काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

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.

CHAPTER VIII 309
एवं न दश शब्दगुणाः ॥
‘पदार्थे वाक्यरचनं वाक्यार्थे च पदाभिधा ।
प्रौढिर्व्याससमासौ च साभिप्रायत्वमस्य च ॥’
इति या प्रौढिः ओज इत्युक्तं तद् वैचित्र्यमात्रम् न गुणः ।
तदभावेपि काव्यव्यवहारप्रवृत्तेः । अपुष्टार्थत्वाधिकपदत्वानवी-
कृतत्वामङ्गल रूपाश्लील ग्राम्याणां निराकरणेन च साभि-
प्रायत्वरूपमोजः अर्थवैमल्यात्मा प्रसादः उक्तवैचित्र्यरूपं
माधुर्यम् अपारुष्यरूपं सौकुमार्यम् अग्राम्यत्वरूपा उदारता च
Thus it follows that the number of excellences pertain-
ing to words is not ten.
As regards those same Excellences as pertaining to
the meaning, (1) the first (mentioned by Vāmana) is
Prauḍhi, Boldness, also called (the first kind of ‘ojas’
‘strength’), which has been defined as consisting (a) in
the use of a sentence for the expressing of what can
be expressed by a single word, (b) in using a single word
for the expressing of what would be expressed by a sen-
tence, (c) in expansion, (d) in brevity and (e) in the effective-
ness of epithets. But this is merely a flourish of style,
and not an ‘excellence’; since expressions are regarded
as ‘poetical’ even in the absence of the said (five kinds of)
Boldness.—(1a) the second kind of ‘ojas’, ‘strength’,
which has been defined as consisting in significance (a preg-
nancy of meaning), is only the negation of the defect of
Irrelevancy;—(2) ‘Prasāda’, consisting in clearness of
meaning, is the negation of the defect of ‘redundancy’;
—(3) ‘Mādhurya’, consisting of fanciful expression, is the
negation of the defect of ‘monotony’;—(4) Saukumārya,
consisting of freedom from ruggedness, is the negation
of the defect of ‘Indecorous Inauspiciousness’;—(5)
Udāratā, consisting in the absence of vulgarity, is the

310 KĀVYAPRAKĀŚA
स्वीकृतानि । अभिधास्यमानस्वभावोक्त्यलंकारेण रसध्वनि-
गुणीभूतव्यङ्ग्याभ्यां च वस्तुस्वभावस्फुटत्वरूपा अर्थव्यक्तिः,
दीप्तरसत्वरूपा कान्तिश्च स्वीकृता । क्रमकौटिल्यानुल्बणत्वोप-
पत्तियोगरूपघटनात्मा श्लेषोपि विचित्रत्वमात्रम् । अवैषम्य-
स्वरूपा समता दोषाभावमात्रं न पुनर्गुणः । कः खल्वनुन्मत्तो-
न्यस्य प्रस्तावेन्यदभिदध्यात् । अर्थस्यायोनेरन्यच्छायायोनेर्वा
यदि न भवति दर्शनं तत्कथं काव्यम् इत्यर्थदृष्टिरूपः समाधिरपि
न गुणः ॥७२॥
negation of the defect of ‘ vulgarity.’—(6) Arthavyakti,
consisting in the distinctness of the character of things,
is included under the Figure of Svabhāvokti, ‘ natural
description,’—going to be described later on ; (7) Kānti,
consisting in the brilliance of Passion, is included under
the ‘ Suggestion of Passion ’, either as the predominant
or the subordinated factor.—(8) Shleṣa,—consisting of a
combination of several circumstances, such as (a) sequence
of several actions, (b) deceit (c) well-known character,
and (d) statement of, reasons,—is only a flourish of the
poetic fancy.—(9) Samatā, consisting in the non-relinquish-
ment of continuity, is only the negation of a defect (of
‘ Broken Uniformity ’), and not a positive excellence ; what
man, unless he were mad, would ever begin with one thing
and then speak of a totally different thing ?—(10) Samādhi,
consisting in the true appreciation of the meaning (as
being original or imitated), is not an excellence ; because
unless one comprehends the true meaning of a poem,
and recognises whether it is an original idea of the poet
concerned, or has its source in the idea of some other
poet,—how can the composition be regarded as ‘ poetry ’
at all ? 72.

