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 10.250
यथा वा,
माधव्याः श्रीर् माधवेनैव रम्या माधव्यैवोत्फुल्ल या माधव-श्रीः ।
इत्य् अन्योन्य-श्री-समुल्लास-हेतू एतौ धातुर् युञ्जतोऽभिज्ञतासीत् ॥
yathā vā,
mādhavyāḥ śrīr mādhavenaiva ramyā mādhavyaivotphulla yā mādhava-śrīḥ |
ity anyonya-śrī-samullāsa-hetū etau dhātur yuñjato'bhijñatāsīt ||
mādhavyāḥ—of Mādhavī (Rādhā, who was born in Madhu’s lineage) (or mādhavī creeper); śrīḥ—the resplendence; mādhavena—by Mādhava (Kṛṣṇa, or spring); eva—only; ramyā—delightful; mādhavyā—by Mādhavī; eva—only; utphullā—is enhanced; yā—which; mādhava—of Mādhava; śrīḥ—the resplendence; iti—in this way; anyonya—mutual; śrī—the resplendence; samullāsa—of the heightenment; hetū—the two reasons; etau—these two; dhātuḥ—of the creator; yuñjataḥ—who is uniting; abhijñatā—the knowledgeability; āsīt—occurred.
The resplendence of Mādhavī is beautiful only with Mādhava, and the resplendence of Mādhava is only enhanced by Mādhavī. They cause the resplendence of each other. The knowledgeability of the creator, who unites them, is thus shown. (Govinda-līlāmṛta 11.142)
atrāprastuta-praśaṃsāyā aṅgābhyām anyonya-samābhyāṃ saṅkaraḥ.
The verse features a saṅkara of aprastuta-praśaṃsā (indirect expression) as the aṅgī and anyonya (mutual effect) and sama (congruity) as the aṅgas.
Commentary:
The word Mādhavī severally denotes a mādhavī creeper and Rādhā (“a female descendent of Madhu”). And the word Mādhava severally denotes spring and Kṛṣṇa (a male descendent of Madhu). The context is a description of Rādhā and Kṛṣṇa, therefore the verse features the śleṣa variety of aprastuta-praśaṃsā (10.78). The most striking ornament is the ultimate aṅgī. In this regard, Govinda Ṭhakkura says that in this type of saṅkara the ornaments require one another (they are in the same substratum) either because they cannot exist without one another or simply for the sake of literary beauty.[1]