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...

एषां भेदा यथा-योगं वेदितव्याश् च पूर्व-वत् ॥ ५.४६cd ॥

eṣāṃ bhedā yathā-yogaṃ veditavyāś ca pūrva-vat || 5.46cd ||

The subvarieties of these ones are to be understood as before, in accordance with the suitability.

eṣāṃ samanantaroktānāṃ bhedā yathā-sambhavaṃ dhvani-bhedavad arthāntara-saṅkramita-vācyatvādinā bodhyāḥ. yathā-yogam iti, yatra vastu-mātreṇālaṅkāro vyajyate, na tatra guṇī-bhūta-vyaṅgyatvam, kintu dhvanitvam eveti bhāvaḥ.

The subvarieties of the eight kinds of second-rate implied sense are the same as those of a first-rate implied sense, in terms of being arthāntara-saṅkramita-vācya and so on. The gist of “in accordance with the suitability” is this: Whenever an ornament is implied by a vastu (an idea), that ornament is not classed as a second-rate implied sense, rather it is only a first-rate implied sense.

Commentary:

In this regard, Mammaṭa cites Ānandavardhana: vyajyante vastu-mātreṇa yadālaṅkṛtayas tadā, dhruvaṃ dhvany-aṅgatā tāsāṃ kāvya-vṛttes tad-āśrayāt, “When an ornament is only implied by a vastu, that ornament becomes a characteristic of first-rate poetry, because poetry rests upon ornaments” (Dhvanyāloka 2.29). Here the word vastu means either a vastu in the strict sense (literally expressed idea) or a vastu-dhvani (implied idea).

However, Viśvanātha Kavirāja points out that, based on Ānanda’s explanations, some implied ornaments, such as an implied simile in the dīpaka ornament (illuminator) and in the tulya-yogitā ornament (equal connection with an attribute), are second-rate because they are not a main factor of astonishment, since the scheme of the ornament itself generates astonishment.[1] In that regard, he quotes Ānandavardhana: alaṅkārāntarasyāpi pratītau yatra bhāsate, tat-paratvaṃ na kāvyasya nāsau mārgo dhvaner mataḥ, “If the poetry does not center on the implied ornament, that implied ornament is not in the scope of a first-rate implied sense” (Dhvanyāloka 2.27). Ānandavardhana includes the rūpaka ornament (metaphor) on the list of second-rate implied sense.[2] In conclusion, as before the rule is that an implied sense which does not generate more astonishment than the literal meaning of the text does is only second-rate.

Footnotes and references:

[1]:

alaṅkārāntareṣu tv anuraṇana-rūpālaṅkāra-pratītau satyām api yatra vācyasya vyaṅgyapratipādanaunmukhyena cārutvaṃ na prakāśate nāsau dhvaner mārgaḥ. tathā ca dīpakādāv alaṅkāre upamāyā gamyamānatve’pi tat-paratvena cārutvasyāvyavasthānān na dhvani-vyapadeśaḥ (Dhvanyāloka 2.27); vyaṅgyatve’py alaṅkārāṇāṃ prādhānya-vivakṣāyām eva satyāṃ dhvanāv antaḥ-pātaḥ. itarathā tu guṇībhūta-vyaṅgyatvaṃ pratipādayiṣyate (Dhvanyāloka 2.28); kiṃ ca, yo dīpaka-tulyayogitādiṣu upamādy-alaṅkāro vyaṅgyaḥ, sa guṇībhūta-vyaṅgya eva, kāvyasya dīpakādi-mukhenaiva camatkāra-vidhāyitvāt (Sāhitya-darpaṇa 4.14).

[2]:

tad evaṃ vyaṅgyāṃśa-saṃsparśe sati cārutvātiśaya-yogino rūpakādayo’laṅkārāḥ sarva eva guṇībhūta-vyaṅgyasya mārgaḥ (Dhvanyāloka 3.36).

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