CHAPTER VIII 311
तेन नार्थगुणा वाच्याः
न वाच्याः न वक्तव्याः ॥
प्रोक्ताः शब्दगुणाश्च ये ।
वर्णाः समासो रचना तेषां व्यञ्जकतामिताः ॥ ७३ ॥
के कस्य इत्याह
मूर्ध्नि वर्गान्त्यगाः स्पर्शा अटवर्गा रणौ लघू ।
अवृत्तिर्मध्यवृत्तिर्वा माधुर्ये घटना तथा ॥ ७४ ॥
टठडढवर्जिताः कादयो मान्ताः शिरसि निजवर्गान्त्ययुक्ताः
तथा रेफणकारौ ह्रस्वान्तरिताविति वर्णाः समासाभावो मध्यमः
For these reasons, the excellences (held by others) as pertaining
to the meaning should not be mentioned sep arately).
‘Should not be mentioned’—do not deserve to be
mentioned.
Those excellences that have been spoken of as pertaining
(indirectly) to words, (though really belonging to Passion depicted)—
these are suggested by Letters, compounds and diction. 73.
The text proceeds to describe what is suggestive of
what excellence.—
(a) The ‘sparsha’ [mute] consonants, with the exception of
those of the ‘ṭa’-group, combined with the last consonant of
their group,—(b) the consonants ‘r’ and ṇ’ when short,—(c)
expressions free compounds,—(d) compounds of medium length,—
and (e) harmonious diction—are (suggestive) of Sweetness. 74.
(a) All the consonants from k to m—except ṭ, ṭh, ḍ
and ḍh—combined with the last letter of their res-
pective groups, (b) r and ṇ combined with short vowels ;
—these are the ‘letters’ (suggestive of Sweetness).
As for ‘compounds’—(e) ‘expressions free from com-
pounds’ or (d) ‘compounds of medium length’ (are suggestive
of Sweetness).

312 KĀVYAPRAKĀŚA.
समासो वेति समासः तथा माधुर्यवती पदान्तरयोगेन रचना
माधुर्यस्य व्यञ्जिका ।। उदाहरणम्
अनङ्गरङ्गप्रतिमं तदङ्गं
भङ्गीभिरङ्गीकृतमानताङ्ग्याः ।
कुर्वन्ति यूनां सहसा यथैताः
स्वान्तानि शान्तापरचिन्तनानि ॥३४७॥७४।।
योग आद्यतृतीयाभ्यामन्त्ययो रेण तुल्ययोः ।
टादिः शषौ वृत्तिदैर्घ्यं गुम्फ उद्भट ओजसि ॥ ७५ ॥
वर्गप्रथमतृतीयाभ्यामन्त्ययोः द्वितीयचतुर्थयोः रेफेण
अध उपरि उभयत्र वा यस्य कस्यचित् तुल्ययोः तेन तस्यैव
(e) ‘Harmonious diction’—i. e., such diction in which
the words are so combined as to make it soft—is also
suggestive of Sweetness.
Example—
‘Anaṅgaraṅgapratimaṁ tadaṅgaṁ
Bhaṅgībhirāṅgīkṛtamānatāṅgyāḥ
Kurvanti yūnāṁ sahasā yathaitāḥ
Svāntāni shāntāparachintanāni.’
‘The exquisite body of the slender-bodied one, re-
sembling the sportive altar of the Love-god, accompanied
by graceful motions makes the innermost hearts of young-
men think of things other than the quietistic.’ 74.
(A) The combination—(a) of the first and of the third
consonants of a group with the consonant following them,—(b)
of any consonant with r,—and (c) of any two similar
consonants;—(B) the consonants beginning with ṭ—(C) the
consonants sh and ṣ—(D) long compounds,—and (E) the
bombastic diction,—these are suggestive of Floridity. 75.
(a) The combination of the first and third letters
of a group with those following them—i.e., with the
second and the fourth respectively;—(b) any consonant

