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,
अनुकीर्तयति ध्रुवां स्मृतिं प्रतिसन्धाय हरि-प्रकाशिकाम् ।
करुणा-वरुणालयो विभुर् बहुलाश्वे हरिर् एव सम्बभौ ॥

udāharaṇam,
anukīrtayati dhruvāṃ smṛtiṃ pratisandhāya hari-prakāśikām |
karuṇā-varuṇālayo vibhur bahulāśve harir eva sambabhau ||

anukīrtayati—[in Bahulāśva,] who was continuously mentioning; dhruvām—steady; smṛtim—remembrance; pratisandhāya—after remembering; hari-prakāśikām—which causes the manifestation of Hari; karuṇā—out of compassion; varuṇa-ālayaḥ—He has Varuṇa’s abode; vibhuḥ—the Lord; bahulāśve—in Bahulāśva; hariḥ—Hari; eva—only; sambabhau—was fully resplendent.

While King Bahulāśva was emphasizing that a steady remembrance causes the attainment of Hari, Hari became manifest to him in his mind.

atra hari-prāpikā hi dhruvā smṛtis tasyāḥ sādhakāt kīrtanād eva hareḥ prāptir iti saṅgatiḥ.

The harmonization of the text is this: A steady remembrance of Hari causes the attainment of Hari; here Hari became manifest only because of a talk which was a means to accomplish the remembrance.

Commentary:

Paṇḍita-rāja Jagannātha illustrates this category of praharṣaṇa as follows:

kelī-mandiram āgatasya śanakair ālīr apāsyeṅgitaiḥ
  suptāyāḥ sa-ruṣaḥ saroruha-dṛśaḥ saṃjīvanaṃ kurvataḥ
|
jānantyāpy anabhijñayeva kapaṭa-vyāmīlitākṣyā sakhi
  śrāntāsīty abhidhāya vakṣasi tayā pāṇir mamādhīyata
||

“[A man tells his friend:] I came to the bedroom, gently dismissed her attendants without making a sound, and fanned that lotus-eyed woman, who was asleep and moody. She became aware of my presence, but acted as if she didn’t know. Then, she, who was pretending to sleep, exclaimed: “Confidante, I’m tired. I’ll rest for a while,” and placed my hand on her chest” (Rasa-gaṅgādhara).

This is praharṣaṇa because the man was only trying to appease his sweetheart’s anger, yet the result was overwhelmingly satisfactory: She gave him pleasure by placing his hand on her chest, which signifies much more than the cessation of her anger.[1]

Footnotes and references:

[1]:

atra bhāminyā roṣa-nivāraṇāya yatne kriyamāṇe roṣa-nivāraṇād apy adhikatara-sukhapradaḥ kāmukasya bhāminī-kartṛkaḥ sva-kara-karmakas tat-kucādhikaraṇaka āsaṅgaḥ (Rasa-gaṅgādhara, KM p. 504).

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