काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER II 37
अनेकार्थस्य शब्दस्य वाचकत्वे नियन्त्रिते ।
संयोगाद्यैरवाच्यार्थधीकृद्व्यापृतिरञ्जनम् ॥ १९ ॥
“संयोगो विप्रयोगश्च साहचर्यं विरोधिता ।
अर्थः प्रकरणं लिङ्गं शब्दस्यान्यस्य संनिधिः ॥
सामर्थ्यमौचिती देशः कालो व्यक्तिः स्वरादयः ।
शब्दार्थस्यानवच्छेदे विशेषस्मृतिहेतवः ॥”
इत्युक्तदिशा
सशङ्खचक्रो हरिः अशङ्खचक्रो हरिरित्युच्यते । रामलक्ष्मणाविति
दाशरथौ । रामार्जुनगतिस्तयोरिति भार्गवकार्तवीर्ययोः ।
स्थाणुं भज भवच्छिदे, इति हरे । सर्वं जानाति देव इति
युष्मदर्थे । कुपितो मकरध्वज इति कामे । देवस्य पुरारातेरिति
शंभौ । मधुना मत्तः कोकिल इति वसन्ते । पातु वो दयितामुख-
मिति सांमुख्ये । भात्यत्र परमेश्वर इति राजधानीरूपात् देशाद्रा-
जनि । चित्रभानुर्विभातीति दिने रवौ रात्रौ वह्नौ । मित्रं भातीति
सुहृदि मित्रो भातीति रवौ । इन्द्रशत्रुरित्यादौ वेदे एव न काव्ये
स्वरो विशेषप्रतीतिकृत् ।
of Indra ']. But it is only in the case of Vedic expressions
that accent serves the purpose of restricting the denotation
of words.—The verse quoted from the Vākyapadīya con-
tains at the end the term ‘ ādi ’, ‘ and so forth ’; this is
meant to include (o) Gesture, which serves to restrict the
meaning in such passages as—‘ During all these days her
breasts have been reduced to this (marked by a gesture)
size, her eyes have shrunk to this, and her condition has
become like this.’
Now, in some cases, it is found that though the signi-
fication of the word has been restricted in the manner
described above, and the other significations are pre-

आदिग्रहणात्
एद्दहमेत्तत्थणिआ एद्दहमेत्तेहि अच्छिवत्तेहि ।
एद्दहमेत्तावस्था एद्दहमेत्तेहिँ दिअएहिँ ॥ ११ ॥
इत्यादावभिनयादयः ।
इत्थं संयोगादिभिरर्थान्तराभिधायकत्वे निवारितेप्यने-
कार्थस्य शब्दस्य यत् क्वचिदर्थान्तरप्रतिपादनं तत्र नाभिधा निय-
मनात्तस्याः । न च लक्षणा मुख्यार्थबाधाद्यभावात् । अपि
त्वञ्जनं व्यञ्जनमेव व्यापारः । यथा
भद्रात्मनो दुरधिरोहतनोर्विशाल
वंशोन्नतेःकृतशिलीमुखविग्रहस्य ।
यस्यानुपप्लुतगतेः परवारणस्य
दानाम्बुसेकसुभगः सततं करोभूत् ॥ १२ ॥ १९ ॥

CHAPTER II 39
तद्युक्तो व्यञ्जकः शब्दः
तद्युक्तो व्यञ्जनयुक्तः
यत्सोऽर्थान्तरयुक् तथा ।
अर्थोऽपि व्यञ्जकस्तत्र सहकारितया मतः ॥ २० ॥
तथेति व्यञ्जकः ॥ २० ॥
इति काव्यप्रकाशे शब्दार्थस्वरूपनिर्णयो नाम द्वितीय उल्लासः ॥ २ ॥
can be mounted with difficulty), the nobility of whose
race is high (who is as tall as a bamboo), who has become
an expert in the use of arrows (who has a host of bees
hovering round him), whose insight is undimmed (whose
gait is steady),—was always beautified by the water poured
in the formal making of gifts (by the ichor flowing from
his temples)].
[Here we find that the words are so skilfully chosen that they are
applicable to the king as also to the elephant; the fact however that
it is addressed to the king restricts the meaning of the words to him
alone; and yet the idea of the ‘elephant’ also is cognisable throughout;
and this idea is the result of Suggestion.] 19.
The word endowed with that (i. e. the said function of
suggestion) is the ‘suggestive word.’
‘Endowed with that,’ i. e. endowed with the function
of suggestion.
Inasmuch as the word is ‘suggestive’ only when it has other
meanings, the meaning also is held to be so (i. e. ‘suggestive’ by
virtue of its helping the process. (20).
‘So’—i. e. suggestive. 20.