CHAPTER VIII 313
संबन्धः टवर्गोर्थात् णकारवर्जः शकारषकारौ दीर्घसमासः
विकटा संघटना ओजसः ।
उदाहरणम्—मूर्ध्नामुद्वृत्तकृत्तइत्यादि ।।३४८।।७५।।
श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् ।
साधारणः समग्राणां स प्रसादो गुणो मतः ॥ ७६ ॥
समग्राणां रसानां संघटनानां च । उदाहरणम्
परिम्लानं पीनस्तनजघनभंगादुभयतस्-
तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् ।
इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैः
कृशाङ्ग्याः संतापं वदति बिसिनीपत्रशयनम् ।।३४९।।७६।।
having r either above or below it ;—(c) the combination
of ‘similar consonants’ i.e., that of a consonant with
itself—(d) the entire ṭ-group with the exception of ṇ—
(e) the consonants śh and ṣ—(f) long compounds—and
(g) bombastic dictive ;—all these are suggestive of Flori-
dity.
As an example we have the verse ‘Mūrdhnāmudvṛtta
&c.’ (see above stanza No. 285.)
Lucidity has been held to be that excellence, common to
all, by virtue of which the comprehension of meaning of words
follows on the mere hearing of it. 76.
‘All’—i. e., all Passions and all styles or diction.
Example.—
‘Parimlānaṁ pīnastanajaghanasaṅgādubhayatas
Tanor madhyasyāntaḥ parimīlanamaprāpya haritam
Idaṁ vyastanyāsaṁ śhlathabhujalatākṣepabalanaiḥ
Kṛśhāṅgyāḥ santāpaṁ vadati bisinīpatrashayanam.’
‘This bedding of lotus-leaves shows the distress of
the slender-bodied one,—being as it is withered at its

314 KĀVYAPRAKĀŚA
यद्यपि गुणपरतन्त्राः संघटनादयस्तथापि
वक्तृवाच्यप्रबन्धानामौचित्येन क्वचित्क्वचित् ।
रचनावृत्तिवर्णानामन्यथात्वमपीष्यते ॥ ७७ ॥
क्वचिद्वाच्यप्रबन्धानपेक्षया वक्त्रौचित्यादेव रचनादयः । यथा
मन्थायस्तार्णवाम्भःप्लुतकुहरचलन्मन्दरध्वानधीरः
कोणाघातेषु गर्जत्प्रलयघनघटान्योऽन्यसंघट्टचण्डः ।
कृष्णाक्रोधाग्रदूतः कुरुकुलनिधनोत्पातनिर्घातवातः
केनास्मत्सिंहनादप्रतिरसितसखो दुन्दुभिस्ताडितोऽसौ ॥ ३५० ॥
two ends where it has come into contact with the plump
breasts and thighs —green in the middle where it did
not come into contact with her slender waist —and ruffled
by the throwing about of her unnerved arms.’ 76.
[Although Construction, etc. are subservient to Excellence—]
The diction, the compounds and the letters are sometimes
altered, in accordance with the nature of (a) the speaker, (b)
the subject and (c) the form (of the composition). 77.
(a) In some cases the Diction &c., are made to
accord with the nature of the speaker, irrespective of
the subject or of the composition ; as an example of which
we have the following—
Manthāyastārṇavāmbhaḥplutakuhara-chalanmandaradhvānadhīraḥ
Koṇāghāteṣu garjatpralayaghanaghaṭā-nyonyasaṅghaṭṭacaṇḍaḥ
Kṛṣṇākrodhāgradūtaḥ kurukulanidhanotpātanirghātavātaḥ
Kenāsmatsiṁhanādapratirasitasakho dundubhistāḍitosau.
‘By whom has this trumpet been blown,—appearing
as it does like the echo of my lion-roar, the forward
messenger of Draupadī’s wrath, the cyclone presaging the
annihilation of the Kuru-race, resembling, at each stroke
of the beating-stick, the terrible clash of the thundering

