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...
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Text 4.13
यथ�,
ⲹٳ,
This verse exemplifies sambhoga śṛṅgāra-rasa (love in meeting):
ṛt ṇi-dvandve ṭiپ jhaṇita� ratna-valayair ṛt īī-granthau mukharitam amanda� Բ |
� svԲԻ岹-pratihata-ⲹ� kintv apaghano ghanottṛṣṇa� ṛṣṇa� prati samatanot tarjanam iva ||
ṛt ṇi-dvandve—when the pair of hands was held; ṭiپ—at once; ṇiٲ—sounding was done; ratna-ⲹ�—by the jewel-studded bracelets; ṛt īī-granthau—when the knot of the girdle was taken; mukharitam—sounding was done; amandam—mܳ; Բ—by the girdle; �—of the beloved lady; sva-ԲԻ岹—by Her bliss; pratihata—was struck (impeded); ⲹ�—whose mind; kintu—hǷɱ𱹱; 貹Բ�—the body (or a bodily limb); ghana-ܳٳṛṣṇa—who has a dense, high thirst [for union]; ṛṣṇa prati—t ṛṣṇa; samatanot tarjanam—fully did a rebuke; iva—as if.
When He took hold of Her hands, Her jewel-studded bracelets sounded at once. And when He grasped the knot of Her girdle, Her sash loudly jingled. The ladylove’s mind was overtaken by Her bliss, yet Her body as if rebuked ṛṣṇa, who was deeply thirsty. (ṅk-첹ܲٳܲ 5.30)
atra mitho rati� ٳī. kṛṣṇa� priyā ca mithas tad-Բ�. ܻī貹Բ� mitho-lāvaṇyādi vijana-sthānādi ca. anubhāvo hasta-grahādi�. vyabhicārī śrama-jāḍyādi�.
In this verse, the ٳ⾱-屹 is a mutual rati (affection): ṛṣṇa is the śⲹ (the subject of the ٳī, i.e. the giver of affection) and the beloved is the ṣaⲹ (the object of the affection), and conversely ṛṣṇa is the ṣaⲹ and the beloved is the śⲹ. The ܻī貹Բ are the respective bodily beauty, and so on, and the secluded location, and so on. The Գܲ屹 are “taking both hands� and so on. The ⲹ-屹 are fatigue, indolence, and so forth.
Commentary:
The verse features śṛṅ- since rati (affection), the ٳ⾱-屹, is eminently implied by means of appropriate vi屹s (Բ and ܻī貹Բ), Գܲ屹, and ⲹī.
ṛṣṇa grabbed the knot of Her girdle to untie it. վśٳ 䲹ī explains:
rādhāyā apaghano deha eva sambhoge ghana-tṛṣṇa� ṛṣṇa� nivārayitu� tarjanam iva samatanot. tasyās tarjane’sāmarthye’pi tat-parijana-rūpo deha eva śrī-ṛṣṇa� tatarjety ܳٱṣ�. vastutas tu sā ԲԻ岹-vaivaśyena vāmyādikam api kartu� na śaśākety ܳٱṣālaṅkāra-gamyo vastu-Ծ�,
�’s body as if rebuked ṛṣṇa, who had a deep thirst for union, in order to repel Him. Although Her rebuking Him is incongruent, only Her body, in the form of Her entourage (her body parts), rebuked Śrī ṛṣṇa. This is the ܳٱṣ� ornament (fanciful assumption) (Her body as if rebuked ṛṣṇa). In truth, however, since She was overwhelmed by pleasure She was unable to implement Her nature of being hard to get. This is an implied idea (vastu-dhvani) understood from the ܳٱṣ�� (ܲǻī 5.30).
The ornaments of sound are: (1) A yamaka (word rhyme) of the sound ṛt in ṛt and ṛt (beginning of the first and second lines), (2) An alliteration (vṛtti anuprāsa) of m in �mukharitam amanda,� (3) A yamaka (word rhyme) of the sound ghano in �apaghano ghanottṛṣṇa�,� and (4) An alliteration (cheka anuprāsa) of the sound ṛṣṇa� in �ghanottṛṣṇa� ṛṣṇa�.� The verse also contains an implied virodha ornament (semblance of a contradiction) by taking the compound Դdzٳṛṣṇa as two adjectives (“He is a cloud and is highly thirsty�).[1]