तृतीय उल्लासः
अर्थाः प्रोक्ताः पुरा तेषाम्
अर्थाः वाच्यलक्ष्यव्यङ्ग्याः । तेषां वाचकलाक्षणिकव्यञ्जकानाम् ॥
अर्थव्यञ्जकतोच्यते ।
कीदृशीत्याह--
वक्तृबोद्धव्यकाकूनां वाक्यवाच्यान्यसन्निधेः ॥ २१ ॥
प्रस्तावदेशकालादेर्वैशिष्ट्यात् प्रतिभाजुषाम् ।
योर्थस्यान्यार्थधीहेतुर्व्यापारो व्यक्तिरेव सा ॥ २२ ॥
बोद्धव्यः प्रतिपाद्यः । काकुर्ध्वनेर्विकारः । प्रस्तावः प्रकरणम् ।
CHAPTER III
THE SUGGESTIVENESS OF MEANING
The meanings of these have been described before.
‘Meanings’—i. e. the Expressed, the Indicated and the
Suggested.
‘Of these’,—i. e. of the Expressive, the Indicative and
the Suggestive words.—(Vide Text 6, above).
The suggestiveness of Meanings in now described.
The author next states the nature of the said sugges-
tiveness of words.—
‘Suggestion’ is that function of the meaning which brings
about the cognition of another meaning, by persons endowed
with imaginative intuition,—through peculiarities of (a) the
speaker, (b) the person spoken to, (c) intonation, (d) the
sentence, (e) the expressed meaning, (f) the presence of another,
(g) context, (h) place, (i) time and so forth.—(21-22).
‘The person spoken to’—i. e. one for whose sake the

CHAPTER III 41
अर्थस्य वाच्यलक्ष्यव्यङ्ग्यात्मनः ।
क्रमेणोदाहरणानि ।
अइपिहुलं जलकुंभं घेत्तूण समागदह्मि सहि तुरिअं ।
समसेअसलिलणीसासणीसहा वीसमामि खणं ॥ १३ ॥
अत्र चौर्यरतगोपनं गम्यते ।
ओण्णिद्दं दोब्बल्लं चिंता अलसत्तणं सणीससिअं ।
मह मंदभाइणीए केरं सहि तुह वि अहह परिहवइ ॥ १४॥
words are used ;—‘ Intonation ’—variation of tone;—
‘ context ’—the occasion ;—‘ of the meaning ’—i. e. of the
expressed, the indicated or the suggested meaning.
Examples are cited in due order—(a) ‘ O Friend !
having taken up a heavy jar of water, I have come walking
fast, I feel fatigued and languid through perspiration and
breathlessness ; I shall rest awhile.’
Here what is suggested is that the speaker is trying to
conceal her stolen amours.
[What the woman describes are the physical signs that may be
caused either by hard physical work or by amorous flirtations ;
but on account of the character of the speaker being known to be that of
a woman with loose morals, what is suggested is that the signs described
have been due to dalliance, and she is trying to conceal this by
attributing them to her having carried a heavy jar of water.]
(b) ‘ Oh my friend ! for the sake of wretched me,
thou also art suffering from sleeplessness, weakness,
anxiety, lassitude and breathlessness !’
Here what is suggested is that the friend, who has
been acting as an intermediary between the separated
lovers, has herself been enjoying the company of her friend’s
lover.
[The physical effects described are such as may be caused, either
by constant moving about from one party to the other for the purpose

अत्र दूत्यास्तत्कामुकोपभोगो व्यज्यते ।
तथाभूतां दृष्ट्वा नृपसदसि पाञ्चालतनयां
वने व्याधैः सार्धं सुचिरमुषितं वल्कलधरैः ।
विराटस्यावासे स्थितमनुचितारम्भनिभृतं
गुरुः खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥१५॥
अत्र मयि न योग्यः खेदः कुरुषु तु योग्य इति काक्वा प्रका-
श्यते । न च वाच्यसिद्ध्यङ्गमत्र काकुरिति गुणीभूतव्यङ्ग्यत्वं
शङ्क्यम् । प्रश्नमात्रेणापि काकोर्विश्रान्तेः ।

