काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER VII 283
अत्र रतिपरिहारादीनामनुभावानां करुणादावपि संभवा-
त्कामिनीरूपो विभावो यत्नतः प्रतिपाद्यः ॥
(६) प्रसादे वर्तस्व प्रकटय मुदं संत्यज रुषं
प्रिये शुष्यन्त्यङ्गान्यमृतमिव तें सिञ्चतु वचः ।
निधानं सौख्यानां क्षणमभिमुखं स्थापय मुखं
न मुग्धे प्रत्येतुं प्रभवति गतः कालहरिणः ॥३२७॥
अत्र शृङ्गारे प्रतिकूलस्य शान्तस्यानित्यताप्रकाशनरूपो
विभावस्तत्प्रकाशितो निर्वेदश्च व्यभिचारी उपात्तः॥
णिहुअरमणम्मि लोअणपहम्मि पडिए गुरुअणमज्झम्मि ।
सअलपरिहारहिअआ वणगमणं एव्व महइ वहू ॥३२८॥
is the excitant; specially as the ensuants described are such
as could be due to the Passion of Pathos also.
[This is what is meant by the excitant being 'farfetched']
(6a) 'Do be propitiated; O my love! give expression
to joyfulness and give up anger; let thy nectarine voice
sprinkle my withering limbs. Just for a moment keep
your face, the very fount of felicity, before me. O lovely
damsel, past opportunities never come again.'
What is described here is : (1) an excitant, in the shape
of the man's expression of the notion of the impermanence
of pleasures, and also (2) a variant emotion, in the shape
of self-disparagement,—both of which are concomitants
helpful to the Quietistic Passion, but adverse to (and marring
the effect of) the Erotic (which is the Passion described).
[Thus, this is an example of the admission of adverse concomitants
in the shape of discordant excitant and variants.]
(6b) 'Her eyes having fallen upon her lover, while
she was among her elders, she withdraws her heart from
all work and is anxious to proceed to the forest.'

284 KĀVYAPRAKĀŚA
अत्र सकलपरिहारवनगमने शान्तानुभावौ । इन्धनाद्या-
नयनव्याजेनोपभोगार्थं वनगमनं चेत् न दोषः ॥
(७) दीप्तिः पुनः पुनर्यथा कुमारसंभवे रतिविलापे ॥
(८) अकाण्डे प्रथनं यथा वेणीसंहारे द्वितीयेऽङ्केनेकवीरक्षये
प्रवृत्ते भानुमत्या सह दुर्योधनस्य शृङ्गारवर्णनम् ।
(९) अकाण्डे छेदो यथा वीरचरिते द्वितीयेऽङ्के राघवभार्गव-
योर्धाराधिरूढे वीररसे 'कङ्कणमोचनाय गच्छामि' इति राघ-
वस्योक्तौ ॥
The ensuants depicted here are the losing of interest in
all work and proceeding to the forest; and both of these are
helpful to the quiestistic Passion (and adverse to the Erotic.)
[Thus this is a case of the 'admission of adverse concomitants',
in the shape of the ensuant.]
There would be nothing objectionable if there were
something to indicate that the desire to proceed to the
forest was for the purpose of meeting the lover, under the
pretext of fetching fuel and such things.
(7) As an example of 'Repeated Heightening' we
have 'Rati's Lament' in the Kumārasambhava.
(8) An example of 'untimely introduction' we have
in the Second Act of the Veṇīsaṁhāra, where, while the
slaughter of numerous heroes is proceeding, the poet
proceeds to describe the loving dalliances of Duryodhana
with Bhānumatī.
(9) An example of 'untimely interruption' we have
in the Second Act of the Mahāvīracharita, where the Heroic
sentiment between Rāma and Parashurāma having reached
the highest pitch, Rāma says—' I am going to unfasten
the nuptial bracelet.'