CHAPTER VIII 315
अत्र हि न वाच्यं क्रोधादिव्यञ्जकम् । अभिनेयार्थं च
च काव्यमिति तत्प्रतिकूला उद्धता रचनदयः । वक्ता चात्र
भीमसेनः ॥
क्वचिद्वक्तृप्रबन्धानपेक्षया वाच्यौचित्यादेव रचनादयः ॥
यथा
प्रौढच्छेदानुरूपोच्छलनरयभवत्सैंहिकेयोपघात-
त्रासाकृष्टश्वतिर्यग्वलितरविरथेनारुणेनेक्ष्यमाणम् ।
कुर्वत् काकुत्स्थवीर्यस्तुतिमिव मरुतां कन्धरारन्ध्रभाजां
झांकारैर्भीममेतन्निपतति वियतः कुम्भकर्णोत्तमाङ्गम् ॥ ३५१॥
clouds at the time of universal dissolution, being as deep
as the rumbling of the Mandara mountain tossed about
and having its caves overflowing with the water of the sea
thrown about, as it were, by the churning rod.’
Here the subject described , is not one suggestive of
anger, or any such violent emotion ; the form of the work
also is one to be staged ; so that the bombastic diction is
not compatible with either of these two conditions ; and yet,
since the speaker is Bhīmasena (well-known as a ‘ Furious ’
character) [the bombastic diction is quite suitable.]
In other cases the diction and other things are altered
in accordance with the character of the subject portrayed,
irrespective of the speaker or the form. For instance, in the
following :—
‘ Prauḍhachchhedānurūpochchhalanarayabhavatsaiṁhikeyopaghāta-
Trāsākṛṣṭāśvatiryagvalitaravirathenāruṇenekṣyamāṇam
Kurvat kākutsthavīryastutimiva marutāṁ kandharārandhrabhājāṁ
Bhāṅkārairbhīmametannipatati viyataḥ kumbhakarṇottamāṅgam.’
‘Here falls from the sky the head of Kumbhakarṇa,
terrible on account of the curious humming of winds
contained in the holes in his shoulders, and hence appearing
II–2

316 KĀVYAPRAKĀŚA
क्वचिद्वक्तृवाच्यानपेक्षाः प्रबन्धोचिता एव ते ॥
तथाहि—
आख्यायिकायां शृङ्गारेऽपि न मसृणवर्णादयः । कथायां रौद्रेऽपि
नात्यन्तमुद्धताः । नाटकादौ रौद्रेऽपि न दीर्घसमासादयः ॥
एवमन्यदप्यौचित्यमनुसर्तव्यम् ॥७७॥
इति काव्यप्रकाशे गुणालंकारभेदनियतगुणनिर्णयो नाम
अष्टम उल्लासः ॥ ८ ॥
as it were, singing the praises of Rāma,—and being looked
at by Aruṇa (the Sun’s charioteer) wheeling about the
sun’s chariot and pulling up the horses on one side,
fearing it to be Rāhu, on account of the force with which
it has shot forth under the impact of the powerful stroke
(of the sword).’
In other cases, the Diction &c. are altered in accordance
with the nature of the form, irrespective of the speaker
and the subject.—For instance in an Ākhyāyikā soft letters
are not admissible even in the delineation of the Erotic
Passion ;—in a Kathā, even in the delineation of the
‘Furious’, bombastic words are not used ;—and in dramas
and works of that kind, long compounds are not used even
in the depicting of the ‘Furious’. Similarly in other cases,
the proprieties are to vary with the circumstances. 77.
[ Thus ends Chapter VIII dealing with the determination of
Excellences as different from Ornaments (Figures of Speech).]