CHAPTER III 43
तइआ मह गंडत्थलणिमिअं दिट्ठिं ण णेसि अण्णत्तो ।
एण्हि सच्चेअ अहं ते अ कवाला ण सा दिट्ठी ॥१६॥
अत्र मत्सखीं कपोलप्रतिबिम्बितां पश्यतस्ते दृष्टिरन्यैवाभूत्
चलितायां तु तस्यामन्यैव जातेत्यहो प्रच्छन्नकामुकत्वं ते
इति व्यज्यते ।
उद्देशोयं सरसकदलीश्रेणिशोभातिशायी
कुञ्जोत्कर्षादङ्कुरितरमणीविभ्रमो नर्मदायाः ।
किं चैतस्मिन् सुरतसुहृदस्तन्वि ते वान्ति वाता
येषामग्रे सरति कलिताकाण्डकोपो मनोभूः ॥१७॥
it does only in so far as it expresses the question (‘ does the
king bear anger towards me, and not towards the Kurus ?
—and not as it suggests the further meaning of the im-
propriety of anger towards the speaker).
[Hence in so far as the suggestion by the Intonation is concerned,
there is no ‘ subserviency to the expressed meaning ’, specially as
the suggestion appears after the expressed meaning has been duly com-
prehended.]
(d) ‘ At that time you did not turn away your eyes:
fixed as they were upon my cheeks ; now however, even
though I am the same, and the cheeks are the same, yet
that look of yours is no more.’
Here the meaning suggested is—‘ while my friend
was sitting by me her face being reflected in my cheek,
the way in which you looked towards that reflection was
of quite a different character ; when however she has
gone away, it has completely changed,—what a stealthy
lover you are !’
[The suggestion is due to the fact of the sentences containing
the terms ‘ at that time ’ and ‘ now’.]
(e) ‘ This spot on the bank of the Narmadā is redolent
with the beauty of fresh plantain-groves, and excites

44 KĀVYAPRAKĀŚA
अत्र रतार्थं प्रविशेति व्यङ्ग्यम् ।
णोल्लेइ अणोल्लमणा अत्ता मं घरभरम्मि सअलम्मि ।
खणमेत्तं जइ संझाइ होइ ण व होइ वीसामो ॥१८॥
अत्र संध्या संकेतकाल इति तटस्थं प्रति कयाचिद्द्योत्यते ।
सुव्वइ समागमिस्सदि तुब्झ पिओ अज्ज पहरमेत्तेण ।
एमेअ कित्ति चिट्ठसि ता सहि सञ्जेसु करणिज्जं ॥१९॥
through the loveliness of its bowers, the sportive graces
of the lovely woman ! and further, O delicate one ! here
are blowing breezes favourable to love-making, led as
they are by the God of Love flurried with unaccountable
excitement.’
Here the meaning suggested is—‘ let us enter the
bower for the purpose of love-making.’
[This suggestion is due to the expressed meaning of the following
words---(1) ‘ Tanvī ’, which expresses delicacy brought about
by the influence of love,—(2) ‘ Narmadā,’ the literal meaning of which
is ‘ that which gives pleasure ’,---3) ‘ uddeśa ’ which means ‘ that which
can only be pointed out, and not easily reached, hence free from intru-
sion,’—(4) ‘ sarasa ’ denotes freshness of the leaves, hence freedom
from all fear of any shuffling sound being made,—(5) ‘ śreṇī ’ denotes
thickness of the grove, and hence invisibility from outside.]
(f) ‘ My hard-hearted mother-in-law is always urging
me to all household work ; it is only in the evening that
I get some respite, if any at all ’.
Here a woman suggests to the person close by that
evening is the only time at which assignation could be made.
[The expressed meaning is that the woman has no time except in
the evening, and by reason of the proximity of her lover who is waiting
for assignation, this simple statement suggests the evening as the time
at which she agrees to meet him.]
(g) ‘ We hear your husband is coming here in three
hours’ time ; why then are you sitting idle ? O, friend,
make your preparations ’.