CHAPTER VII 285
(१०) अङ्गस्याप्रधानस्यातिविस्तरेण वर्णनम् । यथा हय-
ग्रीववधे हयग्रीवस्य ॥
(११) अङ्गिनोननुसंधानम् । यथा रत्नावल्यां चतुर्थेऽङ्के
बाभ्रव्यागमने सागरिकाया विस्मृतिः ॥
(१२) प्रकृतयो दिव्या अदिव्या दिव्यादिव्याश्च वीररौद्र-
शृङ्गारशान्तरसप्रधाना धीरोदात्तधीरोद्धतधीरललितधीर-
प्रशान्ताः उत्तमाधममध्यमाश्च । तत्र रतिहासशोकाद्भुतानि
अदिव्योत्तमप्रकृतिवत् दिव्येष्वपि । किं तु रतिः संभोगशृङ्गार-
रूपा उत्तमदेवताविषया न वर्णनीया । तद्वर्णनं हि पित्रोः संभोग-
वर्ण निमवात्यन्तमनुचितम् ।
(10) 'Excessive Dilatation of the Subordinate Factor'
we find in the lengthy description of Hayagrīva in the
Hayagrīvavadha—Kāvya.
(11) 'Neglect of the Principal Factor' we find in the
Fourth Act of the Ratnāvalī, where, on the approach of
Bābhravya, Sāgarikā, the heroine, is completely ignored.
(12) 'Characters' are of three kinds—Divine, Non-
divine, (Human) and Humo-divine. Each of these again
is (a) firm-noble, (b) firm-haughty, (c) firm-gay, and (d)
firm-calm, according as they are under the influence
respectively of (a) the Heroic, (b) the Furious, (c) the
Erotic and (d) the Quietistic Passions. [Thus there are
12 kinds]. Each of these again is either High, Medium or
Low.—Now among these, Love, Mirth, Grief and Wonder
are found in Divine as well as Human characters ; but it
is not right to describe the Erotic Love-dalliances of a
High-Divine character ; in fact such a description would be
as highly improper as that of the love-dealings of one's
own parents.

286 KĀVYAPRAKĀŚA
क्रोधं प्रभो संहर संहरेति यावद् गिरः खे मरुतां चरन्ति ।
तावत्स वह्निर्भवनेत्रजन्मा भस्मावशेषं मदनं चकार ॥३२९॥
इत्युक्तवत् भ्रुकुट्यादिविकारवर्जितः क्रोधः सद्यःफलदः
स्वर्गपाताल गगनसमुद्रोल्लङ्घनाद्युत्साहश्च दिव्येष्वेवं ।
अदिव्येषु तु यावदवदानं प्रसिद्धमुचितं वा तावदेवोपनिबन्धव्यम् ।
अधिकं तु निबध्यमानमसत्यप्रतिभासेन 'नायकवद्वर्त्तितव्यं न प्रति-
नायकवत्' इत्युपदेशे न पर्यवस्येत् । दिव्यादिव्येषु उभयथापि ।
Further, it is only in the case of Divine characters that
there can be either such heroism as involved in the under-
taking of a journey to the Heavens or the nether regions,
the jumping over the ocean and so forth, or such anger as
is immediately effective, though not accompanied by
any visible physical signs as the curvature of the brows
and so forth ; such anger, for instance, as is delineated in
the following verse—
‘ “O Lord, withdraw your wrath—do please with-
draw it”,—by the time that these words of the gods go
forth into the skies, the fire emanating from the eye of
Shiva reduced the Love-god to ashes’. In the case of
non-divine or human characters only such activity should
be described as is known from past experience to have
been possible ; if more than this were attributed to a
human character, it would bear the stamp of untruth, and
as such, fail to lead up to exhortation (which is the aim
of poetry) that ‘one should behave like the hero, and not
like his opponent’.—Lastly in the case of humo-divine cha-
racters, both the above kinds of actions may be described.
This being the right course to adopt, if things are
attributed to the Divine and other characters, or to the
Firm-noble and the rest, which are not in keeping with the

CHAPTER VII 287
एवमुक्तस्यौचित्यस्य दिव्यादीनामिव धीरोदात्तादीनामप्यन्यथा-
वर्णनं विपर्ययः । तत्रभवन् भगवन्नित्युत्तमेन न अधमेन मुनिप्रभृतौ
न राजादौ भट्टारक-इति नोत्तमेन राजादौ प्रकृतिविपर्यया-
पत्तेर्वाच्यम् । एवं देशकालवयोजात्यादीनां वेषव्यवहारादिकमु-
चितमेवोपनिवन्धव्यम् ।।
(१३) अनङ्गस्य रसानुपकारकस्य वर्णनम् । यथा कर्पूर-
मञ्जर्य्या नायिकया स्वात्मना च कृतं वसन्तवर्णनमनादृत्य बन्दि-
वर्णितस्य राज्ञा प्रशंसनम् ।।
“ईदृशाः” इति । नायिकापादप्रहारादिना नायककोपादिवर्णनम् ।
above-mentioned proprieties,—it involves the ‘perver-
sion’ (of the characters). Similarly there is ‘perversion
of character’ also in the case of the infringement of such
rules as the following :—(a) such forms of address as
‘tatrabhavān’ and ‘bhagavān’ are to be used only by the
higher, and never by the lower characters,—and these too,
only with reference to sages, and never to kings ;—(b) the
address ‘bhaṭṭāraka’ is to be used, in reference to
kings, only by such characters as do not belong to the
higher order.—Similarly too the dress and actions of the
characters are to be described in due accordance with the
time, place, age, caste and such other circumstances.
[And if this is not done, it involves ‘perversion of
character.’]
(13) An example of ‘what is not germane’,—i. e., not
helpful in the delineation of the Passion concerned,—we
have in the Karpūramañjarī, where the king ignores the
description of the spring by the heroine and also that by
himself, and goes on to praise that by the bard.

