Text 4.87

पदैक-देश-रचनावर्णेष्व् अपि रसादयः ॥ ४.४३ab ॥

padaika-deśa-racanāvarṇeṣv api rasādayaḥ || 4.43ab ||

pada-eka-deśa—in a portion of a word; racanā—in the construction (i.e. the style of compounding); varṇeṣu—in the phonemes (speech-sound); api—also; rasa-ādayaḥ—a rasa and so on (rasa, sthāyi-bhāva, vyabhicāri-bhāva, rasābhāsa, etc.).

The rasa-ādis are also implied in an aspect of a word, in the construction (the style of compounding, and the phonetic combinations), and in the type of phonemes (sweet or hard).

prakṛti-pratyayopasarga-vacana-vibhakti-viśeṣa-viśeṣaṇasarvanāma-nipātāvyayī-bhāva-karma-bhūtādhāra-kālasambandhādayaḥ padāṃśās teṣv asaṃlakṣya-kramā rasādayo vyajyante.

A rasa, a bhāva, and other asaṃlakṣya-krama dhvanis can be implied in an aspect of a word (padaika-deśa = padāṃśa). Each one of the following is called a padāṃśa (a part of a word or an aspect of a word): (1) the base (verbal or nominal) (prakṛti), (2) a suffix (pratyaya), (3) a prefix (upasarga), (4) the number (vacana), (5) the particular sense of a case ending (vibhakti-viśeṣa), (6) an adjective (viśeṣaṇa), (7) a pronoun (sarvanāma), (8) a particle (nipāta) (such as ca or vā),^[2] (9) an avyayī-bhāva compound, (10) a location which is the object of the verb (karma-bhūtādhāra), (11) the time (past, present, or future) (kāla), (12) the relation (sambandha), and so forth (pūrva-nipāta, etc.).

Commentary:

Examples of dhvanis arisen from a padāṃśa are shown ahead, but examples of dhvanis arisen from the phonetic construction (racanā) or from the bare phonemes (varṇa) are illustrated in the chapter on the guṇas (8.20 etc.): The construction of a guṇa hints at a rasa: The rasas are classed in two groups, with regard to mādhurya-guṇa (the quality of sweetness or of melting) and ojas guṇa (the quality of vigor).

Although a vastu-dhvani and an alaṅkāra-dhvani can arise from a padāṃśa, in this sūtra Mammaṭa only emphasizes that a rasādi-dhvani arises from a padāṃśa. Earlier, it was said, with regard to Bharata Muni’s rasa-sūtra, that a sthāyi-bhāva enhanced by vibhāvas, by an anubhāva and by a vyabhicāri-bhāva turns into rasa (4.8). In this section, Mammaṭa shows that a sthāyi-bhāva can be raised to the level of a rasa simply by the suggestiveness of the padāṃśas. Viśvanātha Kavirāja comments that Mammaṭa hints that a vastu and an alaṅkāra can be implied from a padāṃśa.^[1] Still, in the section on padāṃśas, the methodology is that whenever a vastu or an alaṅkāra is implied from a padāṃśa, the sthāyi-bhāva enhanced by that dhvani arisen from the padāṃśa reaches the level of rasa, in the sense that the sthāyī has become relishable.

If an implied ornament can raise a sthāyī to the level of rasa, then it should be acknowledged that an ornament proper is able to do that. The only theoretician to approximate this is Viśvanātha Kavirāja, who said that an ornament adorns the rasa (Commentaries 4.60 and 10.1).

²⁸⁸ evaṃ ca na kevalaṃ rasa-dhvaneḥ padāṃśa-vyaṅgyatvaṃ kintu vastv-alaṅkārayor api iti grantha-kṛd abhiprāyaḥ sūcito bhavati (Kāvya-prakāśa-darpaṇa, verse 97 vṛtti). In that regard, Mammaṭa writes: atra tulya-yogitā-dyotakasya ‘ca’ iti nipātasya, “In this verse the particle ca (and) hints at the tulya-yogitā ornament” (Kāvya-prakāśa, verse 108 vṛtti).

