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...



This illustrates raudra-rasa (anger):

harau śruti-śiraḥ-śikhā-maṇi-marīci-nīrājita-sphurac-caraṇa-paṅkaje’py avamatiṃ vyanakty atra yaḥ |
ayaṃ kṣipati pāṇḍavaḥ śamana-daṇḍa-ghoraṃ haṭhāt trir asya mukuṭopari sphuṭam udīrya savyaṃ padam ||

harau—to Hari; śruti-śiraḥ—of the Upaniṣads (“the head of the Vedas”); śikhā—on the crest; maṇi—from the jewels; marīci—by the rays; nīrājita—are illuminated (“are made the objects of the ceremony of waving lights”); sphurat—glittering; caraṇa-paṅkaje api—even though He is one whose lotus feet; avamatim—an offense; vyanakti—manifested; atra—here; yaḥ—who; ayam—this (the well-known one); kṣipati pāṇḍavaḥPāṇḍava kicked; śamana-daṇḍa—like Yama’s rod; ghoram—[the left foot,] which is terrible; haṭhāt—violently; triḥ—thrice; asya—his; mukuṭa-upari—above the crown; sphuṭam—manifestly; udīrya—after rising upward; savyam—left; padam—foot.

Bhīma manifestly raised His left foot, as terrible as Yama’s rod, above the crown of Śiśupāla and thrice violently kicked him with it. Śiśupāla had committed an offense to Hari, even though His glittering lotus feet are the objects of the Upaniṣadsoffering of dīpa by means of the rays from the jewels at the top of their heads. (Bhakti-rasāmṛta-sindhu 4.5.19)

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