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 4.56
[This exemplifies 屹-śⲹ (conflict between ⲹ-屹s):]
पतिर� अतिकुपित� मन� प्रमत्तं खल-निकर� कि� दूषणाभिधायी |
मु�-रिपुर् अप� वे�-पेशलो’स� भण विमल� कम� उपायम् आश्रयिष्ये ||
patir atikupito Բ� pramatta� khala-Ծ첹� kila dūṣaṇābhidhāyī |
mura-ripur api ś-peśalo’sau ṇa vimale kam upāyam ś⾱ṣy ||
貹پ�—the husband; پܱ辱ٲ�′ angry; Բ�—the mind; pramattam—wԳٴDz; khala-Ծ첹�—the multitude of bad guys; kila—iԻ; ūṣaṇa-ī—habitually speak faults; mura-��ṛṣṇa (“Mura’s enemy�); api—aٳdzܲ; ś-ś�—expert in the attire (or expert as regards courtezans); asau—H; ṇa—tell [me]; vimale—O spotless lady; kam upāyam—to what means?; ś⾱ṣy—I will resort.
My husband is very angry, my mind is wanton, the mischievous people engage in faultfinding as usual, yet stylish Murāri is present. Tell me, O clear-sighted confidante, what means should I resort to?
atra bhaya-貹-śaṅkautsukyānā� mitha� sammarda-rūpa� śⲹm.
Here śⲹ takes place. It is the form of a friction between bhaya (fear), 貹 (fickleness), śṅk (apprehension), and autsukya (eagerness).
Commentary:
Here bhaya (fear), usually classed as a sthāyi-屹, is a ⲹ屹 on the occasion. ū貹 ҴDz峾ī not only allows such occurrences, he says this kind of understanding is accurate. ū貹 ҴDz峾ī’s system of bhakti-rasa consists of two groups: One main group of five rasas (śԳٲ, ⲹ, sakhya, vātsalya, śṛṅ) and one secondary group of seven rasas (Mammaṭa’s nine minus śԳٲ and śṛṅ). ū貹 ҴDz峾ī says he classes those seven as rasas only in deference to Bharata Muni because, according to ū貹 ҴDz峾ī, in truth those seven are ⲹ-屹s in the scope of those five.[1] The purport is that ⲹ-, for instance, can occur without a sthāyi-屹 of the character in question. In such occurrences, the term sthāyi-屹 only means (predisposition).
This is Mammaṭa’s example of 屹-śⲹ,
kvākārya� śaśa-ṣmṇa� kva ca ܱ� bhūyo’pi dṛśyeta sā
doṣāṇā� praśamāya na� śrutam aho kope’pi kānta� mukham |
ki� vakṣyanty apakalmaṣāḥ ṛt-dhiya� svapne’pi sā ܰ
ceta� svāsthyam upaihi ka� khalu yuvā dhanyo’dhara� dhāsyati ||“[ʳܰū, a king in the lunar dynasty, thinks about śī:] Where on one side is the lunar dynasty, and where on the other is this improper deed? I should see her again! Our learning is meant to be a check on our bad tendencies. Gosh, her face is ravishing even when she is angry! What will the pure and wise elders say? But she is hard to get even in a dream! Calm down, O heart of mine. Alas, who is fortunate enough to kiss her lips?� (’s վǰśīⲹ 4.34)
Mammaṭa elaborates:
atra vitarkautsukya-mati-ṇa-śṅk-dainya-ṛt-Գnā� śabalatā,
“The verse features a conflict between these ⲹī, sequentially: vitarka (conjecture), autsukya (eagerness), mati (thoughtfulness with regard to scriptural teachings), ṇa (remembrance), śṅk (apprehension), dainya (being miserable), ṛt (steadfastness of the heart), and Գ (pondering)� (屹ⲹ-ś verse 53 ṛtپ).
The first sentence, which corresponds to vitarka, also constitutes the first variety of the ṣa ornament (disparity) (10.204).