काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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

CHAPTER VIII 303
इत्यादौ वाचकमेव ।
मित्रे क्वापि गते सरोरुहवने बद्धानने ताम्यति
क्रन्दत्सु भ्रमरेषु वीक्ष्य दयितासन्नं पुरः सारसम् ।
चक्राह्वेन वियोगिना बिसलता नास्वादिता नोज्झिता
कण्ठे केवलमर्गलेव निहिता जीवस्य निर्गच्छतः ॥३४४॥
इत्यादौ वाच्यमेव न तु रसम् । अत्र बिसलता न जीवं रोद्धुं
क्षमेति प्रकृताननुगुणोपमा ॥
एष एव च गुणालंकारप्रविभागः । एवं च “समवायवृत्त्या .
शौर्यादयः संयोगवृत्त्या तु हारादय इत्यस्तु गुणालंकाराणां भेदः ।
for long periods of time she does not break off her con-
templation!’
(4) In the following verse, the Figure (Simile) adorns
only the expressed meaning—and not the Passion depicted.
‘When the sun had gone away, the lotus had closed
its mouth in anger, and the bees had begun to cry (in grief),
the forlorn Chakravāka bird, seeing the Crane seated closed
to his beloved, did not either eat or give up the lotus-
fibre; it was only retained in the throat, like a bar, as it
were, to the outgoing life-breath.’
As a matter of fact, under the sorrowful circumstances
depicted, a lotus-fibre cannot serve to keep back the
breath; so that the Simile, as it stands, only mars the effect
of the Passion (Erotic—Privative) depicted (and does not
help it).
Such is the actual difference between ‘Excellence’
and ‘Ornament’. And this puts out of court all such
assertions as the following (in the Bhāmahavṛtti, by Bhaṭṭod-
bhaṭa)—“The difference between such Excellences as
Bravery and the rest, and such Ornaments, as necklace and

304 KĀVYAPRAKĀŚA
ओजःप्रभृतीनामनुप्रासोपमादीनां चोभयेषामपि समवायवृत्त्या
स्थितिरिति गड्डलिकाप्रवाहेणैवैषां भेदः” इत्यभिधानमसत् ॥
यदप्युक्तम् “काव्यशोभायाः कर्तारो धर्मा गुणास्तदतिशय-
हेतवस्त्वलंकाराः” इति तदपि न युक्तम् । यतः किं समस्तैर्गुणैः
काव्यव्यवहारः उत कतिपयैः । यदि समस्तैः तत्कथमसमस्त-
गुणा गौडी पाञ्चाली च रीतिः काव्यस्यात्मा ।
अथ कतिपयैः ततः
the rest, may be that while the former subsists by in-
herence, the latter is present only by conjunction; [this may be
true in the case of the Body and its excellences and orna-
ments but (in the case of Passion and its delineation) we
find that both,—excellences like Floridity and the rest, as
well as ornaments, like Simile, Alliteration and the rest—
subsist by inherence only; consequently any distinction
drawn between these two must be regarded as merely
based upon a blind tradition—a case of sheep blindly
following another.”
Then again, some people (Vāmana and his followers),
have stated the distinction in the form that “while Ex-
cellences serve to produce charm in poetry, Ornaments serve
to heighten the charm already produced.”—This also is
not right. Because the questions would arise—Is poetry
to be regarded as such only through the presence of all
the excellences, or through that of a few of these only?
If the former, how could the Gauḍī and Pāñchālī dictions,
which are not possessed of all the excellences, constitute
the ‘soul of Poetry’ (as has been held by Vāmana)?—If,
on the other hand, it is only the presence of a few of the
Excellences that renders Poetry capable of being so re-
garded,—then, it would be permissible to regard as ‘poetry’,

