365bet

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.

अथ लक्ष्य-व्यङ्ग्य-क्रम� ध्वनिर� विभज्य दर्श्यते,

atha lakṣya-ⲹṅgⲹ-kramo dhvanir vibhajya darśyate,[1]

Now the type of poetry called 󱹲Ծ-屹ⲹ where the sequence of the implied sense is noticed is being subdivided and exemplified:

anusvān-ṃlṣy-krama-ⲹṅgⲹ-sthitis tu ⲹ� ||4.37cd||
śabdārthobhaya-śakty-utthas ٰ sa kathito 󱹲Ծ� ||4.38ab||

ԳܲԲ—a reverberation[2]; —l; ṃlṣy—which is fully noticed; krama—has a sequence; ⲹṅgⲹ-ٳ󾱳پ�—in which the existence of the implied sense; tu—hǷɱ𱹱; ⲹ�—which [dhvani]; ś岹-artha-ubhaya-śپdz ś岹-śپ, from artha-śپ, and from both ś岹-śپ and artha-śپ; ܳٳٳ�—a; ٰ—tڴDZ; —that [dhvani]; 첹ٳ󾱳ٲ�—is called; 󱹲Ծ�—first-rate implied sense.

The dhvani-屹ⲹ in which there is the existence of an implied sense which is similar to an echo and whose sequence is fully perceived has three varieties: (1) ś岹-śپ-bhū (arisen by the power of a word), (2) artha-śپ-bhū (arisen by the power of a meaning), and (3) ubhaya-śپ-bhū (arisen by both the power of a word and the power of a meaning).

pratidhvani-tulyasya ṃlṣy-paurvāparyasya vyaṅgyasya sthitir yatra sa dhvanis ٰ ś岹-śakty-uttho’rtha-śakty-uttho dvi-śakty-utthaś ceti. iha vyaṅgyasya śabdādi-śakty-utthatvena traividhyāt vyañjakasyāpi lakṣya-ⲹṅgⲹ-kramākhyasya dhvanes tena traividhya� bodhyam.

First-rate poetry in which there is the existence of an implied sense which is similar to an echo (dhvani � pratidhvani), in other words its prior state and subsequent state are fully noticed in the mind, has three varieties: (1) ś岹-śپ-bhū, (2) artha-śپ-bhū, and (3) dvi-śپ-bhū.

Since an implied sense has three varieties, in terms of arising from ś岹-śپ and so on, the 󱹲Ծ-屹ⲹ known as lakṣya-ⲹṅgⲹ-krama (in which the sequence of the implied sense is noticed) (i.e. poetry that contains either a vastu-dhvani or an ṅk-dhvani) has three varieties. In this 󱹲Ծ-屹ⲹ, the implied sense can be suggestive.

Commentary:

In the 󱹲Ծ-屹ⲹ called alakṣya-ⲹṅgⲹ-krama (rasa-徱), a ⲹ󾱳-屹 can suggest a rasa, but only in conjunction with and so on. Still, a ⲹ󾱳- can suggest some other idea: On that occasion, the ⲹ󾱳-屹 is considered in its form as a vastu (the words that express the effect of that ⲹ󾱳屹) (e.g. 屹ⲹ-ś verse 60) to facilitate the rule that a suggestive factor is either a vastu, a vastu-dhvani, an ṅk, or an ṅk-dhvani.

The difference between ś岹-śپ (the force of a word or of the words) and artha-śپ (the force of a meaning or of the meanings) is that if the implied sense is not altered by replacing a word of the text with a synonym, the force of that word is classed as artha-śپ. By contrast, ś岹-śپ is so called because the suggestive word is more important than its meaning, since the word cannot be replaced, even with a synonym, without altering the implied sense. Thus the common element between ś岹-śپ and śī ⲹñᲹ (Suggestiveness based on a word) (2.35) is that the word is more important than its meaning (2.40).

The third category, ubhaya-śپ-bhū (arisen by ś岹-śپ and by artha-śپ), is so called because ś岹-śپ occurs in one part of the text and artha-śپ occurs in another, and both are equally suggestive.

In the terminology, various synonyms are used. Kavikarṇapūra prefers the term śپ-bhū, which is seen in an upcoming ūٰ (4.75). In deference to him, the present writer standardized the translations as much as possible. These words are synonymous: ubhaya-śپ-bhū dhvani, ubhaya-śپ-udbhava dhvani, dvi-śپ-udbhava dhvani, śabdārtha-śپ-udbhava dhvani, ubhaya-śپ-uttha dhvani, ubhaya-śپ-ū dhvani, and so on.

The three categories�ś岹-śپ, artha-śپ, and ubhaya-śپ—are included in the aforesaid poetical category called 峦ⲹ-śṣṭⲹ (the specialty of the literal meanings) (3.2). Many other specialties, such as time and place, are simply subcategories of 峦ⲹ-śṣṭⲹ (Commentary 3.3).

Footnotes and references:

[back to top]

[1]:

This preliminary is not in 屹ⲹ-ś. Mammaṭa does not use the term lakṣya-ⲹṅgⲹ-krama anywhere in this section. The wording lakṣya-ⲹṅgⲹ-krama refers to first-rate poetry whereas the wording ṣy--ⲹṅgⲹ refers to a first-rate implied sense.

[2]:

In general, the word dhvani means either: sound, echo, or implied sense, depending on the context, yet in poetical theory, dhvani only means “implied sense.� Śīٲ-ñ󲹲Բ Bhaṭṭācārya glosses ԳܲԲ as pratidhvani (echo), and so does Baladeva Vidyābhūṣaṇa. Similarly, վśٳ glosses ԳܲԲ as ԳܰṇaԲ (echo) (屹ⲹ-ś-darpaṇa 4.37): Throughout ٳ󱹲Բǰ첹, ĀԲԻ岹󲹲Բ used the term ԳܰṇaԲ as a synonym of ṃlṣy-krama-vyaṅgya (vastu-dhvani or ṅk-dhvani).

Let's grow together!

I humbly request your help to keep doing what I do best: provide the world with unbiased sources, definitions and images. Your donation direclty influences the quality and quantity of knowledge, wisdom and spiritual insight the world is exposed to.

Let's make the world a better place together!

Like what you read? Help to become even better: