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 10.132
सरसी-कुरुते मनांसि नो मुरहर्तुः पुरतो मृगाक्षि यः |
अधुना विपिनाय सङ्गते सति तस्मिन् कुलिशः स तु स्मरः ||
sarasī-kurute manāṃsi no murahartuḥ purato mṛgākṣi yaḥ |
adhunā vipināya saṅgate sati tasmin kuliśaḥ sa tu smaraḥ ||
sa-rasī-kurute—makes passionate; manāṃsi—hearts; naḥ—our; mura-hartuḥ—of the killer of Mura; purataḥ—in front of (in the presence of); mṛga-akṣi—O doe-eyed girl; yaḥ—who; adhunā—now; vipināya—for the forest; saṅgate—ready; sati tasmin—when He is; kuliśaḥ—thunderbolt; saḥ—that; tu—only; smaraḥ—Cupid.
O doe-eyed girl, Cupid, who makes our hearts passionate when Kṛṣṇa is present, has become a thunderbolt now that He is ready to go to the forest.
atra smara-kuliśau dravye.
Here, Cupid and a thunderbolt are a contradiction between two unique things.
Commentary:
According to Paṇḍita-rāja Jagannātha, the rule that establishes the classification either as a virodha or as a rūpaka is that in virodha, the strikingness lies in the contradiction, not in the nondifference, whereas in rūpaka the strikingness lies in the nondifference—which implies a charming similarity of attribute—and not in the contradiction.[1]
Footnotes and references:
[1]:
iha hi alaṅkāra-varge yo yatra sahṛdaya-camatkṛti-patham avatarati sa eva tatrālaṅkāra iti nirvivādam. evaṃ ca rūpake “mukhaṃ candraḥ” ity-ādau yadyapy asti virodhas tathāpi na sa tatra pratipipādayiṣitaḥ, api tu candra-niṣṭhāhlādakatvādi-sakala-guṇānāṃ mukhe pratipatty-arthaṃ candrābheda eveti sa camatkārī, na virodhaḥ (Rasa-gaṅgādhara, KM p. 430).