Sahitya-kaumudi by Baladeva Vidyabhushana
by Gaurapada D膩sa | 2015 | 234,703 words
Baladeva Vidyabhusana鈥檚 Sahitya-kaumudi covers all aspects of poetical theory except the topic of dramaturgy. All the definitions of poetical concepts are taken from Mammata鈥檚 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 8.14
啶呧ぅ 啶膏ぞ啶た啶啶班ぞ啶い啷嵿さ啶 啶撪啶�, 啶呧ぐ啷嵿ぅ-啶掂啶げ啷嵿く啶� 啶啶班じ啶距う啶�, 啶夃啷嵿い啶�-啶掂啶氞た啶む啶班啶 啶ぞ啶о啶班啶ぎ啷�, 啶呧お啶距ぐ啷佮し啷嵿く啶� 啶膏啶曕啶ぞ啶班啶ぎ啷�, 啶呧啷嵿ぐ啶距ぎ啷嵿く啶む啶掂ぎ啷� 啶夃う啶距ぐ啶むぞ 啶氞啶むた 啶啷嵿 啶曕啶班ぎ啶距う啷� 啶呧お啷佮し啷嵿啶距ぐ啷嵿ぅ啶距ぇ啶苦-啶う啶距え啶掂啶曕啶むぞ啶啷嵿啶侧ぞ啶多啶侧啶�-啶椸啶班ぞ啶啶ぞ啶｀ぞ啶� 啶︵啶粪啶熰い啶ぞ 啶ㄠた啶班ぞ啶膏ぞ啶む 啶膏啶掂啶曕啶むぞ啶�. 啶掂じ啷嵿い啷�-啶膏啶掂き啶距さ-啶膏啶啶熰い啷嵿さ啶 啶呧ぐ啷嵿ぅ-啶掂啶啷嵿い啶苦ぐ啷� 啶︵啶啶�-啶班じ啶む啶掂 啶曕ぞ啶ㄠ啶むた啶多 啶� 啶掂啷嵿し啷嵿く啶ぞ啶�-啶膏啶掂き啶距さ啷嬥啷嵿い啷嵿く啶� 啶班じ-啶о啶掂え啶�-啶椸啶ㄠ-啶啶�-啶掂啶啷嵿啷嵿く啶距き啷嵿く啶距 啶� 啶曕啶班ぎ啶距う啷� 啶嗋ざ啷嵿ぐ啶苦い啶�.
atha s膩bhipr膩yatvam oja岣�, artha-vaimalya峁� 辫谤补蝉腻诲补岣�, ukti-vaicitrya峁� 尘腻诲丑耻谤测补m, ap膩ru峁a峁� 蝉补耻办耻尘腻谤测补m, a驳谤腻尘测补tvam 耻诲腻谤补迟腻 ceti pa帽ca kram膩d apu峁ａ弓膩rth膩dhika-pad膩nav墨k峁泃膩ma峁単al膩艣l墨la-gr膩my膩峁嚹佱箖 du峁ａ弓atay膩 nir膩s膩t sv墨k峁泃膩岣�. vastu-sva产丑腻惫补-sphu峁璦tvam artha-vyaktir d墨pta-rasatva峁� k膩nti艣 ca vak峁am膩峁嘺-svabh膩vokty膩 rasa-dhvani-gun墨-bh奴ta-vya峁単y膩bhy膩峁� ca kram膩d 膩艣rit膩.
Now, on the topic of the artha-驳耻峁嘺蝉 (qualities of the meaning): The ojas which is the fact of having a purposeful word; 辫谤补蝉腻诲补, which refers to the clarity of the meaning by avoiding superfluity; 尘腻诲丑耻谤测补, which is poetic expression; 蝉补耻办耻尘腻谤测补, a meaning which is not harsh; and 耻诲腻谤补迟腻, the absence of a vulgar meaning, were listed simply because they are the absence of these faults, sequentially: 补辫耻峁ａ弓腻谤迟丑补 (irrelevant meaning) (7.85),[1] adhika-pada (superfluous word) (7.60), 补苍补惫墨-办峁泃补 (not made new) (7.96), 补尘补峁単补濒补 补艣濒墨濒补 (unpleasant due to being inauspicious) (7.11; 7.31), and 驳谤腻尘测补 (vulgar, colloquial) (7.90).
