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 4.58
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-ٳپ�—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]; 첹ٳٲ�—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 屹 and so on. Still, a ⲹ-屹 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:
[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-ñԲ Bhaṭṭācārya glosses ԳܲԲ as pratidhvani (echo), and so does Baladeva Vidyābhūṣaṇa. Similarly, վśٳ Ჹ glosses ԳܲԲ as ԳܰṇaԲ (echo) (屹ⲹ-ś-darpaṇa 4.37): Throughout ٳԲǰ첹, ĀԲԻ岹Բ used the term ԳܰṇaԲ as a synonym of ṃlṣy-krama-vyaṅgya (vastu-dhvani or ṅk-dhvani).