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 11.14
[This is an example of kāraka-gupti (concealment of a case ending):]
माधवस्य पुरोऽप्य् आसां साध्वीनां गोप-सुभ्रुवाम् ।
राजते वदने तन्वी नापि स्व-प्रिय-चेतसाम् ॥
mādhavasya puro'py āsāṃ sādhvīnāṃ gopa-subhruvām |
rājate vadane tanvī nāpi sva-priya-cetasām ||
mā—radiance; dhavasya—of the husband; puraḥ—in front; api—even; āsām—of these [women]; sādhvīnām—who were chaste; gopa-subhruvām—who were women (“they have beautiful brows”) who belong to cowherds; rājate—shines (is resplendent); vadane—in the face; tanvī—slight; na—not; api—even; sva-priya—are in their beloved; cetasām—whose hearts.
Even in front of their respective husbands, not even a slight radiance was resplendent in the faces of these chaste gopīs, whose hearts were set on their sweetheart. (Govinda-līlāmṛta 18.19)
atra meti kartā.
Here the word mā (radiance) is the concealed subject of the verb.
Commentary:
The verse seems to talk about Mādhava, but in fact the sound mādhavasya (of Mādhava) only means mā dhavasya, where mā (radiance) is the subject of the verb. This is an example of kartṛ-gupti (concealment of a doer), a subvariety of kāraka-gupti (concealment of a case ending).