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 10.201
क्रमेणोदाहरणम्,
krameṇodāharaṇam,
Examples are shown in order:
kṛṣṇo varīyān puruṣeṣu sad-guṇaiḥ śrī-rādhikā strīṣu guṇaiḥ varīyasī |
saṅgaṃ vidhātus tv anayoḥ parasparaṃ dhātur narīnarti guṇa-jñatā-yaśaḥ ||
kṛṣṇaḥ—Kṛṣṇa; varīyān—the best; puruṣeṣu—among men; sat-guṇaiḥ—because of eminent qualities; śrī-rādhikā—Śrī Rādhikā; strīṣu—among women; guṇaiḥ—on account of qualities; varīyasī—is the best; saṅgam—the meeting; vidhātuḥ—[of the creator,] who habitually makes; tu—only; anayoḥ—of both of Them; parasparam—mutual; dhātuḥ—of the creator (Brahmā); narīnarti—intensely dances (or repeatedly dances); guṇa—of qualities; jñatā—of the knowledgeability; yaśaḥ—the fame.
Among men, Kṛṣṇa is the best, on account of His virtues. Among women Rādhikā is foremost owing to Her qualities. The fame of the creator’s knowledgeability of qualities repeatedly dances since he makes Them meet. (Govinda-līlāmṛta 11.138)