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...

अन्योन्य-योगाद् एवं स्याद् भेद-संख्यातिभूयसी ॥ ५.४७cd ॥

anyonya-yogād evaṃ syād bheda-saṃkhyātibhūyasī || 5.47cd ||

Owing to the commixture of one with another in this way, the number of varieties becomes very high.

evam anena prakāreṇāvāntara-bheda-prabheda-gaṇane bhūyasī bheda-saṅkhyā. tathā hi, ekasyaiva śṛṅgārasyaiko’pi sambhogarūpo bhedo mitho-vīkṣāśleṣādi-bhedāt pratyekaṃ ca vibhāvādivaicitryāt saṅkhyātum aśakyaḥ, kā gaṇanā punaḥ sarveṣām iti. saṅkṣepāt tv asya dhvanes trayo bhedāḥ, vyaṅgyasya tri-rūpatvāt. tathā hi, kiñcid vyaṅgyaṃ vācyatā-saham, kiñcit tv anyathā. tatrāvicitraṃ vicitraṃ ceti dvi-vidham ādyaṃ kramād vastv-alaṅkṛtirūpam. dvitīyaṃ tu rasādi. tac ca svapne’pi vācyatāṃ na sahate, vibhāvādy-ukti-dvāraiva pratipatteḥ.

When one counts the respective varieties and subdivisions in this way, the number of varieties is high. For instance, even one variety, sambhoga, of one rasa, śṛṅgāra, cannot be calculated because of varietiesa mutual glance, an embrace, and so onand because each one is diverse on account of vibhāvas, etc., so what need is there to detail the others?

In summary, there are three kinds of dhvanis (implied sense), since an implied sense has three forms (alaṅkāra, vastu, rasa-ādi). The explanation is as follows: One kind of implied sense tolerates the literal meaning, whereas the other kind does not. Of the two, the first one has two varieties: alaṅkāra (ornament), which is amazing, and vastu (idea), which is not so amazing. The second kind is rasa-ādi. A rasādi does not tolerate the literal sense (a rasādi should never be expressed with the word śṛṅgāra, rati, etc.), even in a dream, because a rasādi is brought about only by means of the mention of vibhāvas and so on.

Commentary:

When a rasa occurs and is expressed with its own name, such as śṛṅgāra, that is the fault called rasa-śabda-vācyatā (mentioning a rasa by name) (7.137). The same applies to a sthāyi-bhāva and to a vyabhicāri-bhāva (7.137). Ānandavardhana allowed the possibility that a vyabhicāri-bhāva be stated with its own name. When that happens, he says the vyabhicāri-bhāva is classed as a lakṣya-krama dhvani (implied sense whose sequence in the mind is noticed).[1] Mammaṭa said that a vyabhicāri-bhāva can be stated with the word that denotes it provided the vyabhicāri-bhāva would not bring about an understanding of itself by the mention of its effect (7.148). In usage, a sāttvika-bhāva is often mentioned by name. The same applies to vyabhicāri-bhāvas.

Footnotes and references:

[1]:

atra hi līlā-kamala-patra-gaṇanam upasarjanīkṛta-svarūpaṃ śabda-vyāpāraṃ vinaivārthāntaraṃ vyabhicāri-bhāva-lakṣaṇaṃ prakāśayati. na cāyam alakṣya-kramavyaṅgyasyaiva dhvaner viṣayaḥ, yato yatra sākṣac-chabda-niveditebhyo vibhāvānubhāvavyabhicāribhyo rasādīnāṃ pratītiḥ, sa tasya kevalasya mārgaḥ (Dhvanyāloka 2.22). Abhinavagupta comments: yadyapi rasa-bhāvādir artho dhvanyamāna eva bhavati na vācyaḥ kadācid api, tathāpi na sarvo’lakṣya-kramasya viṣayaḥ (Locana 2.22).

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