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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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अथ द्वितीयम� आह,

atha dvitīyam āha,

Now he subdivides the second one (artha-śپdhvani):

artha-śakty-udbhavo’py artho ⲹñᲹ첹� 󲹱ī ٲ� ||4.39cd||
prauḍhokti-mātrāt siddho kaves tenombhitasya |
vastu laṅkṛtir veti ṣa�-bhedo’sau vyanakti yat ||4.40||
vastv ṅk atha tenāya� ddaśٳ첹� ||4.41ab||

ٳ-śٲ-ܻ󲹱�—arisen from the force of the meaning [of a word]; api—also (i.e. that kind of meaning as well is suggestive); ٳ�—a meaning; ⲹñᲹ첹�—sܲپ; 󲹱ī—it arises (or possible); ٲ�—aܳٴdzپ; ḍh-ܰپ-ٰ—only from a bold statement; —accomplished (effected); —o; 첹�—of the poet; tena—by him (the poet); umbhitasya—[effected merely from a bold statement of a speaker] who is filled (i.e. invented[1]); —o; vastu—an idea; —o; ṅkṛt�—a literary ornament; —o; iti—in this way; ṣa�-岹�—sڴDZ; asau—it (the meaning); vyanakti—sܲٲ; yat—b𳦲ܲ; vastu—an idea; ṅk—a literary ornament; atha—aڳٱɲ; —o; tena—tڴǰ; ayam—this (the meaning); ddaśa-ٳ첹�—consists of twelve.

The meaning (literal or implied) that arises by the force of a meaning (artha-śپ) is suggestive. Initially it is of three kinds: (1) ٲ�-󲹱ī (it is naturally possible), (2) kavi-ḍhǰپ-siddha (it is effected from a bold assertion made by the poet), and (3) kavi-kalpita-vakt�-ḍhǰپ-siddha (it is effected from a bold assertion of a speaker invented by the poet). Next it has six subvarieties because it is either a vastu or an ṅk. Afterward, one of those two suggests either a vastu or an ṅk, therefore an implied sense arisen by artha-śپ occurs in one of twelve ways.

artho’pi artha-śakty-udbhave dhvanau ⲹñᲹ첹�. sa ca ٲ�-󲹱ī loke’pi dṛṣṭa�. tasminn adṛṣṭo’pi 첹� پmātreṇa �. tena kavinā ūٲⲹ[2] vaktur nāyakāder veti trividho’sau pratyeka� vastutlaṅkṛtitbhyā� dvaividhyāt ṣa�-岹� sann ekaiko vastv-ṅku vyanaktīti tasya ddaśa-vidho vyaṅgya�, tena hetunāyam artha-śakty-udbhavo dhvanir api ddaśa-�.

Even the meaning (usually an implied meaning)[3] is suggestive, when a dhvani arises by the force of that meaning. The one which is ٲ�-󲹱ī (it is naturally possible) is seen even in day-to-day life. Although unseen in day-to-day life, the second one is effected merely by the poet’s creative intelligence. Or else it is effected by the wit of a speaker, such as a lover, who is invented by the poet. Those are three categories. Next the total is six categories, since each one is twofold, by being either a vastu or an ṅk. Afterward, one of the two (a vastu or an ṅk) suggests either a vastu or an ṅk, therefore twelve kinds of it are implied. Consequently the dhvani which arises by the force of a meaning (artha-śپ-ū) has twelve varieties.

Commentary:

In all three broad categories, the poet’s creativity is central. In the first category, however, the suggestive idea or the suggestive ornament could occur in day-to-day life.[4]

The twelve kinds are as follows. The upcoming examples are shown by this sequence:

a ٲ�-󲹱ī vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
a ٲ�-󲹱ī vastu-dhvani (or vastu) gives rise to an ṅk-dhvani,
a ٲ�-󲹱ī ṅk-dhvani (or ṅk) gives rise to a vastu-dhvani,
a ٲ�-󲹱ī ṅk-dhvani (or ṅk) gives rise to an ṅk-dhvani,
a kavi-ḍhǰپ-siddha vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
a kavi-ḍhǰپ-siddha vastu-dhvani (or vastu) gives rise to an ṅk-dhvani,
a kavi-ḍhǰپ-siddha ṅk-dhvani (or ṅk) gives rise to a vastu-dhvani,
a kavi-ḍhǰپ-siddha ṅk-dhvani (or ṅk) gives rise to an ṅk-dhvani,
a kavi-kalpita-vakt�-ḍhǰپ-siddha vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
a kavi-kalpita-vakt�-ḍhǰپ-siddha vastu-dhvani (or vastu) gives rise to an ṅk-dhvani,
a kavi-kalpita-vakt�-ḍhǰپ-siddha ṅk-dhvani (or ṅk) gives rise to a vastu-dhvani,
a kavi-kalpita-vakt�-ḍhǰپ-siddha ṅk-dhvani (or ṅk) gives rise to an ṅk-dhvani.

Abhinavagupta says that the four prototypical categories of artha-śپ—a vastu gives rise to a vastu; a vastu gives rise to an ṅk; an ṅk gives rise to a vastu; and an ṅk gives rise to an ṅk—also apply to the category of ś岹-śپ.[5]

Footnotes and references:

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[1]:

Śīٲ-ñ󲹲Բ Bhaṭṭācārya glosses umbhitasya as ūٲⲹ (-ǻ󾱲ī 4.39). The verbal root is unbh pūraṇe (to fill). վśٳ expounds: ūٲⲹ nibaddhasyeti yāvat (屹ⲹ-ś-岹貹ṇa 4.39).

[2]:

However, in the elaborationof text 4.74 Baladeva Vidyābhūṣaṇa uses the term kalpita (invented) in this context. Kavikarṇapūra prefers the term nibaddha (literarily constructed).

[3]:

In Kavikarṇapūra’s methodology, the meaning referred to here is always an implied meaning (an implied vastu or an implied ṅk): artha-śakty-udbhavo yo 󱹲Ծ�, sa ٰ bhavati—ٲḥ-󲹱ī, kavi-ḍhǰپ-niṣpanna-śī�, tan-nibaddha-vakt�-ḍhǰپ-niṣpannaśarīraś ceti (ṅk-첹ܲٳܲ 3.15). However, in Mammaṭa and Baladeva Vidyābhūṣaṇa’s system, that is not always the case.

[4]:

ٲ�-󲹱ī na kevala� bhaṇiti-ٰ-niṣpanno yāvad bahir apy aucityena saṃbhāvyamāna�. kavinā پ-mātreṇa bahir asann api nirmita� kavi-nibaddhena vaktreti dvi-vidho’para iti tri- (屹ⲹ-ś 4.39).

[5]:

evam iti, avivakṣita-cyo vivakṣitānya-para-cya iti dvau ū-bhedau. ādyasya dvau bhedau, atyanta-tirasṛt-cyo’rthāntara-saṅkramita-cyaś ca. dvitīyasya dvau bhedau, alakṣya-kramo’nuraṇana-rūpaś ca. prathamo’nanta-岹�. dvitīyo dvi�, ś岹-śپmūlo’rtha-śپ-ūś ca. paścimas tri�, kavi-ḍhǰپ-ṛt-śī� kavi-nibaddhavakt�-ḍhǰپ-ṛt-śī� svatas-󲹱ī ca. te ca pratyeka� vyaṅgya-vyañjakayor ukta-bheda-nayena caturdheti ddaśa-vidho’rtha-śپ-ū�. ādyaś catro bhedā iti ṣodaśa mukhya-� (Locana 2.31).

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