Artha-vyakti, clarity regarding the nature of an entity, is included in our 蝉惫补产丑腻惫辞办迟颈 ornament (a description of the nature): It is expounded ahead (10.134).
碍腻苍迟颈, the fact of having a radiant rasa, is included in our system either as a first-rate rasa-dhvani or as a second-rate rasa-dhvani.
Commentary:
痴腻尘补苍补鈥檚 artha-驳耻峁嘺 called artha-vyakti (explicitness of ideas so that the nature of an entity is clearly perceived) is the same as Mamma峁璦鈥檚 蝉惫补产丑腻惫辞办迟颈 ornament. For this reason, 笔补峁囜笉颈迟补-谤腻箩补 闯补驳补苍苍腻迟丑补 says that some of 痴腻尘补苍补鈥檚 驳耻峁嘺蝉 were re-categorized as ornaments.[2] Another instance is 痴腻尘补苍补鈥檚 fifth category of ojas (a purposeful word).
闯补驳补苍苍腻迟丑补 illustrates it:
ga峁噄k膩j膩mila-mukhy膩n avat膩 bhavat膩 bat膩ham api |
s墨dan bhava-maru-garte 办补谤耻峁嘺-尘奴谤迟别 na sarvathopek峁a岣� ||鈥淟ord, You saved people such as Kubj膩 and 础箩腻尘颈濒补. Alas, even I am sinking in the desert hole of material life. O personified compassion, I do not deserve to be disregarded in any way鈥� (搁补蝉补-驳补峁単腻诲丑补谤补, KM p. 62).
Here the vocative 办补谤耻峁嘺-尘奴谤迟别 (O personified compassion) is highly significant in the context. This constitutes the 辫补谤颈办补谤腻峁卥耻谤补 ornament (highly significant noun) (11.40). That word does not merely reflect the absence of the fault called 补辫耻峁ａ弓补 (irrelevant) because a name of the Lord could have been used instead.
痴腻尘补苍补 defines his artha-驳耻峁嘺 ojas as the maturity of the meaning (the diversity of the wording[3]): arthasya prau岣峢ir oja岣� (碍腻惫测腻濒补峁卥腻谤补蝉奴迟谤补 3.2.2). It has five varieties: 辫补诲腻谤迟丑别 惫腻办测补-racana峁� v膩ky膩rthe ca pad膩bhidh膩, prau岣峢ir 惫测腻蝉补-sam膩sau ca s膩bhipr膩yatvam asya ca, 鈥�笔谤补耻岣嶀弗颈 is: (1) Many words are used to denote one word (this is a form of the 辫补谤测腻测辞办迟补 ornament: circumlocution, 10.154), (2) One word expresses a whole sentence (this is a form of dhvani), (3) The exact same purport is repeatedly stated in many ways, (4) Several short sentences are tightly grammatically constructed into one sentence, and (5) A word is purposeful (illustrated above)鈥� (碍腻惫测腻濒补峁卥腻谤补-蝉奴迟谤补 3.2.2) (cited in 碍腻惫测补-辫谤补办腻艣补 8.72).
笔补峁囜笉颈迟补-谤腻箩补 闯补驳补苍苍腻迟丑补 gives examples of 痴腻尘补苍补鈥檚 varieties of ojas. The following four verses correspond to the first four items above:
sarasija-vana-bandhu-艣r墨-sam膩rambha-k膩le rajani-rama峁嘺-r膩jye n膩艣am 膩艣u pray膩ti |
parama-puru峁-vaktr膩d udgat膩n膩峁� nar膩峁嚹佱箖 madhu-madhura-gir膩峁� ca pr膩dur膩s墨d vinoda岣� ||鈥淎t the time of the beginning of the splendor of the friend of the groves of lotuses (i.e. at dawn), when the kingdom of Night鈥檚 lover quickly comes to an end (i.e. when night is over), the pleasure of the men who arose from the First 笔耻谤耻峁鈥檚 mouth (i.e. of 叠谤腻丑尘补峁嘺蝉) occurred, and so did the delight of the charming, honey-like words (the mantras of the Vedas)鈥� (搁补蝉补-驳补峁単腻诲丑补谤补).