288 KĀVYAPRAKĀŚA
उक्तं हि ध्वनिकृता
“अनौचित्यादृते नान्यद् रसभङ्गस्य कारणम् ।
औचित्योपनिबन्धस्तु रसस्योपनिषत्परा ॥” इति ॥६०-६२॥
इदानीं क्वचिददोषा अप्येते इत्युच्यन्ते ।
न दोषः स्वपदेनोक्तावपि संचारिणः क्वचित् ।
यथा
औत्सुक्येन कृतत्वरा सहभुवा व्यावर्तमाना ह्रिया
तैस्तैर्बन्धुवधूजनस्य वचनैर्नीताभिमुख्यं पुनः ।
दृष्ट्वाग्रे वरमात्तसाध्वसरसा गौरी नवे संगमे
संरोहत्पुलका हरेण हसता श्लिष्टा शिवायास्तु वः ॥३३०॥
‘ Such ’ (in the text) is meant to include such descriptions
as that of the Lover getting angry at being struck by the
feet of his loved one and so forth.
(In regard to Defects) the Author of the Dhvani has
made the following declaration—
‘ Apart from impropriety, there is nothing that mars
the Passion ; as Propriety is the highest secret of the right
delineation of the Passion’. 60-62.
In certain cases the said Defects are not defective.
This is what is explained next.
In some cases the ‘ mention by name ’ of a variant emotion
is not a defect.
For example, in the following—
‘ Autsukyena kṛtatvarā sahabhuvā vyāvartamānā hriyā
Taistairbandhuvadhūjanasya vachanairnītābhimukhyaṁ punaḥ
Dṛṣṭvāgre varamāttasādhvasarasā gaurī nave saṁgame
Saṁrohatpulakā hareṇa hasatā śliṣṭā śivāyāstu vaḥ’.

CHAPTER VII 289
अत्रौत्सुक्यशब्द इव तदनुभावो न तथा प्रतीतिकृत् । अत एव
'दूरादुत्सुकम्' इत्यादौ व्रीडाप्रेमाद्यनुभावानां विवलितत्वादी-
नामिवौत्सुकत्वानुभावस्य सहसा प्रसरणादिरूपस्य तथा प्रति-
पत्तिकारित्वाभावादुत्सुकमिति कृतम् ॥
संचार्यादेर्विरुद्धस्य बाध्यस्योक्तिर्गुणावहा ॥ ६३ ॥
‘Hastening through longing, turning back from in-
born modesty, carried before her husband by the exhor-
tations of her female relatives, showing some fear on
seeing her husband before her,—may Gaurī, on the
occasion of her first meeting, embraced by smiling Shiva,
and with her hairs thrilling, ordain your welfare !’
Here the variant emotion of Autsukya, ‘Longing’, is
mentioned by name, because the mere mention of the
ensuants (the effects of the emotion) would not have been
equally significant [as the said effects might be due to
causes other than Longing; hence the mention of the
name of ‘Autsukya’ is not regarded as a defect.]
Similarly in the verse—‘Dūrādutsukamāgate &c.’ (see
above stanza No 29), though the poet has described the
emotions of modesty, affection and the rest, through
their respective ensuants, in the form of ‘turning aside’
and so forth, yet the emotion of ‘Longing’ has been
mentioned by name ‘utsuka’, because the mere mention
of its ensuants, in the form of approaching nearer, would
not be equally expressive of what is intended.
The mentioning of ‘adverse concomitants’ in the form
of variant emotions (excitants and ensuants) is conducive to
excellence, when they are spoken of as suppressed. 63.
That is, when they are mentioned in such a manner
as to indicate that they are to be understood as being
19

