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 10.166
क्रमेणोदाहरणम्,
अरुणे च तरुणि नयने तव मलिनं च प्रियस्य मुखम् ।
मुखम् आनतं च सखि ते ज्वलितश् चास्यान्तरे ज्वलनः ॥
krameṇodāharaṇam,
aruṇe ca taruṇi nayane tava malinaṃ ca priyasya mukham |
mukham ānataṃ ca sakhi te jvalitaś cāsyāntare jvalanaḥ ||
aruṇe—are red; ca—and; taruṇi—O youthful woman; nayane—two eyes (or when the eye); tava—your; malinam—gloomy; ca—and; priyasya—of the male lover; mukham—the face; mukham—face; ānatam—was bowed; ca—and; sakhi te—your; jvalitaḥ—blazed; ca—and; asya antare—in his inside; jvalanaḥ—fire.
The face of your beloved became gloomy right when your eyes turned red. And when, sakhī, you bowed your face, then the fire of love blazed anew in his heart. (Sāhitya-darpaṇa 10.85)
atra pūrvārdhe guṇayor yaugapadyaṃ parārdhe tu kriyayoḥ.
In the first sentence, two qualities simultaneously take place. In the second sentence, two actions simultaneoulsy occur.