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...
Text 7.81
रासे कापि दधौ वीणां मृदङ्गान् किल काश्चन |
तालं काचित् कयाचित् तु गीतं तेने’च्युतार्चितम् ||
rāse kāpi dadhau vīṇāṃ mṛdaṅgān kila kāścana |
tālaṃ kācit kayācit tu gītaṃ tene’cyutārcitam ||
rāse—in the Rāsa dance; kā api—some girl; dadhau—had; vīṇām—a lute; mṛdaṅgān—the mṛdaṅga drums; kila—indeed; kāścana—some girls; tālam—the cymbal; kācit—some girl; kayācit—by some girl; tu—however; gītam—the song; tene—done; acyuta-arcitam—acclaimed by Acyuta.
In the Rāsa dance, some girl had the lute, some girls the mṛdaṅga drums, and some girl the hand cymbals. The song played by some girl was acclaimed by Acyuta. (adapted from Alaṅkāra-kaustubha 10.101)
atra vacana-kramasya kāraka-kramasya ca.
Here the symmetry of the sequence of the grammatical number is broken, and so is the sequence of the meaning of the case endings.
Commentary:
The sequence of numbers is: singular (kāpi), plural (kāścana), and singular (kācit). Moreover, those three (kāpi, kāścana, kācit) are active subjects (ukta-kartā), inasmuch as the verb dadhau is in the active voice, whereas kayācit is a passive subject (anukta-kartā) since the verb tene is in the passive voice.