290 KĀVYAPRAKĀŚA
बाध्यत्वेनोक्तिर्न परमदोषः यावत् प्रकृतरसपरिपोषकृत् । यथा
'क्वाकार्यं शशलक्ष्मणः क्व च कुलम्' इत्यादौ ॥३३१॥
अत्र वितर्कादिषु उद्गतेष्वपि चिन्तायामेव विश्रान्तिरिति
प्रकृतरसपरिपोषः ॥
पाण्डु क्षामं वदनं हृदयं सरसं तवालसं च वपुः ।
आवेदयति नितान्तं क्षेत्रियरोगं सखि हृदन्तः ॥३३२॥
इत्यादौ साधारणत्वं पाण्डुतादीनामिति न विरुद्धम् ॥
सत्यं मनोरमा रामाः सत्यं रम्या विभूतयः ।
किं तु मत्ताङ्गनापाङ्गभङ्गलोलं हि जीवितम् ॥३३३॥
suppressed, such mention is not very defective; on
the contrary, it serves to heighten the principal Passion
depicted.
As an example we have the verse ‘Kvākāryaṁ shashalaks-
maṇaḥ &c’. (See above, stanza No. 53), where though the
variants, ensuants and excitants, in the form of ‘argu-
mentation’, ‘doubt’ and so forth (which are adverse to
the Passion depicted) are mentioned as appearing, yet
they are all represented as becoming merged into painful
reflection, which tends to heighten the Passion depicted.
Similarly, in the following verse—
‘O friend, thy face is pale and emaciated, and heart
full of substance, and body languid; all this indicates
the presence of an incurable disease of the heart’—
though Paleness and the other effects mentioned are in
a sense adverse to the Erotic Passion depicted (inasmuch
as they can be the effects of the Pathetic Passion also);
—yet, inasmuch as they are common (to the Erotic and to
the Pathetic), they cannot be regarded as entirely
‘adverse.’

CHAPTER VII· 291
इत्यत्राद्यमर्धं बाध्यत्वेनैवोक्तम् । जीवितादपि अधिकमपाङ्ग-
भङ्गस्यास्थिरत्वमिति प्रसिद्धभङ्गुरोपमानतयोपात्तं शान्तमेव
पुष्णाति न पुनः शृङ्गारस्यात्र प्रतीतिस्तदङ्गाप्रतिपत्तेः । न तु
विनेयोन्मुखीकरणमत्र परिहारः शान्तशृङ्गारयोर्नैरन्तर्यस्या-
Similarly again, in the verse—
' It is true that women are heart-ravishing, and riches
also are pleasing ; but life itself is as unsteady as the
amorous glances of a love-intoxicated woman'.—
The first half (though adverse to the Quietistic Passion
meant to be depicted) is spoken of only as something
that is suppressed or negated by the second half ; the
sense thus being that—'the glances' are more unsteady
or transient than 'life' ; and this mention of a parallel,
which is universally known to be transitory, only serves
to heighten the Quietistic Passion ; which is what is de-
picted here, and not the Erotic (as has been held by the
author of the Dhvani) because we do not recognise in the
verse any such accessories as would point to this latter
passion.—It has been argued (in support of the view that
the Erotic is the passion depicted here) that it is the Erotic
that is meant to be depicted, but only with a view to
engaging the attention of the pupil addressed (by the
depicting of a more agreeable subject, and through that,
leading him on to the Quietistic).—But this can not be
right ; as there is such a large gap between the Erotic and
the Quietistic (that one cannot lead on to the other).—
Another explanation (in support of the view in question)
is that the Erotic is depicted here with a view to lending
a charm to the poetry.—But this also cannot be accepted ;
because charm could be added to the poetry either through

