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...
Text 10.245
अर्थालङ्कारयोर् यथा,
arthālaṅkārayor yathā,
This is an example of a saṃsṛṣṭi of two ornaments of meaning:
tāruṇye nava-bhū-patau[1] ślatha-naye rādhā-vapuḥ-pattane
vakṣoja-dvaya-dasyunā sa-jaghanenākramya madhyaṃ balāt |
pauṣkalyaṃ nikhiklaṃ hṛtaṃ tri-valibhiḥ phūt-kāra-bhītyā guṇair
baddhvā sthāpitam ity avetya bhayato gulphau nilīya sthitau ||
tāruṇye—when youth; nava—new; bhū-patau—was the king; ślatha—were slack; naye—whose moral codes; rādhā-vapuḥ—[in the form] of Rādhā’s body; pattane—in the town; vakṣoja—of breasts; dvaya—[in the form of] the pair; dasyunā—by the dacoit; sa-jaghanena—accompanied by the hips; ākramya—overtook; madhyam—the waist; balāt—by force; pauṣkalyam—the plumpness; nikhiklaṃ—all; hṛtam—was taken; tri-valibhiḥ—which were the three folds of skin; phūt-kāra—of screams; bhītyā—out of fear; guṇaiḥ—with the strings; baddhvā—after binding; sthāpitam—established; iti—thus; avetya—understanding; bhayataḥ—out of fear; gulphau—two ankles; nilīya—by hiding; sthitau—were situated.
When youth became the new king, whose moral codes were slack, in the kingdom of Rādhā’s body, the dacoits of Her breasts and hips ransacked Her waist and stole all the plumpness. Fearing that Her waist might scream for help, they gagged it with the ropes of Her three-lined belly. Hearing of this, Her ankles hid themselves out of fear. (Govinda-līlāmṛta 11.54)
atra rūpakotprekṣayoḥ.
There is a saṃsṛṣṭi of rūpaka and utprekṣā.
Commentary:
The metaphors (rūpaka) are single: (1) youth in the form of a king, (2) the kingdom of Rādhā’s body, (3) the dacoits of Her breasts, and the dacoits of Her hips, and (4) the ropes of Her three-lined belly. At first, the expression “Her ankles hid themselves” is the virodha ornament (semblance of a contradiction), but it culminates as an uprekṣā especially because the whole verse is a fancy. Mammaṭa’s example of a saṃsṛṣṭi of two ornaments of meaning was shown in text 10.33 (Kāvya-prakāśa verse 568).