CHAPTER VIII 305
अद्रावत्र प्रज्वलत्यग्निरुच्चैः प्राज्यः प्रोद्यन्नुल्लसत्येष धूमः ॥३४५॥
इत्यादावोजः प्रभृतिषु गुणेषु सत्सु काव्यव्यवहारप्राप्तिः ।
स्वर्गप्राप्तिरनेनैव देहेन वरवर्णिनी ।
अस्या रदच्छदरसो न्यक्करोतितरां सुधाम् ॥३४६॥
इत्यादौ विशेषोक्तिव्यतिरेकौ गुणनिरपेक्षौ काव्यव्यवहारस्य
प्रवर्तकौ ॥६७॥
इदानीं गुणानां भेदमाह
माधुर्यौजःप्रसादाख्यास्त्रयस्ते न पुनर्दश ।
एषां क्रमेण लक्षणमाह
आह्लादकत्वं माधुर्यं शृङ्गारे द्रुतिकारणम् ॥६८॥
even such statements as—
‘ adrāvatra prajvalatyagniruchchaiḥ
prājyaḥ prodyannul lasatyeṣa dhūmaḥ.’
[‘In this hill fire burns high, because there arises
thence a dense volume of smoke’],
where some of the Excellences, Floridity and the rest,
are present.—
Further, in such verses as the following—
‘This handsome woman represents the acquisition of
the Heaven in this human form, and the loveliness of her
lips puts nectar itself into the shade’,—
we find that it is regarded as ‘poetry’, through the
presence of the two Ornaments or Figures ‘Peculiar
Allegation’ and ‘Dissimilitude’, independently of the
presence of any excellences. 67.
The Author next proceeds to describe the varieties of
Excellences.—
Sweetness, Floridity and Lucidity—they are these three,
and not ten.
He states [one by one] the definition of each of these
three—
‘Sweetness’ is a source of delectability; it is what leads to
mollification in the case of the Erotic Passion. 68.

306 KĀVYAPRAKĀŚA
शृङ्गारे अर्थात् संभोगे । द्रुतिर्गलितत्वमिव । श्रव्यत्वं पुनरोजः
प्रसादयोरपि ॥ ६८ ॥
करुणे विप्रलम्भे तच्छान्ते चातिशयान्वितम् ।
[अतिशयान्वितमिति] अत्यन्तद्रुतिहेतुत्वात् ॥
दीप्त्यात्मविस्तृतेर्हेतुरोजो वीररसस्थिति ॥ ६९ ॥
चित्तस्य विस्ताररूपदीप्तत्वजनकमोजः ॥ ६९ ॥
बीभत्सरौद्ररसयोस्तस्याधिक्यं क्रमेण च ।
वीराद्बीभत्से ततो रौद्रे सातिशयमोजः ॥
शुष्केन्धनाग्निवत् स्वच्छजलवत्सहसैव यः ॥ ७० ॥
व्याप्नोत्यन्यत् प्रसादोऽसौ सर्वत्र विहितस्थितिः ।

It leads to 'mollification',—i.e., soft flow or melting
as it were,—in the case of the 'Erotic', i.e., of the
agreeable kind.
As for mere melodiousness, it belongs to Floridity and
Lucidity also (and as such cannot form the differentia of
sweetness, as has been held by Bhāskara). 68.
In the case of the Pathetic, the Privative—Erotic and
the Quietistic, it (Sweetness) is present in an excessive degree.
'Present in an excessive degree'—because it leads
to excessive mollification.
Floridity, the source of the lustrous expanding of the
heart, resides in the Heroic Passion. 69.
[For the variant reading आत्मविस्मृतिः —Floridity the source of self-
forgetfulness through illumination.]
Floridity brings about that glow of the heart which
appears in the form of its expansion. 69.
It is present in an excessive degree in the Disgustful
and Furious Passions, in order.
In the Disgustful, Floridity is present, in a greater
degree than in the Heroic; and in a still greater degree
in the Furious.

