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...
Go directly to: Footnotes.
Text 4.14
यथ� वा,
yathā vā,
This is another example of sambhoga śṛṅgāra-rasa,
dorbhyā� ṃyٲ� payodhara-bhareṇīḍiٲ� pāṇijair āviddho 岹śԲ� kṣatādhara-ṭa� śṇ�-taṭenٲ� |
hastenԲٲ� 첹’dhara-ܻ-ԱԲ[1] dzٲ� Գٲ� kām api ṛpپ 貹 tad aho 峾ⲹ 峾 پ� ||
ǰ峾—with both arms; ṃyٲ�—put under control; payodhara—o the breasts; ṇa—b the weight; īḍiٲ�—p; ṇiᲹ�—b the fingernails (“born from the hand�); 屹�—p; 岹śԲ�—b the teeth; ṣaٲ—a wounded; adhara-ṭa�—He whose cup in the form of lips; śṇ�—o the hips; ٲṭeԲ—b the edge; ٲ�—pdzܲԻ; hastena—with the hand; Բٲ�—made to bend; kace—on the hair; adhara-ܻ—nectar in the form of lips; ԱԲ—b drinking; dzٲ�—eٳܰ; Գٲ�—t male lover; kām api—some particular (some indescribable); ṛpپ—sپڲپDz; 貹—gdz; tat—trefore (or at that time); aho—how amazing; 峾ⲹ—o love; 峾—cDzԳٰ; پ�—t course.
Her lover, ṛṣṇa, was put under control with Her arms, was pressed by the weight of Her breasts, and was cut by Her fingernails. His lower lip, the form of the rim of a cup, was wounded by Her teeth. He was pounded with the edge of Her hips. She grabbed His head by the hair, and He became enraptured by drinking the nectar of Her lips. He achieved some indescribable satisfaction, therefore: How amazing is the reverse course of love! (īٲ-DZԻ岹 12.11)
Commentary:
With the words 峾 پ� (reverse course), Jayadeva makes a double meaning on the word 峾 (reverse, contrary), in reference to 貹īٲ-ī (reverse position) and to ’s 峾 nature (being hard to get).
Furthermore, according to վśٳ Ჹ, sometimes a ٳī technically turns into a rasa although a customary aspect—a 屹, an Գܲ屹, or a ⲹī—is not mentioned and is necessarily implied. Similarly, on occasion a ⲹ-屹 is necessarily implied although its corresponding effect (Գܲ屹) is not mentioned.
He states:
sad-屹ś ced vibhāvāder dvayor ekasya vā bhavet, jhaṭity anya-samākṣepe tadā doṣo na vidyate,
“If, out of 屹, Գܲ屹, and ⲹ-屹, one or two are already taking place and the other one or the other ones are at once necessarily implied, there is no discrepancy� (ٲⲹ-岹貹ṇa 3.16-17).
He gives an example:
dīrghākṣa� śarad-indu-kānti-vadana� bāhū natāv aṃsayo� saṅkṣipta� niviḍonnata-stanam ura� pārśve pramṛṣṭe iva |
madhya� pāṇi-mito nitambi jaghana� pādāv udagrāṅgulī chando nartayitur yathaiva manasa� sṛṣṭa� tathāsyā vapu� ||“Her eyes are wide and the radiance of her face resembles the glow of the autumnal moon. Her arms are low at the shoulders, her chest is not broad, and her raised breasts are close to one another. The skin on her two sides is as if polished, and her waist can be measured with the span of a hand. Her hips have nice buttocks, and her feet have long toes. The creator fashioned her body to the liking of the mind of a dancer� (’s 岵Ծٰ 2.3).
վśٳ explains:
atra mālavikām abhilaṣato’gnimitrasya mālavikā-ū貹-屹-ٰ-varṇane’pi sañcāriṇām ausukyādīnām anubhāvānā� ca nayana-visphārādīnām aucityād evākṣepa�. evam anyākṣepe’py ūhyam,
“O account of appropriateness, even in a mere description, by Agnimitra, who longs for Mālavikā, of the ܻī貹Բ of Mālavikā’s body, there is an inkling of sañcāri-屹s such as autsukya (eagerness) and of Գܲ屹s such as a widening of the eyes� (ٲⲹ-岹貹ṇa 3.17).
Therefore the verse features śṛṅ- proper.