CHAPTER III 45
अत्रोपपतिं प्रत्यभिसर्तुं प्रस्तुता न युक्तमिति कयाचिन्निवार्यते ।
अन्यत्र यूयं कुसुमावचायं कुरुध्वमत्रास्मि करोमि सख्यः ।
नाहं हि दूरं भ्रमितुं समर्था प्रसीदतायं रचितोऽञ्जलिर्वः ॥२०॥
अत्र विविक्तोयं देश इति प्रच्छन्नकामुकस्त्वयाभिसार्यता-
मिति आश्वस्तां प्रति कयाचिन्निवेद्यते ।
गुरुअणपरवस पिअ किं भणामि तुइ मंदभाइणी अहअं ।
अज्ज पवासं वच्चसि वच्च सअं जेव्व सुणसि करणिज्जं ॥२१॥
अत्राद्य मधुसमये यदि व्रजसि तदाहं तावत् न भवामि
तव तु न जानामि गतिमिति व्यज्यते । ।।
A woman who is on the point of going out to meet
her lover, is warned by another woman that it would not
be right to do so.
[The expressed meaning is that the woman should make prepara-
tions for meeting her husband who will soon be arriving ; but this
being said on the occasion of the woman going out to meet a lover,
suggests the said meaning.]
(b) ‘O dear friends, you please do the flower-picking
in some other place ; I am doing it here ; I am unable
to wander farther off ; do me, therefore, this favour ; here
I am beseeching you with joined palms’.
What is suggested by the speaker to her confidante
is—‘This place being quite solitary, please bring in my
lover.’
[The expressed meaning is simply a request to her companions
to leave her alone ; the sequestered position of the spot where the
speech is made suggests the aforesaid request to the confidante.]
(i) ‘O my beloved, you are bound to obey the wishes
of your elders ; what shall I say to you, unfortunate as I
am ! If you have to go on your journey, you may go ;
you will hear what I am going to do.’

46 KĀVYAPRAKĀŚA
आदिग्रहणाच्चेष्टादेः । तत्र चेष्टाया यथा—
द्वारोपान्तनिरन्तरे मयि तया सौन्दर्यसारश्रिया
प्रोल्लास्योरुयुगं परस्परसमासक्तं समासादितम् ।
आनीतं पुरतः शिरोंशुकमधः क्षिप्ते चले लोचने
वाचस्तत्र निवारितं प्रसरणं संकोचिते दोर्लते ॥२२॥
The meaning suggested is—‘The spring-season having
arrived (when lovers should be united), if you are going
away from home, I shall not be alive any longer and shall,
therefore, not know where you may be.’
[This suggestion is due to the fact of the speech being made during
spring-time.]
(j) The phrase ‘ and so forth ’ (in Text 22) is meant to
include gesture and such other details. An example of
suggestion by expressed meaning, through the peculia-
rity of gesture, we have in the following—
‘ While I was standing close to the door, she, res-
plendent with the very essence of beauty, having dilated
her thighs, pressed them together ; she brought down
the veil over her face, cast unsteady glances, suppressed
her speech and drew her arms together.’
Here the various gestures described suggest to the
lover the wishes of the speaker.
[(1) The movement of the thighs suggests her desire for inverted
intercourse, (2) the bringing down of the veil suggests that the lover
should come secretly,—(3) the unsteady glances suggest that her passion
of love has been aroused,—(4) the suppression of speech suggests
that there should be no talk regarding the meeting,—(5) and the
bringing together of the arms suggests that when he comes to her
he will receive her embraces.]
Whenever occasion presents itself, examples are cited
again and again for the purpose of explaining the subject

