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 10.222
उदारहणम्,
पृष्ठे मणीन्द्र-महसि प्रतिबिम्बम् एव
केशस्य केश-परिशेष इति भ्रमेण ।
उल्लासयन्त्य् असकृद् अङ्गुलि-पल्लवेन
सा व्यग्र-धीर् अजनि केशव-केश-बन्धे ॥
udārahaṇam,
pṛṣṭhe maṇīndra-mahasi pratibimbam eva
keśasya keśa-pariśeṣa iti bhrameṇa |
ullāsayanty asakṛd aṅguli-pallavena
sā vyagra-dhīr ajani keśava-keśa-bandhe ||
pṛṣṭhe—in the back; maṇi-indra—like a sapphire (“the king of gems”); mahasi—which has an effulgence; pratibimbam—the reflection; eva—only; keśasya—of hair; keśa—of hair; pariśeṣaḥ—the end; iti bhrameṇa—because of this mistake; ullāsayantī—placing upwards; asakṛt—repeatedly; aṅguli-pallavena—with the buds in the form of fingers; sā—she; vyagra—was confused; dhīḥ—whose perception; ajani—became; keśava-keśa—the hair of Keśava; bandhe—while binding.
While styling Keśava’s hair with her blossom-like fingers, a gopī, mistakenly thinking that His hair’s reflection on His back, which shines like a sapphire, was the actual ends of His hair, repeatedly attempted to take the reflection of His hairs upward. (Alaṅkāra-kaustubha 8.276)
rūpaka-prathamātiśayoktyor āhārya-bhramatvāt tābhyām asya bhedaḥ.
The difference between bhrāntimān on one hand and rūpaka and the first variety of atiśayokti on the other is that in rūpaka and in atiśayokti, the perceiver knows that the fancy is an imagination.
Commentary:
Paṇḍita-rāja Jagannātha illustrates bhrāntimān,
kanaka-drava-kānti-kāntayā militaṃ rāmam udīkṣya kāntayā |
capalā-yuta-vārida-bhramān nanṛte cātaka-potakair vane ||“Noticing Rāma with His beloved Sītā, who is lovely with her radiance that resembles a flow of gold, the young cātaka birds danced in the forest because they mistakingly perceived a cloud with lightning” (Rasa-gaṅgādhara).
Jagannātha says that if the last clause were reworded as follows, it would illustrate a bhrāntimān-dhvani, “the young cātaka birds, whose expanded wings were like new shoots, became joyful in the forest.”[1]
This is another example:
mugdhā sudhāṃśu-kiraṇe jāla-gate bhavana-dāha-cikitākṣī |
ādātum avadhi-lekhaṃ praviśati bhavanaṃ nivārya sahayāntīḥ ||“When She saw moonrays go through the windows, She became alarmed: She thought that the house was going to catch on fire. That bewildered girl rushed into the house to retrieve His love letter while preventing Her friends from following Her inside (so that they would not be harmed by the fire)” (Alaṅkāra-kaustubha 5.33).
Kavikarṇapūra shows the verse to illustrate vipralambha (love in separation).