अथ नवम उल्लासः
गुणविवेचने कृतेलंकाराः प्राप्तावसराः इति संप्रति शब्दा-
लङ्कारानाह--
यदुक्तमन्यथा वाक्यमन्यथान्येन योज्यते ।
श्लेषेण काक्वा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा ॥ ७८ ॥
तथेति श्लेषवक्रोक्तिः काकुवक्रोक्तिश्च । तत्र पदभङ्गश्लेषेण यथा
नारीणामनुकूलमाचरसि चेज्जानासि कश्चेतनो
वामानां प्रियमदधाति हितकृन्नैवाबलानां भवान् ।
युक्तं किं हितकर्तनं ननु बलाभावप्रसिद्धात्मनः
सामर्थ्यं भवतः पुरन्दरमतच्छेदं विधातुं कुतः ॥३५२॥
CHAPTER IX
THE VERBAL FIGURES OF SPEECH.
The Excellences having been examined, the author now
describes the Verbal Figures of Speech.
(1)—When what is said by one person in one sense is construed
by another person in a different sense—either through punning
or through intonation,—it is Equivoque (Vakrokti) : and
thus it is of two kinds. 78.
'Thus'—i.e., (1) Equivoque based on Punning and (2)
Equivoque based upon Intonation.
The following is an example of Equiyoque based upon
pun due to the breaking up of words :—
'Nārīṇāmanukūlamācharasi chejjānāsi kashchetano
Vāmānāṁ priyamādadhāti hitakṛnnaivābalānāṁ bhavān
Yuktaṁ kiṁ hitakartanaṁ nanu balābhāvaprasiddhātmanaḥ,—
Sāmarthyaṁ bhavataḥ purandaramatachchhedaṁ vidhātuṁ kutaḥ.'

318 KĀVYAPRAKĀŚA
अभङ्गश्लेषेण यथा
अहो केनेदृशी बुद्धिर्दारुणा तव निर्मिता ।
त्रिगुणा श्रूयते बुद्धिर्न तु दारुमयी क्वचित् ॥३५३॥
“If you behave satisfactorily towards women, then
you are wise”.—“What intelligent person does what is
agreeable to his enemies?” [This reply being based upon
the pun involved in breaking up the term ‘nārīṇāṁ’,
spoken by the first speaker in the sense of ‘towards women’,
into two terms ‘na-arīṇāṁ’, ‘not to enemies’]—“Then you
are not a benefactor of the weaker sex.” [This rejoinder
takes the term ‘vāmānāṁ’, used by the second speaker in
the sense ‘of enemies’, in the sense ‘of the weaker sex’.]—
“Would it be proper to destroy the good of a person known
to be weak?” [This answer is based upon the term
‘hitakṛt’, used by the former speaker in the sense of hitaṁ
karoti ‘benefactor, one who does good’, being taken in
the sense of hitaṁ kṛntati’, ‘one who destroys the good’].
—“Whence can there be any power in you to bring about
the destruction of what is desired by Indra?” [This reply
is based on the expression ‘balābhāvaprasiddhātmanaḥ’, used
by the former speaker in the sense of ‘one known to
be weak’, being taken by the latter in the sense of ‘one
who is known by his killing of the demon Bala, i.e.,
Indra’.]
The following is an example of Equivoque based upon
Paronomasia, not involving the breaking up of words.
‘Aho kenedṛśī buddhirdāruṇā tava nirmitā·
Triguṇā śrūyate buddhirna tu dārumayī kvachit’.
“Oh! By whom has this Intelligence of yours been
made so cruel?”—“Intelligence is known to consist of
the three attributes, and never of wood”. [The reply