CHAPTER III 47
अत्र चेष्टया प्रच्छन्नकान्तविषय आकूतविशेषो ध्वन्यते ।
निराकाङ्क्षप्रतिपत्तये प्राप्तावसरतया च पुनः पुनरुदाह्रि-
यते । वक्त्रादीनां मिथःसंयोगे द्विकादिभेदेन । अनेन क्रमेण
लक्ष्यव्यङ्ग्ययोश्च व्यञ्जकत्वमुदाहार्यम् ॥ २१-२२ ॥
शब्दप्रमाणवेद्योऽर्थो व्यनक्त्यर्थान्तरं यतः ।
अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता ॥ २३ ॥
शब्देति । नहि प्रमाणान्तरवेद्योऽर्थो व्यञ्जकः ॥ २३ ॥
इति श्रीकाव्यप्रकाशेऽर्थव्यञ्जकतानिर्णयो नाम
तृतीय उल्लासः ॥३॥
so fully as to leave nothing to be desired on the part of
the enquirer.
Sometimes we have suggestion based upon the pecu-
liarity of two or more of the conditions of the ‘speaker’
and the rest enumerated here.
The suggestiveness of the ‘indicated’ and ‘suggest-
ed’ meanings also may be illustrated in the same manner
(as that of the ‘expressed’ meaning.) 22.
Inasmuch as the meaning that suggests another meaning
is itself cognisable by means of the word,—the word also is
helpfful in the suggestiveness of the meaning.—(23).
‘By means of the word’,—That is, anything cognised
through any other means of knowledge is never
suggestive. 23.

चतुर्थ उल्लासः
यद्यपि शब्दार्थयोर्निर्णये कृते दोषगुणालंकाराणां स्वरूपम-
भिधानीयं तथापि धर्मिणि प्रदर्शिते धर्माणां हेयोपादेयता
ज्ञायत इति प्रथमं काव्यभेदान् आह—
अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ ।
अर्थान्तरे सङ्क्रमितमत्यन्तं वा तिरस्कृतम् ॥ २४ ॥
लक्षणामूलगूढव्यङ्ग्यप्राधान्ये सत्येव अविवक्षितं
वाच्यं यत्र स ‘ध्वनौ’ इत्यनुवादात् ध्वनिरिति ज्ञेयः । तत्र च
वाच्यं क्वचिदनुपयुज्यमानत्वादर्थान्तरे परिणमितम् । यथा
CHAPTER IV
SUGGESTIVE POETRY.
‘Word’ and ‘meaning’ having been defined, the
next subject to be dealt with should be the exact nature
of ‘defects,’ ‘excellences’ and ‘figures of speech’ [in
view of the form in which the definition of ‘poetry’
has been worded]; but it is only when the object to which
the properties belong has been described that it can be
ascertained whether certain properties of it are fit to be
rejected or admitted ; for this reason the author now
proceeds to describe the various kinds of poetry (of which
the defects, excellences and figures are properties.)
In that ‘suggestive’ poetry where the ‘expressed’ meaning
is not meant to be applicable,—the ‘expressed meaning’ is
either (a) transformed into another meaning or (b) entirely
rejected.—(24).

CHAPTER IV 49
त्वामस्मि वच्मि विदुषां समवायोत्र तिष्ठति ।
आत्मीयां मतिमास्थाय स्थितिमत्र विधेहि तत् ॥२३॥
अत्र वचनादि उपदेशादिरूपतया परिणमति ।
क्वचिदनुपपद्यमानतया अत्यन्तं तिरस्कृतम् । यथा--
उपकृतं बहु तत्र किमुच्यते सुजनता प्रथिता भवता परम् ।
विदधदीदृशमेव सदा सखे सुखितमास्स्व ततः शरदां शतम् ॥२४॥

The ‘expressed meaning’ is ‘not meant to be appli-
cable’ only in cases where predominance attaches to that
abstruse ‘suggested meaning’ which is based upon
Indication ;—and it is such instances that should be under-
stood as ‘Dhvani’, ‘suggestive poetry’; since they have
been referred to in the text by the expression ‘dhvanau,’
‘in suggestive poetry’.—(a) In this ‘suggestive poetry,’
the ‘expressed meaning’, being found to have no useful
significance, becomes, in some cases, ‘transformed into
another meaning’;—e. g. in the following—
‘I tell you here sits an assembly of learned men ; you
should, therefore, remain here with your mind fully alert.’
Here, mere telling (having no significance at all) becomes
transformed into advising (the suggestion being ‘I advise
you that in this assembly of learned men, you should keep
your mind alert, or else you will make yourself ridiculous’).
(b) While in other cases, the ‘expressed meaning,’
being found to be inapplicable, becomes ‘entirely rejec-
ted’;—e. g in the following—
‘Much benefit has been conferred upon me ;—what
shall I say ?—Extreme gentlemanliness has been evinced
by you ! May you, therefore, O friend, live in happiness
for a hundred years, always behaving as you have done !’
4