办丑补峁囜笉颈迟腻-苍别迟谤补-办补帽箩腻濒颈-尘补帽箩耻-谤补帽箩补苍补-辫补峁囜笉颈迟腻岣� |
ma峁囜笉it膩khila-dik-pr膩nt膩艣 ca峁囜笉膩峁兣沷r bh膩nti bh膩nava岣� ||鈥淎dorning the eastern horizon, the sunrays are resplendent: They are expert in nicely coloring the lotus eyes of the 办丑补峁囜笉颈迟腻 woman (a heroine who sees her lover arrive home in the morning showing signs of infidelity)鈥� (搁补蝉补-驳补峁単腻诲丑补谤补). 闯补驳补苍苍腻迟丑补 explains that here the technical term 鈥�办丑补峁囜笉颈迟腻鈥� signifies a whole sentence: In the morning, the husband is coming home from another woman鈥檚 dwelling.[4]
ay膩cita岣� sukha峁� datte y膩cita艣 ca na yacchati |
sarvasva峁� c膩pi harate vidhir ucch峁涐箙khalo n峁涐箛膩m ||鈥淭he fate of men is out of control. Someone does the trick without being asked. And some other person, being requested to help, does not help. It even takes away one鈥檚 all in all鈥� (搁补蝉补-驳补峁単腻诲丑补谤补). Here the same idea 鈥淓verything is under the control of destiny鈥� is differently worded so many times.[5]
tapasyato muner vaktr膩d ved膩rtham adhigatya sa岣� |
v膩sudeva-nivi峁ａ弓膩tm膩 vive艣a parama峁� mudam ||鈥淯nderstanding the Vedas鈥� purport by listening to the sage who was practicing austerities, he, whose mind became absorbed in 痴腻蝉耻诲别惫补, achieved the highest joy鈥� (搁补蝉补-驳补峁単腻诲丑补谤补).
Moreover, Bharata Muni鈥檚 尘腻诲丑耻谤测补-驳耻峁嘺 is the fact that even if a clause is repeatedly heard, it does not become annoying.[6] Thus 痴腻尘补苍补鈥檚 artha-驳耻峁嘺 尘腻诲丑耻谤测补 corresponds to Bharata Muni鈥檚 尘腻诲丑耻谤测补-驳耻峁嘺. 笔补峁囜笉颈迟补-谤腻箩补 闯补驳补苍苍腻迟丑补 says their 尘腻诲丑耻谤测补 is this form of poetic expression: The same kind of clause is repeated with a different twist.[7]
He illustrates it:
vidhatt膩峁� ni艣艣a峁卥a峁� niravadhi-蝉补尘腻诲丑颈峁� vidhir aho
sukha峁� 艣e峁 艣et膩峁� harir avirata峁� n峁泃yatu hara岣� |
办峁泃补峁� pr膩ya艣cittair alam atha tapo-d膩na-yajanai岣�
savitr墨 k膩m膩n膩峁� yadi jagati j膩garti bhavat墨 ||鈥淥 Ganges, 叠谤补丑尘腻 can remain in deep trance without thinking about his duties, Hari can happily recline on 艢e峁, and 艢颈惫补 can dance as he likes: For all intents and purposes, my means of atonement are done, and I do not need to perform austerity, give in charity, or sponsor a fire sacrifice鈥攊f you, who fulfill desires, are alive in the world鈥� (搁补蝉补-驳补峁単腻诲丑补谤补).