CHAPTER IX 319
काक्वा यथा
गुरुजनपरतन्त्रतया दूरतरं देशमुद्यतो गन्तुम् ।
अलिकुलकोकिलललिते नैष्यति सखि सुरभिसमयेऽसौ ॥३५४॥७८॥
वर्णसाम्यमनुप्रासः ॥
स्वरवैसादृश्येपि व्यञ्जनसदृशत्वं वर्णसाम्यम् । रसाद्यनुगतः
प्रकृष्टो न्यासोनुप्रासः ॥
is based upon the word ‘dāruṇā’, used by the first speaker
in the sense of ‘cruel’, being taken by the other in the
sense of ‘of wood’.]
The following is an example of Equivoque based on
Intonation.
‘Gurujanaparatantratayā dūrataraṁ deshamudyato gantum
Alikulakokilalalite naiṣyati sakhi surabhisamayesau’.
‘Being obedient to his elders, he is prepared to go
to a far remote country; and O friend! will he not come
during the fragrant season (of spring), which is beautified
by the presence of swarms of black bees and cuckoos?’
[To this the friend is supposed to reply ‘will he not come?’
this reply in this sense being obtained by giving to the
word ‘naiṣyati’, ‘will not come’, the intonation of a ques-
tion; so that the word used by the first speaker in the
former sense is taken by the second in the latter sense,
which carries the further meaning ‘he is sure to come.’]
Alliteration (Anuprāsa) consists in the similarity of letters.
The ‘similarity of letters’ meant here is the sameness
of the consonants, even though the vowels may be different.
The figure is called ‘Anuprāsa’, because it consists in
such ‘prāsa’—prakṛṣṭa nyāsa, i.e., excellent allocation (of
letters)—as is ‘anu’—anugata, favourable, to the delineation
of Passion and other things.

320- KĀVYAPRAKĀŚA
छेकवृत्तिगतो द्विधा ।।
छेकाः विदग्धाः । वृत्तिर्नियतवर्णगतो रसविषयो व्यापारः ।
गत इति छेकानुप्रासो वृत्यनुप्रासश्च ।।
किं तयोः स्वरूपम् इत्याह—
सोनेकस्य सकृत्पूर्वः ।।
अनेकस्य अर्थात् व्यञ्जनस्य सकृदेकवारं सादृश्यं छेकानुप्रासः ।
उदाहरणम्
ततोरुणपरिस्पन्दमन्दीकृतवपुः शशी ।
दध्रे कामपरिक्षामकामिनीगण्डपाण्डुताम् ।।३५५।।
It is of two kinds,—as pertaining to (a) chheka (experts) and (b)
vṛtti (diction).
‘Chheka’—Experts ; ‘vṛtti’—that function of letters
which affects the delineation of Passion ;—‘pertaining to’
these,—i.e., the two kinds of Alliteration are (a) ‘chhekānu-
prāsa’ and (b) Vṛttyanuprāsa.’
[These are merely fanciful names, as is clear from the definitions
that follow, according to which the two kinds may be called (a)
‘Isolated’ and (b) ‘Complex’ Alliteration.]
The author states the characteristics of these two kinds
of Alliteration.—
The former is the single repetition of several.
When there is a single repetition of ‘several’—consona-
nts, it is ‘Chhekānuprāsa’, ‘Isolated Alliteration.’ Example—
‘Tato’ ruṇaparispandamandīkṛtavapuḥ shashī
Dadhre kāmaparikṣāmakāminīgaṇḍapāṇḍutām’.
‘The Moon, having his body eclipsed by the advent
of the Sun, bore the paleness of the cheek of a woman
emaciated by the pangs of love.’
[Here we have ‘single repetition of the consonants (a) ‘n-d’ and
(b) ‘ṇ-ḍ’]