50 KĀVYAPRAKĀŚA
एतद् अपकारिणं प्रति विपरीतलक्षणया कश्चिद्वक्ति ॥ २४ ॥
विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः ।
अन्यपरं व्यङ्ग्यनिष्ठम् ॥ एष च
कोप्यलक्ष्यक्रमव्यङ्ग्यो लक्ष्यव्यङ्ग्यक्रमः परः ॥ २५ ॥
अलक्ष्येति । न खलु विभावानुभावव्यभिचारिण एव रसः ।
अपि तु रसस्तैः इत्यस्ति क्रमः । स तु लाघवान्न लक्ष्यते ॥ २५ ॥
अत्र
This is addressed to a person who has caused much
injury to the speaker, who addresses to him these words
in an ironical sense.
[The gratitude expressed by the words is altogether inapplicable
to one who has done harm; hence it is ‘entirely rejected,’ and its
contrary is suggested.] 24.
[Suggestive Poetry based upon Indication having been described,
the author proceeds to describe that based upon denotation.]
That (suggestive poetry), however, where the ‘expressed
meaning’ is meant to be applicable, and is yet subservient to
another meaning,—is the other kind.
‘Subservient to another’—i. e. implies the ‘suggested
meaning’.
This ‘other kind’ of suggestive poetry is of two
varieties—
(a) One in which the order of sequence of the ‘suggested
meaning’ is imperceptible. and (b) the other in
which the order of sequence of the ‘suggested meaning’
is perceptible. 25.
‘Imperceptible’;—there is this ‘order of sequence’
(in the case of all ‘passionate’ poetry, which is of
the ‘suggestive’ kind) that the Excitants, the Ensuants
and the Variables (which are ‘expressed’ by the words)

CHAPTER IV
रसभावतदाभासभावशान्त्यादिरक्रमः ।
भिन्नो रसाद्यलङ्कारादलङ्कार्यतया स्थितः ॥ २६ ॥
आदिग्रहणाद् भावोदयभावसंधिभावशबलत्वानि । प्रधानतया
यत्र स्थितो रसादिस्तत्रालंकार्यः यथोदाहरिष्यते । अन्यत्र
तु प्रधाने वाक्यार्थे यत्राङ्गभूतो रसादिस्तत्र गुणीभूतव्यङ्ग्ये
do not themselves constitute the ‘Rasa’ or ‘Passion’
(which is the ‘suggested’ meaning),—but this latter is
manifested by them [and thus there is a distinct order of
sequence, first the Excitant and the rest, and then the
Passion]; but this sequence, being extremely subtle, is
not perceptible in the case of the first kind of poetry here
described. 25.
(a) Passion (b) Emotion (c) Aberrations of these, and the
(d) Allayment of Emotion and the rest, constitute that in
which the sequence is imperceptible;—and all this, appearing in
the form of something to be embellished, is distinct from those
embellishments (Figures of Speech), which are known as the
‘Passionate’ (Rasavat) and the like.
‘And the rest’—this is meant to include (a) the mani-
festation of emotions, (b) the conjuncture of emotions, and
(c) the admixture of emotions.
In cases where the Passion and the rest appear as the
predominant factor, they are to be embellished; as is going
to be illustrated later on. In other cases, where the literal
meaning of the sentence forms the predominant factor,
and the Passion comes in only as a secondary element, the
suggested meaning is subordinated, these same (passion
and the rest), become embellishments, known as (a) ‘Rasavat’
(Passionate), [where the Passion forms the subordinate·
factor], (b) ‘Preya’ (agreeable) [where emotion forms the