Viśvanātha Kavirāja explains why the theory in this section is important: rasādir api tu sarveṣv eva dṛśya-śravyādi-prabandheṣu mukhyatayā vyaṅgyo’yam, anyathā kāvyatva-hāner iti bhāvaḥ, “A rasādi is the most important implied sense in a literary work, i.e. dṛśya-kāvya (dramaturgy) (literature that is seen) and śravya-kāvya (prose, poetry) (literature that is heard), because without a rasādi the poetical composition suffers” (Kāvya-prakāśa-darpaṇa 4.43).

In the list of fifty-one dhvanis (4.96), Mammaṭa does not count a vastu-dhvani arisen from a padāṃśa nor an alaṅkāra-dhvani arisen from a padāṃśa. Nonetheless, Viśvanātha Cakravartī propounds this theory:

padāṃśādi-janya-vastv-alaṅkārādayo’py asaṃlakṣya-kramā bhavantīti na doṣaḥ. tathā ca raso hi vākya-janya-pada-janya-padāṃśādi-janya-bodha-sāmānya evāsaṃlakṣya-kramaḥ, vastv-alaṅkārādayas tu padāṃśa-varṇa-racanā-janya-bodhe evāsaṃlakṣya-kramāḥ, na tu vākya-janya-bodhe pada-janya-bodhe vā asaṃlakṣya-kramāḥ. […] prakṛty-ādi-janya-vastv-alaṅkāravyaṅgyasyātigūḍhatvena tatra tatra asaṃlakṣya-kramo jñeyaḥ. vākya-janye pada-janye ca bodhe vastv-alaṅkāra-vyaṅgyasyātispaṣṭatvena tatra tatra saṃlakṣya-kramo’to na kim apy anupapannam iti bhāvaḥ.

“Even vastus and alaṅkāras generated from a padāṃśa and so on are asaṃlakṣya-krama. There is nothing wrong in this. For instance, a rasa is asaṃlakṣya-krama only in the general sense of being an understanding generated either from a sentence (vākya), from a word (pada), or from a padāṃśa and so on, whereas vastus and alaṅkāras are asaṃlakṣya-krama only when the understanding is generated either from an aspect of a word (padāṃśa), from the construction (racanā) (style of compounding or phonetic combinations), or from the phonemes (varṇa).^[2] Vastus and alaṅkāras are not asaṃlakṣya-krama when the understanding is generated either from a sentence or from a word. In that regard, a vastu or an alaṅkāra is called asaṃlakṣya-krama in the sense that the implied vastu or the implied alaṅkāra is produced in a very subtle way, such as being implied by the word base. However, when the understanding of the implied vastu or of the implied alaṅkāra is generated either from a sentence or from a word, it is called saṃlakṣya-krama, since the implied sense is very clear (in the mind, the sequence of the rise of the vastu or of the alaṅkāra happens all of a sudden). Therefore, there is no incongruity whatsoever” (Subodhinī 3.43).

Footnotes and references:

[1]:

Here the word nipāta refers to this: cādayo’sattve (Aṣṭādhyāyī 1.4.57); adravyārthāś cādayo nipāta-saṃjñāḥ syuḥ (Siddhānta-kaumudī 20). A nipāta is not a part of a word, therefore in this category and in some others the sense of padāṃśa is “an aspect of a word,” and not “a part of a word.”

[2]:

An idea (vastu) implied from the construction or from the phonemes is very rare. An example is in the compound tiryak-kṣipta-calad-dṛg-añcala-ruciḥ (She had splendor with Her fickle sidelong glances that were obliquely cast) (6.5), where the phoneme ry and the phonetic combinations kkṣ and ddṛ hint at the force of Rādhā’s sidelong glance. For more examples, consult text 7.121 (and the Commentary). An ornament so implied is very rare too. An example is given in Commentary 4.88.