\ CHAPTER IX 321
एकस्याप्यसकृत्परः ॥ ७९ ॥
एकस्य अपिशब्दादनेकस्य व्यञ्जनस्य द्विर्बहुकृत्वो वा
सादृश्यं वृत्त्यनुप्रासः ॥७९॥
तत्र
माधुर्यव्यञ्जकैर्वर्णैरुपनागरिकोच्यते ।
ओजःप्रकाशकैस्तैस्तु परुषा ।
उभयत्रापि प्रागुदाहृतम् ।
कोमला परैः ॥ ८० ॥
परैः शेषैः । तामेव केचित् ग्राम्येति वदन्ति । उदाहरणम्
अपसारय घनसारं कुरु हारं दूर एव किं कमलैः ।
अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥३५६॥८०॥
The latter consists in several repetitions of one also. 79.
When there are ‘several’—two or more—‘repetitions’ of
‘one’—consonant—‘also’—i.e., or of several consonants,—
we have the ‘Vṛttyanuprāsa’, the ‘Alliteration of Diction’. 79.
As regards ‘Vṛtti’, ‘Diction’ :—
(a) That (Diction) which is characterised by consonants suggestive
of sweetness is called ‘Upanāgarikā’ ‘Polished’; and (b) that which
is characterised by consonants suggestive of floridity is called
‘Paruṣā’, ‘Harsh’.
Examples of both these have been cited above (in Ch.
VIII, under ‘Sweetness’ and ‘Floridity’).
(c) That characterised by others is called ‘komalā’, ‘soft’. 80.
‘Others’—Consonants other than the two kinds mention-
ed above.
This last diction some people also call ‘grāmyā’, ‘Vulgar.’
. Example— '
‘Apasāraya ghanasāraṁ kuru hāraṁ dūrameva kiṁ kamalaiḥ
Alamalamāli mṛṇālairiti vadati divāniśaṁ bālā.
For translation (see above stanza No. 341.) 80.

322 KĀVYAPRAKĀŚA
केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः ॥
एतास्तिस्रो वृत्तयः वामनादीनां मते वैदर्भीगौडीपाञ्चाल्याख्या
रीतयो मताः ॥
शब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः ॥ ८१ ॥
शब्दगतोनुप्रासः शब्दार्थयोरभेदेप्यन्वयमात्रभेदात् लाट-
जनवल्लभत्वाच्च लाटानुप्रासः । एष पदानुप्रास इत्यन्ये ॥८१॥
पदानां सः ।
स इति लाटानुप्रासः । उदाहरणम्
By some people these styles of diction have been called the
'Vaidarbhī' and the rest.
According to others—i.e., Vāmana and his followers,—
the three styles of diction just described have been called,
respectively, (a) 'Vaidarbhī', (b) 'Gauḍī' and 'Pāñchālī.'
The Lāṭānuprāsa is verbal; the difference lying only in the
import. 81.
When there is Alliteration (repetition) of words (not
mainly of single consonants as in the other two
kinds of Alliteration),—and though the form and the
meaning of the words thus repeated are the same, yet
there is difference in the syntactical relation of the words,—
it is ‘Lāṭānuprāsa,’ so called because of its being popular
among the inhabitants of the Lāṭa country.
Others have called this the ‘Alliteration of Words.’
[‘Words’ are here divided into the (A) verbal forms complete
with the terminations; and (B) simple basic substantives. In the
Alliteration of (A), there may be repetition either (a) of several words,
or (b) of a single word; and in that of (B), the repetition may be
either (a) in the same compound or (b) in different compounds.
Each of these is next dealt with.] 81.
(Aa) This pertains to several words.
‘This’—i.e. The Lāṭānuprāsa.