52 KĀVYAPRAKĀŚA
रसवत्प्रेयऊर्जस्विसमाहितादयोलंकाराः । ते च गुणीभूतव्यङ्ग्या-
भिधाने उदाहरिष्यन्ते ॥ २६ ॥
तत्र रसस्वरूपमाह-
कारणान्यथ कार्याणि सहकारीणि यानि च ।
रत्यादेः स्थायिनो लोके तानि चेन्नाट्यकाव्ययोः ॥ २७ ॥
विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः ।
व्यक्तः स तैर्विभावाद्यैः स्थायी भावो रसः स्मृतः ॥ २८ ॥
उक्तं हि भरतेन “विभावानुभावव्यभिचारिसंयोगाद्
रसनिष्पत्तिः” इति ।
एतद्विवृण्वते— “विभावैर्ललनोद्यानादिभिरालम्बनोद्दीपन-
कारणैः रत्यादिको भावो जनितः अनुभावैः कटाक्षभुजाक्षेपप्रभृ-
तिभिः कार्यैः प्रतितियोग्यः कृतः व्यभिचारिभिर्निर्वेदादिभिः
सहकारिभिरुपचितो मुख्यया वृत्त्या रामादावनुकार्ये तद्रूपसंधा-
नान्नर्तकेपि प्रतीयमानो रसः” इति भट्टलोल्लटप्रभृतयः ।
subordinate factor], (c) ‘ūrjasvi’ (Forceful) [where the
aberration of Passion forms the subordinate factor], (d)
‘Samāhita’ Quiescent [where the allayment of emotion
forms the subordinate factor].—Instances of these are to be
cited under the sections dealing with ‘Poetry of Sub-
ordinated Suggestion’ (under Chapter V). 26.
The author now describes the nature of ‘Passion’—
Text—What are known, in ordinary language, as (a)
‘causes’ (b) ‘effects’ and (c) ‘auxiliaries’ of the
‘latent emotion’ of Love and the like,—come to be
spoken of as (a) ‘excitants’, (b) ‘ensuants’ and (c)
‘variants’, when found in Drama and Poetry; and
when the latent emotion comes to be manifested by these,
it is known as ‘Rasa’, ‘Passion’.—(27-28).

CHAPTER IV 53
राम एवायम् अयमेव राम इति ‘न रामोयम्’ इत्यौत्तर-
कालिके बाधे रामोयमिति रामः स्याद्वा न वायमिति राम-
सदृशोयमिति च सम्यङ्मिथ्यासंशयसादृश्यप्रतीतिभ्यो
विलक्षणया चित्रतुरगादिन्यायेन रामोयमिति प्रतिपत्त्या
ग्राह्ये नटे
This is what has been thus declared by Bharata
(in his Nāṭyaśāstra)—“ There is accomplishment of
Passion through the conjunction of the excitant, the
ensuant and the variant.”
[Four different interpretations of this assertion have
been propounded, and each of these interpretations
forms the basis of a distinct theory regarding the genesis
of Rasa].
(A) The first interpretation is that given by Bhaṭṭa-
Lollaṭa and his followers ; it is as follows :—The (latent)
sentiment of love (and the like) is (a) generated by the
excitants—i. e., the basic cause, in the shape of the woman,
and the inflaming cause, in the shape of the garden and
so forth—(b) rendered cognisable by the ensuants—i. e.,
effects, in the form of amorous glances, embraces and so
forth,—and (c) consummated by the variants—such as
self-disparagement and the like ;—this emotion, though
primarily and really subsisting in the character personated—
e. g. Rāma—comes to be recognised as subsisting in the
personating actor by reason of his having assumed that
character ; and when thus recognised, it is called ‘ Rasa ’,
‘ passion ’.
[This theory is open to the objection that it fails to explain the
emotion that arises in the mind of the spectator of the dramatic
representation; as according to it, the sentiment is generated in the
personated character and secondarily recognised in the personating
actor.]

54 KĀVYAPRAKĀŚA
‘सेयं ममाङ्गेषु सुधारसच्छटा सुपूरकर्पूरशलाकिका दृशोः ।
मनोरथश्रीर्मनसः शरीरिणी प्राणेश्वरी लोचनगोचरं गता ॥ २५॥
दैवादहमद्य तया चपलायतनेत्रया वियुक्तश्च ।
अविरलविलोलजलदः कालः समुपागतश्चायम्’ ॥ २६ ॥
इत्यादिकाव्यानुसंधानबलाच्छिक्षाभ्यासनिर्वर्तितस्वकार्य-
प्रकटनेन च नटेनैव प्रकाशितैः कारणकार्यसहकारिभिः
(B) The second interpretation put forward by Śrī
Śaṅkuka is as follows :—When an actor is personating
Rāma, the spectator has with regard to him, the idea that
‘this is Rāma himself’ ; but this idea is of a peculiar kind,
being of the same nature as the idea of ‘horse’ that one
has in regard to the picture of a horse ; it is different from
all the four kinds of ordinary notions : (1) it is not of the
nature of the ordinary right notion that one has in the case
of the real Rāma. ‘Rāma is the person’, which is also
confirmed by the subsequent cognition ‘this is Rāma
himself’ [the cognition in question cannot be of this kind
as Rāma is not present there] ;—(2) it is different also from
the ordinary wrong cognition ‘this is Rāma’, which
appears in regard to one who is not really Rāma, and which
is sublated by the subsequent cognition ‘this is not Rāma’
[the cognition in question cannot be of this nature, as
there is no such sublation in this case] ;—(3) nor is it of
the same nature as the doubtful cognition ‘this may or
may not be Rāma’;—(4) nor lastly is it of the nature of
the cognition of mere similarity, ‘he is like Rāma’ [the
cognition in question cannot be of the nature of these last
two cognitions, as it partakes of the notion of identifica-
tion] ;—and this actor gives expression to the causes,
effects and auxiliaries by the display of his art acquired

