārahāriparimala........................
..............................................vasantaḥ’.
‘The spring bearing the fascinating fragrance of the
blossoming mangoes, having swarms of black bees humm-
ing about, and beautified by chowries in the shape of the
fresh leaves of trees—captivates the heart of even the
ascetic’.
Here the metre is halting at ‘hāri’ [where the last
vowel is not elongated]. The right reading would be
‘hāri—pramudita etc. etc.’
Or, as in the following—
‘Anyāstā............................vastrāṇi cha’.
‘Wonderful must have been the mines that produced
these jewels of qualities ! wonderful too that blessed clay,
as also the accessories, wherewith this young man has been
created by God ! Since at his appearance, the weapons
fall off from the hands of his rich and elegant enemies, and
clothes slur away from the waists of beautiful women,—
both of these having their hearts benumbed (the former
through fear and the latter through love)’.

CHAPTER VII 215
अत्र ‘वस्त्राण्यपि’ इति पाठे लघुरपि गुरुतां भजते ॥
हा नृप हा बुध हा कविबन्धो विप्रसहस्रसमाश्रय देव ।
मुग्धविदग्धसभान्तररत्न क्वासि गतः क्व वयं च तवैते ॥२१९॥
हास्यरसव्यञ्जकमेतद्वृत्तम्
(६) न्यूनपदं यथा
तथाभूतां दृष्ट्वा नृपसदसि पाञ्चालतन्‍यां
वने व्याधैः सार्धं सुचिरमुषितं वल्कलधरैः ।
विराटस्यावासे स्थितमनुचितारम्भनिभृतं
गुरुः खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥२२०॥
[Here the short syllable ‘cha’ at the end is such as cannot
take the long accent]. If the reading were ‘nyapi’ (instead
of ‘ṇi cha’), the ‘pi’, even though short, could have
taken the long accent (by virtue of its being preceded by
the conjunct consonant “nya”).
(c) ‘Hā nrpa.........tavaite’.
‘O king ! O wise one ! O patron of poets, the
patron of hundreds of Brāhmaṇas ! O godlike one, jewel
of the assembly of the learned and the wise ! Whereto
have you gone ?—and where are we, your very own ?’
The metre adopted here is suited to the delineation of the
Comic (and not of the Pathetic, to which it is employed here).
(6) The following is an example of the ‘deficient in
words’—
‘Tathābhūtāṁ dṛṣṭvā nṛpasadasi pāñchālatanayāṁ
Vane vyādhaiḥ sārdhaṁ suchiramuṣitaṁ valkaladharaiḥ
Virāṭasyāvāse sthitamanuchitārambhanibhṛtaṁ
Guruḥ khedaṁ khinne mayi bhajati nādyāpi kuruṣu.
(See translation above in Chapter III,)