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...

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उदाहरणम्,

udāharaṇam,

This illustrates rasābhāsa (semblance of a rasa):

gāndharvi kurvāṇam avekṣya līlām agre dharaṇyāṃ sakhi kāmapālam |
ākarṇayantī ca mukunda-veṇuṃ bhinnādya sādhvi smarato dvidhāsi ||

gāndharvi—O Gāndharvī (“female Gāndharva”); kurvāṇam—who is performing; avekṣya—after seeing; līlām—pastimes; agre—in front; dharaṇyām—on Earth; sakhi—O friend; kāma-pālamBalarāma[1]; ākarṇayantī—while listening; ca—and; mukundaveṇum—to Mukunda’s flute; bhinnā—split; adya—today; sādhvi—O chaste woman; smarataḥ—because of Cupid; dvidhā—twofold; asi—You are.

O sakhī Rādhā, today, upon seeing Balarāma’s pastimes on Earth and giving ear to Mukunda’s flute, You, a chaste woman, were split in two by Cupid. (Bhakti-rasāmṛta-sindhu 4.9.16)

atra bale kṛṣṇe caikasyā ratir varṇitā.

In this verse, it is said that She has affection for both Balarāma and Kṛṣṇa.

Footnotes and references:

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[1]:

Kāmapāla is a name of Balarāma (Amara-koṣa 1.1.24). The sense is He protects Kṛṣṇa, the transcendental Cupid: kāmaṃ kāma-devaṃ kṛṣṇaṃ pālayati agra-jātatvād iti kāmapālo baladevaḥ (Amṛta commentary on Hari-nāmāmṛta-vyākaraṇa 268).

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