CHAPTER IV 55
कृत्रिमैरपि तथानभिमन्यमानैर्विभावादिशब्दव्यपदेश्यैः ‘संयोगात्,
गम्यगमकभावरूपात् अनुमीयमानोपि वस्तुसौन्दर्यबलाद्र-
सनीयत्वेनान्यानुमीयमानविलक्षणः स्थायित्वेन संभाव्यमानो
रत्यादिर्भावस्तत्रासन्नपि सामाजिकानां वासनया चर्व्यमाणो
रस इति श्रीशङ्कुकः ।
through instruction and practice, and pondering over such
poetry as the following—
‘ That lady, the mistress of my life, a splash of nectar
to my body, unguent of camphor to my eyes, the very
embodiment of the glorious longings of my heart, glided
within the range of my vision ’;—
‘ Unfortunately I have to-day been separated from her,
with eyes large and unsteady ; and that season has arrived
wherein clouds are constantly flitting about ’;
Though all these causes, effects and auxiliaries are
only artificially assumed, yet they are not regarded as such,
and hence they are spoken of as ‘ excitants,’ ‘ ensuants ’
and ‘ variants ’;—the ‘ saṁyoga ’, ‘ conjunction ’, of these
three,—i. e., through the relation of ‘ the indicative and
the indicated ’, subsisting between these three and the result-
ant feeling—leads to the inference of the ‘ latent emotion ’,
of Love e. g.;—though thus inferred, the emotion is by reason
of the peculiar charm, different from all other objects
of inference ; and hence it is recognised as something
subsisting latently ; and as, though thus inferred, this
emotion is recognised, through its peculiar charm, as some-
thing relished, and as such different from other ordinary
inferred things ; it is imagined to be subsisting latently in
the actor ; and even though not really present in him, it is
relished by the spectators through their predisposed
tendencies.

56 KĀVYAPRAKĀŚA
न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य-
ज्यते अपि तु काव्ये नाट्ये चाभिधातो द्वितीयेन विभावादि-
साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमानः स्थायी
सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते
इति भट्टनायकः ।
[Under this view, the causes, effects and auxiliaries are the
invariable concomitants of the emotion,—and hence when they are
perceived, in the Actor, they lead to the inference of the emotion;
and the inference of this non-existent emotion is explained as being
due to the predisposition of the audience.]
[The objection against this view is that inference is a purely
intellectual process, and hence cannot account for the highly complex
emotional phenomena involved in Rasa.]
(C) The third interpretation, that of Bhaṭṭa-nāyaka,
is as follows :—‘Passion’ is not cognised (inferred), or
generated, or manifested,—either unconcernedly (as not
concerning the spectator at all, as held by Bhaṭṭa-Lollaṭa),
or as subsisting in the spectator himself (relished by him,
as held by Śrī-Śaṅkuka);—what happens is that in
poetry and drama words are endowed with a peculiar
presentative potency, distinct from direct Denotation
(and indirect Indication)—which tends to generalise the
Excitants, Ensuants and Variants, and thereby presents to
consciousness the ‘latent emotion’, which thereupon
comes to be relished by a process of delectation abounding
in enlightenment and bliss, due to the plenitude of the
quality of Harmony (Sattva).
[According to this view the relishing of Passion is the outcome
of the purely verbal process of ‘generalised presentation’. This
is open to the objection that it makes the unwarrantable assumption
of this last mentioned verbal process.]