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,
उज्जीवयन्ति दृक्-पातैर् दृक्-पात-निहतं स्मरम् ।
व्रजेषु नार्यो गौर्यो’पि विभव-प्रीतयो ध्रुवम् ॥

udāharaṇam,
ujjīvayanti dṛk-pātair dṛk-pāta-nihataṃ smaram |
vrajeṣu nāryo gauryo’pi vibhava-prītayo dhruvam ||

ujjīvayanti—they enliven; dṛk—of glances; pātaiḥ—by means of the fall; dṛk-pāta—by the fall of glances; nihatam—struck down; smaram—Cupid; vrajeṣu—in the honorable Vraja; nāryaḥ—the women; gauryaḥ api—who are golden also (or although they are Gaurīs); vi-bhava-prītayaḥ—they whose affection for Śiva is gone (or they who have affection for opulence) (or whose love is power); dhruvam—certainly.

With their glances, the golden gopīs, whose love is power, enliven Cupid, who had been reduced to ashes by a glance.

atra hara-dṛk-pāta-nihatasya smarasya gopa-strī-dṛk-pātair ujjīvanam iti sādhita-vastu-vyāhananād vyāghātaḥ. tad evam anuprāsādi-vyāghātāntā alaṅkārā darśitāḥ.

Cupid, struck down by Śiva’s glance, is enlivened by the gopīs’ glances. The verse features vyāghāta because there is a logical contradiction (vyāghāta = vyāhanana) of a thing that was accomplished. Thus the ornaments, from anuprāsa (alliteration) to vyāghāta, have been shown.

The author of Kṛṣṇānandinī says Baladeva Vidyābhūṣaṇa’s verse, adapted from Kāvya-prakāśa, contains a vyatireka-dhvani (implied contrast).[1] Kavikarṇapūra minimized the problem.

In his vyāghāta, only one person is a doer:

santāpayāmāsa ya eva cittaṃ sa eva bhūyaḥ śiśirī-cakāra |
na kālakūṭo na sudhā-taraṅgaḥ sa kīdṛśaḥ keśi-kṛṣaḥ kaṭākṣaḥ ||

“It is not the kālakūṭa poison and is not a wave of nectar, but it burns the heart and makes it cool again. What is it? It is Kṛṣṇa’s sidelong glance” (Alaṅkāra-kaustubha 8.296).

The verse also features the uttara ornament (answer) (Commentary 10.190). Ruyyaka and Viśvanātha Kavirāja propound a second type of vyāghāta. It consists of a logical reason that is turned around for the opposite purpose.

The definition is:

saukaryeṇa ca kāryasya viruddhaṃ kriyate yadi,

“When the opposite result is brought about with ease by the exact same means, that is another variety of vyāghāta” (Sāhitya-darpaṇa 10.75).

Paṇḍita-rāja Jagannātha gives an example:

vimuñcasi yadi priya priyatameti māṃ mandire
  tadā saha nayasva māṃ praṇaya-yantraṇā-yantritaḥ
|
atha prakṛti-bhīrur ity akhila-bhīti-bhaṅga-kṣamān
  na jātu bhuja-maṇḍalād avahito bahir bhāvaya
||

“[Sītā speaks to Rāma, who intends to go to the Daṇḍakā Forest[2] :] I am your beloved, therefore if you want to leave me home alone, then, being forced by the obligations of love, take me with you, sweetheart! Now if you say that I am afraid by nature, then be mindful of me and make sure that I will never be out of the reach of your arms, which are able to dispel all kinds of fear” (Rasa-gaṅgādhara).

After raising the possibility that Rāma would mention the feminine nature of being afraid as the reason against her accompanying him to the forest, she brings forth the same argument with great ease as a reason for accompanying him.

Footnotes and references:

[1]:

śivāpekṣayāpy ādhikya-varṇanād vyatireko’pi gamyaḥ (Kṛṣṇānandinī).

[2]:

atra daṇḍakāṃ pravivikṣuṃ bhagavantaṃ daśarathiṃ prati bhagavatyā jānakyā vākyam (Rasa-gaṅgādhara, KM p. 460).

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