CHAPTER VIII 307
अन्यदिति । व्याप्यमिह चित्तम् । सर्वत्रेति । सर्वेषु रसेषु सर्वासु
रचनासु च ॥
गुणवृत्त्या पुनस्तेषां वृत्तिः शब्दार्थयोर्मता ॥ ७१ ॥
गुणवृत्त्या उपचारेण । तेषांगुणानाम् । आकारे शौर्यस्येव ।। ७०-७१ ।।
कुतस्त्रय एव न दश इत्याह
केचिदन्तर्भवन्त्येषु दोषत्यागात्परे श्रिताः ।
अन्ये भजन्ति दोषत्वं कुत्रचिन्न ततो दश ॥ ७२ ॥
That which quickly pervades the other like fire among
dry fuel, or like a clean stream of water, is Lucidity, whose
presence is proper everywhere.
'The other'—i. e., the heart. 'Every where'—i.e., in all
Passions and in all forms of composition.
These (excellences) are held to subsist in words and their
meanings only indirectly. 70-71.
'Indirectly'—i. e., figuratively.
'These'—Excellences.
These excellences (really subsisting in Passion) are
figuratively spoken of (even in Mammaṭa's own definition
of Poetry) as subsisting in words and their meanings, in the
same manner as Bravery and such qualities are attributed
to the body (though really belonging to the soul). 70-71.
"Why should the number of these excellences be three
only, and not ten (as described by Vāmana)?"
The author answers this question—
(a) Some (of the ten) are included under these (three) ; (b)
others are resolved into the mere negation of certain defects;
(c) the rest, in certain cases, have the character of Defects;—
for this reason they are not ten. 72.

बहूनामपि पदानामेकपद्वद्भासनात्मा यः श्लेषःयश्चारोहा-
वरोहक्रमरूपः समाधिः या च विकटत्वलक्षणा उदारता यश्चौजो-
मिश्रितशैथिल्यात्मा प्रसादः तेषामोजस्यन्तर्भावः । पृथक्पदत्वरूपं
माधुर्यं भङ्ग्या साक्षादुपात्तम् । प्रसादेनार्थव्यक्तिर्गृहीता ।
मार्गाभेदरूपा समता क्वचिद्दोषः । तथाहि ‘मातङ्गाः किमु
वल्गितैः’ इत्यादौ सिंहाभिधाने मसृणमार्गत्यागो गुणः ।
कष्टत्वग्राम्यत्वयोर्दुष्टताभिधानात्तन्निराकरणेनापारुष्यरूपं सौकु-
मार्यम् औज्ज्वलरूपा कान्तिश्च स्वीकृता ॥

(Among the ten enumerated by Vāmana) are—(1) Śhleṣa,
Coalescence, defined as that property whereby several words
have the appearance of a single word,—(2) Samādhi,
Smoothness, defined as consisting in the proper adjustment
of ascent (high-flown language) and descent (simple langu-
age),—(3) Udārartā, Magnificence, consisting in the fanciful
grouping of words,—(4) Prasāda, Simplicity, consisting in
dullness mixed with floridity ;—and all these are included
in ‘Floridity’ (as defined by ourselves) ;—(5) Mādhurya,
Sweetness, consisting in the distinctness of words, has,
in a way, been admitted by us also under the same name ;—
(6) Arthavyakti, Clearness of Meaning, is included under
‘Lucidity ’,—(7) Samatā, Uniformity, consisting in the
sameness of style, is, in some cases, a defect ; e. g., in
such verses, ‘mātaṅgāiḥ kimu &c.’ (see above stanza No.
229.), where too, the abandoning of the softer diction,
in the description of the Lion (in the fourth line), is a posi-
tive excellence,—(8) Saukumārya, Softness, consisting in
the absence of harshness, and (9) Kānti, Polish, consisting
in the brightness of style, are admitted as the negations
respectively of ‘harshness’ and ‘vulgarity’, which have
been mentioned as defects.