292 KĀVYAPRAKĀŚA
भावात् । नापि काव्यशोभाकरणं रसान्तरादनुप्रासमात्राद्वा
तथाभावात् ॥६३॥
आश्रयैक्ये विरुद्धो यः स कार्यों भिन्नसंश्रयः ।
रसान्तरेणान्तरितो नैरन्तर्येण यो रसः ॥ ६४ ॥
वीरभयानकयोरेकाश्रयत्वेन विरोध इति प्रतिपक्षगतत्वेन
भयानको निवेशयितव्यः । शान्तशृङ्गारयोस्तु नैरन्तर्येण विरोध
इति रसान्तरमन्तरे कार्यम् यथा नागानन्दे शान्तस्य जीमूत-
वाहनस्य 'अहो गीतम् अहो वादित्रम्' इत्यद्भुतमन्तर्निवेश्य
मलयवतीं प्रति शृङ्गारो निबद्धः ।
न परं प्रबन्धे यावदेकस्मिन्नपि वाक्ये रसान्तरव्यवधिना विरोधो
निवर्तते । यथा
some other Passion than the Erotic (i. e., through the
Quietistic itself), or through mere Alliteration [so that for
purposes of this charm also, it would not be necessary to
introduce the Erotic]. 63.
If one Passion is repugnant to another when found together
in the same substratum, they should be delineated in different
substrata ; and if one Passion is repugnant to another when
appearing in close contiguity, they should be separated by some
other Passion. 64.
The Heroic and the Frightful are found to be repug-
nant to one another, when found in the same person ;
hence the Frightful is to be depicted as subsisting in the
hero's opponent (while the Heroic belongs to the hero
himself).—And between the Erotic and the Quietistic,
there is incompatibility only when they appear in close
contiguity ; hence a third Passion should be made to
intervene between these two. For instance, in the Nāgā-

CHAPTER VII 293
भूरेणुदिग्धान् नवपारिजात-
मालारजोवासितबाहुमध्या ।
गाढं शिवाभिः परिरभ्यमाणान्
सुराङ्गनाश्लिष्टभुजान्तरालाः ।।३३४।।
सशोणितैः क्रव्यभुजां स्फुरद्भिः
पक्षैः खगानामुपवीज्यमानान् ।
संवीजिताश्चन्दनवारिसेकैः
सुगन्धिभिः कल्पलतादुकूलैः ।।३३४।। (अ)।।
विमानपर्यङ्कतले निषण्णाः
कुतूहलाविष्टतया तदानीम् ।
निर्दिश्यमानान् ललनाङ्गुलीभिर्-
वीराः स्वदेहान् पतितानपश्यन् ।।३३५।।
nanda, when the Quietistic Jīmūtavāhana is described as
falling in love with Malayavatī, the passion of Wonder is
brought in between the two, by the sentences ‘what a
song ! what music !’,
This incompatibility is warded off in this manner not
only as occurring in course of a complete poetic work, but
also in the same sentence. For instance, in the following
verse :—
‘ The heroic men, lying upon magnificent beds in the
flying cars, their chests perfumed by the pollens of the
fresh Pārijāta-garlands, embraced by celestial nymphs, and
fanned by silken cloths made out of the celestial trees, wet
and fragrant,—saw their own bodies rolling in the dust of
the earth, pointed to by the damsels through curiosity, em-
braced by jackals, and fanned by the flapping wings of the
carnivorous birds dripping with blood’,—

294 KĀVYAPRAKĀŚA
अत्र बीभत्सशृङ्गारयोरन्तर्वीररसो निवेशितः ।।६४।।
स्मर्यमाणो विरुद्धोऽपि साम्येनाथ विवक्षितः ।
अङ्गिन्यङ्गत्वमाप्तौ यौ तौ न दुष्टौ परस्परम् ।। ६५ ।।
अयं स रशनोत्कर्षी पीनस्तनविमर्दनः ।
नाभ्यूरुजघनस्पर्शी नीवीविस्रंसनः करः ।।३३६।।
एतद् भूरिश्रवसः समरभुवि पतितं हस्तमालोक्य तद्वधूर-
भिदधौ । अत्र पूर्वावस्थास्मरणं शृङ्गाराङ्गमपि करुणं परि-
पोषयति ।।
दन्तक्षतानि करजैश्च विपाटितानि
प्रोद्भिन्नसान्द्रपुलके भवतः शरीरे ।
दत्तानि रक्तमनसा मृगराजवध्वा
जातस्पृहैर्मुनिभिरप्यवलोकितानि ।।३३७।।
the Heroic has been made to intervene between the
Disgustful and the Erotic. 64.
Even if two Passions are incompatible, they do not mar each
other,—(a) when one is merely remembered, or (b) when it is
intended to be equal to the other (in importance), or (c) when the
two become subservient to a third Principal (Passion). 65.
For instance, (a) in the following verse—‘Ayaṁ
sa rashanotkarṣī &c. ‘This is that same hand &c.’
(see above,)—which contains the speech of the wife of
Bhūrishravas when she saw his hand lying on the battle
field,—the remembrance of her past experience, even
though savouring of the Erotic, only serves to heighten
the Pathetic.
(b) In the following verse—
‘The teeth-marks and the nail-tearings made in your
thrilling body by the blood-thirsty (loving) lioness (wo-
man), were looked at even by the sages, with coveting
eyes’.

