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...

उभयालङ्काराणां यथा,

ubhayālaṅkārāṇāṃ yathā,

This is a saṃsṛṣṭi of both kinds of ornaments:

kṛṣṇaḥ pāyād apāyān naḥ pūrṇendu-sadṛśānanaḥ |
bhakta-hṛt-sarasī-haṃsaḥ kaṃsa-vaṃśa-nisūdanaḥ ||

kṛṣṇaḥKṛṣṇa; pāyāt—may he protect; apāyāt—from destruction; naḥ—us; pūrṇa-indu—a full moon; sadṛśa—is like; ānanaḥ—He whose face; bhakta-hṛt—of a devotee’s heart; sarasī—on the lake; haṃsaḥ—the swan; kaṃsa-vaṃśa—of Kaṃsa’s dynasty; nisūdanaḥ—the terminator.

May Kṛṣṇa protect us from apostasy. His face resembles a full moon. He is the swan on the lake of the devotees’ hearts. And He put an end to Kaṃsa’s dynasty.

atra yamakopamā-rūpakānuprāsāḥ saṃsṛṣṭāḥ.

The verse features a mutually independent combination of yamaka (word rhyme), upamā (simile), rūpaka (metaphor), and anuprāsa (alliteration).

Commentary:

There is actually no yamaka because in “pāyād apāyā” the letters d and a intervene between the first sound pāyā and the second sound pāyā. Rather, the repetition of p and y in pāyād apāyā is a cheka anuprāsa. Baladeva Vidyābhūṣaṇa’s verse is an adaptation of Viśvanātha Kavirāja’s example.[1] The author of Bhakti-rasāmṛta-śeṣa corrected Viśvanātha’s mistake.[2]

The upamā is: pūrṇendu-sadṛśānana (His face resembles a full moon). The rūpaka is a paramparita rūpaka (one metaphor is the cause of the other): “He is a swan” and “the lake of the devotees’ hearts.” The alliteration is the mādhurya vṛtti anuprāsa in “haṃsaḥ kaṃsa-vaṃśa.” This alliteration infringes on the word haṃsa, which is part of the paramparita-rūpaka, but there is no saṅkara (the third variety, 10.257) because the scope is not one and the same compound.

Viśvanātha Kavirāja explains his verse in this way: The yamaka and the anuprāsa make a saṃsṛṣṭi of ornaments of sound; the simile and the metaphor constitute a saṃsṛṣṭi of ornaments of meaning; therefore the verse contains a saṃsṛṣṭi of ornaments of sound and of ornaments of meaning.[3]

Footnotes and references:

[1]:

devaḥ pāyād apāyān naḥ smerendīvara-locanaḥ |
saṃsāra-dhvānta-vidhvaṃsa-haṃsaḥ kaṃsa-niṣūdanaḥ || atra pāyād apāyād iti yamakam. (Sāhitya-darpaṇa 10.97).

[2]:

devaḥ pāyād apāyād vaḥ (Bhakti-rasāmṛta-śeṣa 4.394). The old school of thought, emphasized by Vāg-bhaṭa and Namisādhu (Commentary 9.4), is that a visarga can be disregarded for the sake of a yamaka. Thus “aḥ pāyād apāyād” constitutes a yamaka of apāyād.

[3]:

atra pāyād apāyād iti yamakam. saṃsārety-ādau cānuprāsa iti śabdālaṅkārayoḥ saṃsṛṣṭiḥ. dvitīya-pāde upamā, dvitīyārdhe ca rūpakam ity arthālaṅkārayoḥ saṃsṛṣṭiḥ. evam ubhayoḥ sthitatvāc chabdārthālaṅkāra-saṃsṛṣṭiḥ (Sāhitya-darpaṇa 10.97).

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