Text 9.44 [zig-zag diagram]

गो-मूत्रिका-बन्धः,

go-mūtrikā-bandhaḥ,

This is an example of the zig-zag diagram:

smarāgha-nāśi bhāsuraṃ jarā-bharātisādanam |
murāri-nāma bhāva-raṃ parāvarātma-sādhanam ||

smara—you should remember; agha—of sin; nāśi—the destroyer; bhāsuram—shining^[1] (effulgent, i.e. in its true form of sac-cid-ānandarasa^[2] it is self-manifest); jarā—of old age; bhara—the burden; ati-sādanam—the intense dispeller; murāri-nāma—the name Murāri; bhāva—love; ram—it gives; para-avara-ātma—the higher soul and the lower soul; sādhanam—the means of accomplishing.

Remember the name of Murāri. It puts an end to sinful reactions. It is effulgent, it completely dispels the burden of old age, it gives love, and it is the means to realize the soul and to attain the Lord.

Go-mūtrikā

(urination of a cow) (zig-zag)

eṣa eva baddha-kapāṭo mukta-kapāṭo’śva-gatiś ca. evam anye’pi bhedāḥ samunneyāḥ, nīrasatvād grantha-gaurava-bhayāc ca nātra kārtsnyena darśitāḥ.

This verse also fits in the closed-door diagram, the open-door diagram, and the course-of-a-horse diagram. Other kinds can be inferred in this way. All of them are not shown here out of fear of increasing the size of the book and also due to being tasteless.

Commentary:

Mammaṭa showed four verses of citra-kāvya, three of which are from Rudraṭa’s Kāvyālaṅkāra. The four diagrams are: the sword (khaḍga), the drum (muraja), the lotus (padma), and the mirrored squares (sarvato-bhadra). Mammaṭa says other varieties of citra-kāvya (such as a verse of one consonant) exist only for showing off one’s skills and therefore do not assume a form of poetry (when there is no ornament).^[3] This refers to verses of one consonant, and so on. In that regard, Bhoja says that picture poetry, which he calls ākāra-citra, is one of six subcategories of citra-kāvya.^[4] Ānandavardhana accepted citra as a form of poetry only in conformity with the usage of old-school poets, yet in truth he does not acknowledge it as real poetry.^[5] Kavikarṇapūra states that the ancients said citra-kāvya is tasteless in the sense that it is not conducive to the manifestation of rasa. However, he says citra-kāvya is relishable when it centers on the Lord: yaḥ rasābhivyaktaye nāsau śakti-jñaptyai sa kevalam, citraṃ nīrasam evāhur bhagavad-viṣayaṃ yadi tadā kiñcic ca rasa-vat (Alaṅkāra-kaustubha 7.75).

Footnotes and references:

[1]:

The word bhāsura is formed by adding the suffing [gh]ura[c] after the verbal root bhās[ṛ] dīptau (to shine) (Aṣṭādhyāyī 3.2.161). Jayāditya and Vāmana explain: bhāsuraṃ jyotiḥ, “Bhāsuram means a light” (Kāśikā 3.2.161). The author of Kṛṣṇānandinī glosses bhāsuram as tejasvi (effulgent).

[2]:

tasya kṛṣṇatve hetuḥ abhinnatvād iti. ekam eva sac-cid-ānanda-rasādi-rūpaṃ tattvaṃ dvidhāvirbhūtam ity arthaḥ (Durgama-saṅgamanī 1.2.233).

[3]:

sambhavino’ py anye prabhedāḥ śakti-mātra-prakāśakā na tu kāvya-rūpatāṃ dadhatīti na pradarśyante (Kāvya-prakāśa, verse 388 vṛtti). Here Mammaṭa implies that citra-kāvya has subcategories such as a verse of one consonant (varṇa-citra).

[4]:

varṇa-sthāna-svarākāra-gati-bandhān pratīha yaḥ |
niyamas tad-budhaiḥ ṣoḍhā citram ity abhidhīyate || (Sarasvatī-kaṇṭhābharaṇa 2.109)

[5]:

etac ca citraṃ kavīnāṃ viśṛṅkhala-girāṃ rasādi-tātparyam anapekṣyaiva kāvya-pravṛttidarśanād asmābhiḥ parikalpitam. idānīntanānāṃ tu nyāyye kāvya-naya-vyavasthāpane kriyamāṇe nāsty eva dhvani-vyatiriktaḥ kāvya-prakāraḥ, yataḥ paripākavatāṃ kavīnāṃ rasādi-tātparyavirahe vyāpāra eva na śobhate (Dhvanyāloka 3.42).