CHAPTER VII 295
अत्र कामुकस्य दन्तक्षतादीनि यथा चमत्कारकारीणि तथा
जिनस्य । यथा वा परः शृङ्गारी तदवलोकनात्सस्पृहस्तद्वत्
एतद्दृशो मुनय इति साम्यविवक्षा ॥
क्रामन्त्यः क्षतकोमलाङ्गुलिगलद्रक्तैः सदर्भाः स्थलीः
पादैः पातितयावकैरिव गलद्बाष्पाम्बुधौतानना ।
भीता भर्तृकरावलम्बितकरास्त्वच्छत्रुनार्योऽधुना
दावाग्नि परितो भ्रमन्ति पुनरप्युद्यद्विवाहा इव ॥३३८॥
The meaning is that the marks made on the body
of the Buddha by the lioness looked as charming as those
made on the body of the lover by his beloved woman ;
or that, ' just as the erotically inclined man looks covetingly
upon the marks of endearment made by a woman upon
the body of another man, so did the sages look covetingly
upon the marks upon Buddha’s body made by the lioness ' ;
and here both the Passions (the Heroic and the Erotic) are
meant to be of equal importance.
(c) In the following verse—
‘The frightened wives of your enemies sprinkle,
with their feet on the grassy ground, blood issuing from
their fingers, and appear as if dropping the red paint of
their feet ; their faces are washed with flowing tears ;
and supporting themselves on the hands of their husbands,
they walk round the forest-fire, appearing as if they were
again going through their marriage-rites '.—
The principal factor meant to be delineated by the
clever statement is the speaker’s regard for the king, and to
this principal factor, both, the Pathetic as well as the Erotic,
are equally subservient ; and under the circumstances,

296 KĀVYAPRAKĀŚA
अत्र चाटुके राजविषया रतिः प्रतीयते । तत्र करुण इव
शृङ्गारोप्यङ्गमिवि तयोर्न विरोधः ।
यथा
एहि गच्छ पतोत्तिष्ठ वद मौनं समाचर ।
एवमाशाग्रहग्रस्तैः क्रीडन्ति धनिनोर्थिभिः ॥३३९॥
इत्यत्र एहीति क्रीडन्ति गच्छेति क्रीडन्तीति क्रीडनापेक्षयोः
आगमनगमनयोर्न विरोधः ।
क्षिप्तो हस्तावलग्नः प्रसभमभिहतोप्याददानोंशुकान्तं
गृह्णन् केशेष्वपास्तश्चरणनिपतितो नेक्षितः संभ्रमेण ।
आलिङ्गन् योवधूतस्त्रिपुरयुवतिभिः साश्रुनेत्रोत्पलाभिः
कामीवार्द्रापराधः स दहतु दुरितं शांभवो वः शराग्निः ॥३४०॥
there is no incompatibility. Just as there is no incongruity
in the mention of two mutually contradictory actions,
when these are mentioned as subservient to a third act ;
e.g., in the verse—" Come "—" go "—" fall down "—
" rise "—" speak "—" keep quiet ",—in this manner do
the rich make fun of the needy men who are held in by
hopes for 'getting something,'—' coming ' and ' going '
are both subservient 'to the act of making fun'.
Similarly in the following verse—
'May the fire of Shiva's arrows burn your sin,—the
fire which, upon embracing the young ladies of Tripura,
was shaken off by them with tearful eyes,—was thrown
aside on touching their hands, was swiftly struck back,
when catching hold of their cloth-end, —thrust aside,
when touching their locks,—not even perceived, through
flurry, when fallen on their feet ; and thus appeared like a

