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...

उदाहरणम्,

udāharaṇam,

This is an example of contextual things connected with the same attribute:

dṛṣṭiṃ nidhāya surabhī-nikuramba-vīthyāṃ kṛṣṇeti varṇa-yugalābhyasane rasajñām |
śuśrūṣaṇe murali-nisvanitasya karṇau cittaṃ mukhe tava nayaty ahar adya rādhā ||

dṛṣṭim—the sight; nidhāya—after putting (engaging); surabhī—of cows; nikuramba—of the multitude; vīthyām—on the path; kṛṣ-ṇa—kṛṣ and ṇa; iti—this; varṇa—of syllables; yugala—the pair; ābhyasane—in repeating; rasajñām—the tongue (“it knows taste”); śuśrūṣaṇe—in the desire to ear; murali—of the flute; nisvanitasya—the sound; karṇau—the two ears; cittam—the heart; mukhe—on the face; tava—Your; nayati—leads (passes); ahaḥ—the day; adya—now; rādhā—Rādhā.

Now Rādhā is passing Her day by engaging Her eyes on the path of the cows, Her tongue in repeating the two syllables “Kṛṣṇa”, Her ears in the desire to ear the sound of Your flute, and Her heart on Your face. (Ujjvala-nīlamani 15.157)

atra prākaraṇikānām eva dṛṣṭy-ādīnāṃ nidhāna-rūpaika-kriyā-sambandhaḥ.

In this verse, there is a connection of things, beginning from the eyes, all of which are contextual, with only one action: “engaging”.

Commentary:

The eyes and so on are contextual inasmuch as Rādhā is the subject of description and they are directly related to Her. Moreover, according to Ruyyaka, Jagannātha, and Nāgeśa Bhaṭṭa, the life of tulya-yogitā is an implied similitude.[1] In the above example, the implied similarity is that Rādhā’s eyes, tongue, and so on are fixated on something directly or indirectly related to Kṛṣṇa.

This is Mammaṭa’s example of tulya-yogitā,

pāṇḍu kṣāmaṃ vadanaṃ hṛdayaṃ sa-rasaṃ tavālasaṃ ca vapuḥ |
āvedayati nitāntaṃ kṣetriya-rogaṃ sakhi hṛd-antaḥ ||

Sakhī, your face pale and emaciated, your heart passionate, and your body languid indicate an incurable disease of the heart” (Kāvya-prakāśa verse 460).

The similarity is the action of indicating. The obvious implied similarity is that they resemble the symptoms of an ailment, but the subtly implied similarity is that they are effects of the pang of separation.

This is an example of tulya-yogitā by Paṇḍita-rāja Jagannātha:

latā kusuma-bhāreṇa śīla-bhāreṇa sundarī |
kavitā cārtha-bhāreṇa śrayate kām api śriyam ||

“A creeper, by the weight of flowers, a coquette, by the weight of her good nature, and poetry, by the weight of the meanings, display some particular resplendence” (Rasa-gaṅgādhara, KM p. 327).

Footnotes and references:

[1]:

aupamyasya gamyatve padārtha-gatatvena prastutānām aprastutānāṃ vā samāna-dharmābhisambandhe tulya-yogitā || (Alaṅkāra-sarvasva, KM p. 70); kiṃ ca dīpaka-tulyayogitādau gamyamānam aupamyaṃ jīvātur iti sarveṣāṃ sammatam (Rasa-gaṅgādhara, KM p. 325); evaṃ ca prākaraṇikāprākaraṇikobhayāvṛttitve saty aupamyākṣepakatvaṃ lakṣaṇam (Uddyota 10.104cd).

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