CHAPTER IX 323
यस्य न सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य ।
यस्य च सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य ॥३५७॥
पदस्यापि ।
अपिशब्देन स इति समुच्चीयते । उदाहरणम्
वदनं वरवर्णिन्यास्तस्याः सत्यं सुधाकरः ।
सुधाकरः क्व नु पुनः कलङ्कविकलो भवेत् ॥३५८॥
वृत्तावन्यत्र तत्र वा ।
नाम्नः स वृत्त्यवृत्त्योश्च ।
Example—
‘Yasya na savidhe dayitā davadahanastuhinadīdhitistasya
Yasya cha savidhe dayitā davadahanastuhinadīdhitistasya.’
‘To one who has not his beloved near him, even the
cool-rayed Moon is like the forest-conflagration ; while to
one who has his beloved near him, even the forest-con-
flagration is like the cool-rayed Moon.’
[Here we have the repetition of several words (a) ‘yasya-savidhe
dayitā’ and (a) ‘davadahanaḥ-tuhinadīdhitiḥ-tasya’.]
(A) It pertains to a single word also.
The particle ‘api’, ‘also’, indicates that the pronoun
‘saḥ’ of the preceding text is to be construed here also.
Example.—
‘Vadanaṁ varavarṇinyāstasyāḥ satyaṁ sudhākaraḥ
Sudhākaraḥ kva nu punaḥ kalaṁkavikalo bhavet.’
‘The face of the fair-complexioned one is really the
Moon ;—where else could the Moon be free from stains ?’
[Here we have the repetition of the single word ‘sudhākaraḥ’.]
(B) It is (repetition) of the same substantive base, either (a) in
the same compound, or (b) in different compounds, or (c) once in
a compound and once in a non-compound.

एकस्मिन् समासे भिन्ने वा समासे समासासमासयोर्वा नाम्नः
प्रातिपदिकस्य न तु पदस्य सारूप्यम् । उदाहरणम्
सितकरकररुचिरविभा विभाकराकार धरणिधर कीर्तिः ।
पौरुषकमला कमला सापि तवैवास्ति नान्यस्य ॥ ३५९ ॥
तदेवं पञ्चधा मतः ॥ ८२ ॥
अर्थे सत्यर्थभिन्नानां वर्णानां [सा पुनः श्रुतिः ।
यमकम् ।
समरसमरसोयमित्यादावेकेषामर्थवत्त्वे अन्येषामनर्थकत्वे
भिन्नार्थानामिति न युज्यते वक्तुम् इति अर्थे सतीत्युक्तम् ।
सेति सरोरस इत्यादिवैलक्षण्येन तेनैव क्रमेण स्थिता ।

CHAPTER IX 325
पादतद्भागवृत्ति तद्यात्यनेकताम् ॥ ८३ ॥
प्रथमो द्वितीयादौ द्वितीयस्तृतीयादौ तृतीयश्चतुर्थे प्रथम-
स्त्रिष्वपीति सप्त । प्रथमो द्वितीये तृतीयश्चतुर्थे प्रथमश्चतुर्थे
द्वितीयस्तृतीये, इति द्वे । तदेवं पादजं नवभेदम् । अर्धावृत्तिः
श्लोकावृत्तिश्चेति द्वे ।
uniform’), the letters ‘sa-ma-ra’, when occurring first,
have the sense of ‘war’, but when repeated, the same
letters have no sense, (as they form part of the compound
‘samarasaḥ’); so that it is not right to say that Chime
consists in the repetition of letters with a different meaning.”
‘Sā’, ‘in the same order’,—this is meant to exclude
such repetition, as in ‘sarorasa’ (where the consonants are
not repeated in the same order).
As occurring in the several feet of a verse or in several
parts thereof,—it becomes manifold. 83.
(1) The first foot repeated in the second foot, (2) the
first foot repeated in the third foot, (3) the first
foot repeated in the fourth foot;—(4) the second foot
repeated in the third foot, (5) the second foot repeated in
the fourth foot;—(6) the third foot repeated in the fourth,
—and (7) the first foot repeated in all the other three feet.—
These make seven varieties.—Then there are two varie-
ties—viz:—(8) the repetition of the first foot in the
second foot, and that of the third in the fourth foot—and
(9) the repetition of the first foot in the fourth and that of
the second in the third.—Thus there are nine varieties
of Chime as occurring in the several feet of a verse.—In
addition to these there are two varieties—viz.,—(10) the
repetition of one half of the verse and (11) the repetition
of the entire verse.