CHAPTER VII 297
इत्यत्र त्रिपुररिपुप्रभावातिशयस्य करुणोऽङ्गम् । तस्य तु
शृङ्गारः । तथापि न करुणे विश्रान्तिरिति तस्याङ्गत्तैव । अथवा
प्राक् यथा कामुक आचरति स्म तथा शराग्निरिति शृङ्गारपोषि-
तेन करुणेन मुख्य एवार्थ उपोद्बल्यते ।
उक्तं हि
‘गुणः कृतात्मसंस्कारः प्रधानं प्रतिपद्यते ।
प्रधानस्योपकारे हि तथा भूयसि वर्तते ॥’ इति ॥
guilty lover of theirs,’—the principal object of delineation
is the superior majesty of Tripura’s enemy (Shiva) ; and to
this is subservient the Pathetic, to which latter the Erotic
is subservient ; and even though in view of the Erotic
being subservient to it, the Pathetic might be regarded as
the predominant factor,—yet it has to be regarded as only
a subordinate factor in view of the fact that the delineation
of the Pathetic does not form the end of the describer.
Or, the sense may be that—‘ the fire of the arrow behaved
in the same manner as a guilty lover has done ’,—wherein
the principal factor (greatness of Shiva) becomes heightened
by the Pathetic as strengthened by the Erotic [so that in
this sense also the Pathetic is not the end arrived at.]
In support of our view, we have the following state-
ment—‘ It is only when it has undergone a purificatory
process that the subordinate factor approaches its Princi-
pal, and it is only thus that it tends to help that principal.’
In this connection it has to be borne in mind that there
can be no ‘incompatibility’ between one Passion and
another,—when we understand Passion to be what it has
been described to be above (under Ch. IV) ; nor can there

298 KĀVYAPRAKĀŚA
प्राक्प्रतिपादितस्य रसस्य रसान्तरेण न विरोधः नाप्यङ्गा-
ङ्गिभावो भवति इति रसशब्देनात्र स्थायिभाव उपलक्ष्यते ॥६५॥
इति काव्यप्रकाशे दोषदर्शनो नाम सप्तम उल्लासः ॥७॥
be any relative subserviency between them ; hence in the
present context; the term 'rasa', 'passion', should be
taken as standing for the corresponding 'Sthāyī-Bhāva'
'Latent Feeling.' 65.
[Thus ends the Chapter VII dealing with the illustrations of
Faults of Poetry in the Kāvya-Prakāśa.]

काव्यप्रकाशः
अथ अष्टम उल्लासः
एवं दोषानुक्त्वा गुणालंकारविवेकमाह-
ये रसस्याङ्गिनो धर्माः शौर्यादय इवात्मनः ।
उत्कर्षहेतवस्ते स्युरचलस्थितयो गुणाः ॥ ६६ ॥
आत्मन एव हि यथा शौर्यादयो नाकारस्य तथा रसस्यैव
माधुर्यादयो गुणा न वर्णानाम् ॥
क्वचित्तु शौर्यादिसमुचितस्याकारमहत्त्वादेर्दर्शनात् 'आकार
एवास्य शूरः' इत्यादेर्व्यवहारादन्यत्राशूरेपि वितताकृतित्वमात्रेण
'शूरः' इति क्वापि शूरेपि मूर्तिलाघवमात्रेण 'अशूरः' इति अवि-
CHAPTER VIII
OF EXCELLENCES
Having described the Defects, the Author next pro-
ceeds to describe the difference between 'Excellences'
and 'Ornaments' or 'Figures of speech'—
Those properties that belong to the Passion, the principal
factor,—conducive to its maturity and having an unceasing
existence,—are called 'Guṇas', 'Excellences', in the same
manner as Bravery and such qualities belong to the Soul. 66.
Just as Bravery and such qualities belong to the Soul,
not to the body,—so Sweetness and the other Excellences
belong to the Passion, not to the letter.
In some cases it so happens that people find bravery
co-existing with the large-sized body, and come to speak
of the body itself as 'brave'; and hence in another case
also, on seeing a large body, they are led to believe, from
II-

300 KĀVYAPRAKĀŚA
श्रान्तप्रतीतयो यथा व्यवहरन्ति तद्वन्मधुरादिव्यञ्जकसुकुमारादि-
वर्णानां मधुरादिव्यवहारप्रवृत्तेरमधुरादिरसाङ्गानां वर्णानां
सौकुमार्यादिमात्रेण माधुर्यादि मधुरादिरसोपकरणानां तेषामसौ-
कुमार्यादिरमाधुर्यादि रसपर्यन्तविश्रान्तप्रतीतिबन्ध्या व्यवहरन्ति ।
अत एव माधुर्यादयो रसधर्माः समुचितैर्वर्णैर्व्यज्यन्ते न तु
वर्णमात्राश्रयाः । यथैषां व्यञ्जकत्वम् तथोदाहरिष्यते ॥६६॥
the analogy of the former case, that this other man also
must be brave ;—and thus, even a really brave man comes
to be believed to be not brave on the ground of the smallness
of his body ; and such beliefs are very common ;—in the
same manner people (like Vāmana and others) have come
to speak (a) of the soft—sounding letters as ‘sweet’,
though in reality they are only suggestive of sweetness ;—
and they come to speak of such passion and its accessories
as are not really ‘sweet’, as ‘sweet’, simply by reason of
the softness of the letters (expressing them) ; in the same
manner, they also speak of the really ‘sweet’ passions
and accessories as ‘not sweet’, when they are expressed
in such words as are not soft-sounding ;—and in all
this, they do not take into account the Passion at all (attri-
buting as they do, the sweetness to the letters).
It is in view of all this divergent usage that it has been
asserted (in the text) that sweetness and other excellences
are properties really belonging to the Passion, and what
the properly selected letters do is only to render such
qualities perceptible ; and those qualities do not subsist
in the letters entirely. In what manner the letters serve
to manifest the qualities is going to be shown by means of
examples. 66.

