Sahitya-kaumudi by Baladeva Vidyabhushana

by Gaurapada Dāsa | 2015 | 234,703 words

Baladeva Vidyabhusana’s Sahitya-kaumudi covers all aspects of poetical theory except the topic of dramaturgy. All the definitions of poetical concepts are taken from Mammata’s Kavya-prakasha, the most authoritative work on Sanskrit poetical rhetoric. Baladeva Vidyabhushana added the eleventh chapter, where he expounds additional ornaments from Visv...

वाच्ये ज्ञाप्यस्यारोपाद् अनारोपाच् च क्वचिद् एषा दृश्यते. क्रमेणोदाहरणम्,

vācye jñāpyasyāropād anāropāc ca kvacid eṣā dṛśyate. krameṇodāharaṇam,

Sometimes aprastuta-praśaṃsā occurs by the introsusception of the aprastuta in the literal meaning of the statement, and sometimes it occurs without such an introsusception. Examples are shown in order:

dhanyo jana-pado yatra gaṅgāyāḥ sarito’malāḥ |
pāpe mayi marau naikaḥ kūpo’pi sulabhodakaḥ ||

dhanyaḥ—fortunate; jana-padaḥ—a country (“a place of people”); yatra—in which; gaṅgāyāḥ—of the Ganges; saritaḥrivers; amalāḥ—pure; pāpe—sinful; mayi—which is me; marau—in the desert; nanot; ekaḥ—one; kūpaḥ—well; api—even; su-labha—is easily available; udakaḥ—wherein water.

A country where the pure rivers related to the Ganges exist is fortunate. Not even one well where water is easily available exists in the desert of sinful me.

atrācetanasya maroḥ prastuta-nirviṇṇa-puruṣatvāropeṇaiva vacanopapattiḥ.

Here the logical congruity of the literal sense takes place only by the superimposition of a despondent person, the prastuta, unto a desert, a nonliving thing.

Commentary:

The above verse only features the vaidharmya variety (contrast) of the prativastūpamā ornament (two sentences have an implied similarity) along with a metaphor (“the desert that I am”). The prastuta is stated, consequently there is no aprastuta-praśaṃsā. In aprastuta-praśaṃsā, Mammaṭa’s introsusception is the atiśayokti ornament (introsusception), except that the introsusception is not for the purpose of exalting the upameya.

This type of introsusception is simply the concept of personification, the basis of fables. Mammaṭa gives an example:

kas tvaṃ bhoḥ kathayāmi daiva-hatakaṃ māṃ viddhi śākhoṭakaṃ
  vairāgyād iva vakṣi sādhu viditaṃ kasmād idaṃ kathyate
|
vāmenātra vaṭas tam adhvaga-janaḥ sarvātmanā sevate
  na cchāyāpi paropakāra-karaṇe mārga-sthitasyāpi me
||

—Who are you?
—Know me as the fate stricken Śākhoṭaka tree.
—You sound like you are disgusted with life.
—You guessed right.
—Why do you feel that way?
—Let me tell you: The Banyan tree on the left side of the road serves the by-passers in all ways, whereas I cannot even provide shade to render assistance to others although I am next to the road. (Dhvanyāloka 3.41) (Kāvya-prakāśa, verse 447)

This is a subcategory of the sādṛśya variety of aprastuta-praśaṃsā. Ānandavardhana cites the verse as an example of aprastuta-praśaṃsā where the literal sense is not intended to be expressed. The difference between this verse and the previous examples of aprastuta-praśaṃsā is that the literal sense, a conversation with a tree, is impossible unless we completely superimpose a particular type of person unto the tree.[1] The Śākhoṭaka tree signifies a poor person and the Banyan tree represents a rich person. According to Nāgeśa Bhaṭṭa, the prastuta is implied: The suggestion, the meaning which is the actual subject matter, is that a poor person is not honorable whereas a rich person is honorable.[2]

Footnotes and references:

[1]:

atra vācya-śākhoṭake sambodhyatvoccārayitṛtvādikam anupapannam iti pratīyamānādhyāropaḥ (Kāvya-pradīpa).

[2]:

pratīyamāno’tra prakṛtāsādhu-puruṣaḥ. na cātra rūpakam, prakṛte’prakṛtāropa eva tat-svīkārāt. etena śākhoṭaka-vaṭa-padābhyāṃ sādhv-asādhu-puruṣau nirgīryādhyavasitāv ity atiśayoktir ity apāstam, tatrāropasyaiva prādhānyena sambodhyatvādy-ananvaya-tādavasthyāc ca, vidyamānāyā apy atiśayokter etad-aṅgatvāc ca. atra sa-dhanaḥ pūjyo’dhano nindya iti prastutavyañjanam. (Uddyota)

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