CHAPTER VIII 301
उपकुर्वन्ति तं सन्तं येऽङ्गद्वारेण जातुचित् ।
हारादिवदलंकारास्तेऽनुप्रासोपमादयः ॥ ६७ ॥
ये वाचकवाच्यलक्षणाङ्गातिशयमुखेन मुख्यं रसं संभविन-
मुपकुर्वन्ति ते कण्ठाद्यङ्गानामुत्कर्षाधानद्वारेण शरीरिणोपि
उपकारका हारादय इवालंकाराः । यत्र तु नास्ति रसस्तत्रोक्ति-
वैचित्र्यमात्रपर्यवसायिनः । क्वचित्तु सन्तमपि नोपकुर्वन्ति ।
यथाक्रममुदाहरणानि--
अपसारय घनसारं कुरु हारं दूर एव किं कमलैः ।
अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥ ३४१॥
Those dualities which sometimes adorn the existing Passion,
through its components,—just as the necklace and the like (do
for the Soul, through the body),—are the ornaments (figures
of speech), Alliteration, Simile and the rest. 67.
Those qualities that adorn the principal factor,—
i. e. the Passion—where it exists,—by imparting
excellence to its components, in the shape of the expres-
sive words and their expressed meaning, are called ‘or-
naments’, because they resemble the necklace and other
things which, by imparting beauty to the neck and other
parts of the body, come to adorn the soul also. Where,
however, the Passion does not exist, the said ornaments
tend to become merely fanciful expressions. In certian
cases, even when the Passion is present, they do not serve
to adorn it.
Examples in order :—
(1) In the following verse [and others] the ornament
(Alliteration) adorns the Passion through the expressive
words—
Apasāraya ghanasāraṁ kuru hāraṁ dūra eva kiṁ kamalaiḥ
Alamalamāli mṛṇālairiti vadati divāniśaṁ bālā.

302 KĀVYAPRAKĀŚA
इत्यादौ वाचकमुखेन
मनोरागस्तीव्रं विषमिव विसर्पत्यविरतं
प्रमाथी निर्धूमं ज्वलति विधुतः पावक इव ।
हिनस्ति प्रत्यङ्गं ज्वर इव गरीयानित इतो
न मां त्रातुं तातः प्रभवति न चाम्बा न भवती ॥३४२॥
इत्यादौ वाच्यमुखेनालंकारौ रसमुपकुरुतः ॥
चित्ते चिहुट्टदि ण तुट्टदि सा गुणेसुं
सेज्जासु लोट्टदि विसप्पदि दिंमुहेसुं ।
बोलम्मि वट्टदि पवट्टदि कव्वबन्धे
झाणेण तुट्टदि चिरं तरुणी तरट्टी ॥३४३॥
“ Remove the camphor ; throw away the garland ;
what is the use of lotus-flowers ? O Friend, enough,
enough of these lotus-stalks !”—Thus does the young
girl go on speaking day and night.’
(2) In the following verse the Figure (Stringed Simile)
adorns the Passion through the expressed meaning—
‘ The galling all-conquering love is freely circulating like
poison ; it burns fiercely (smokelessly) like fire fanned by
the wind ; it afflicts every limb, like high fever; neither father
nor mother nor your ladyship is able to save me from this.
In the following verse, the ornament (Alliteration)
adorns only the words (and not the Passion depicted)—
‘ Chitte cihuṭṭadi ṇa tuṭṭadi sā guṇesuṁ
Sejjāsu loṭṭadi visappadi diṁmuhesuṁ
Bolammi vaṭṭadi pavaṭṭadi kavvabandhe
Jhāṇeṇa tuṭṭadi chiraṁ taruṇī taraṭṭī.’
‘ The young woman acts sensibly ; she is not devoid
of excellences ; she rolls about on the bed, moves all round
and talks freely ; she engages in poetical composition, and