闯补驳补苍苍腻迟丑补 explains:
atra vidhy-膩dibhir 苍腻蝉迟颈 kim api prayojanam ity e峁鈥檙tha岣�. 蝉补尘腻诲丑颈-vidh膩n膩di-prera峁嚹�-r奴pe峁噊kti-vaicitrye峁嚹乥hihita岣�, anyath膩nav墨-办峁泃补tv膩patte岣�,
鈥淗ere the type of meaning which is repeated is: 鈥湹钩蟪灸� is useless,鈥� and so on. It was said by poetic expression in the form of allowing him to be in perpetual 蝉补尘腻诲丑颈, and so forth, otherwise the fault called 补苍补惫墨-办峁泃补 (not made new) would have occurred鈥� (搁补蝉补-驳补峁単腻诲丑补谤补, KM p. 60).
Mamma峁璦 not only demolished 痴腻尘补苍补鈥檚 system of 驳耻峁嘺蝉. He implicitly discarded Bharata Muni鈥檚 methodology, refined 膧苍补苍诲补惫补谤诲丑补苍补鈥檚 system and thus established himself as the topmost poetical theorist of Sanskrit poetics. However, the core of Sanskrit poetics originates from Bharata Muni.
The modern ojas originates from his second definition of ojas:
avag墨to鈥檖i h墨no鈥檖i sy膩d ud膩tt膩vabh膩saka岣�, yatra 艣abd膩rtha-sampattis tad oja岣� parik墨titam,
鈥淲hen the composition manifests pomp, although it might be reproachable or vile, by the excellence of sound and meaning, that is called ojas鈥� (狈腻峁瓂补-艣腻蝉迟谤补 16.107).
The modern 辫谤补蝉腻诲补 (clarity) originates from Bh膩maha:
腻-惫颈诲惫补诲补峁単补苍腻-产腻濒补-prat墨t膩rtha峁� 辫谤补蝉腻诲补-vat,
鈥�Poetry in which the meanings are understood by everyone, from women and children to scholars, is said to have 辫谤补蝉腻诲补鈥� (叠丑腻尘补丑腻濒补峁卥腻谤补 2.3).
Bharata Muni鈥檚 辫谤补蝉腻诲补-驳耻峁嘺 is the perception of a figurative meaning or of a second-rate implied sense: apy anukto budhair yatra 艣abdo鈥檙tho v膩 prat墨yate, sukha-艣补产诲腻谤迟丑补-蝉补峁儁辞驳腻迟 辫谤补蝉腻诲补岣� 辫补谤颈办墨谤迟测补迟别, 鈥淲hen a word, or else a meaning, although not literally expressed, is perceived, owing to an easy connection between the words and their sense, by intelligent persons, that is 辫谤补蝉腻诲补鈥� (狈腻峁瓂补-艣腻蝉迟谤补 16.100).[8]
Bharata Muni鈥檚 蝉补尘腻诲丑颈-驳耻峁嘺 is a first-rate implied sense:
abhiyuktair 惫颈艣别峁蝉 tu yo鈥檙thasyehopalak峁ate, tena c膩rthena sampanna岣� 蝉补尘腻诲丑颈岣� 辫补谤颈办墨谤迟测补迟别,
鈥淲hen the composition is endowed with a meaning which is a distinct particularity of a meaning and when that particularity is perceived by those well-versed in the art, that is 蝉补尘腻诲丑颈鈥� (狈腻峁瓂补-艣腻蝉迟谤补 16.103).
Bharata Muni鈥檚 second definition of 蝉补尘腻诲丑颈-驳耻峁嘺 involves a second-rate implied sense.[9]
Da峁囜笉墨 accepted Bharata Muni鈥檚 ten 驳耻峁嘺蝉 in principle. Da峁囜笉墨鈥檚 蝉补尘腻诲丑颈-驳耻峁嘺 includes the concepts of figurative usage and implied sense. His definition is:
anya-dharmas 迟补迟辞鈥档测补迟谤补 loka-s墨m膩nurodhin膩, samyag 膩dh墨yate yatra sa 蝉补尘腻诲丑颈岣� sm峁泃o yath膩,
鈥淲hen a different attribute is fully contemplated upon in another afterward, by being in conformity with worldly norms, that is 蝉补尘腻诲丑颈鈥� (碍腻惫测腻诲补谤艣补 1.93).
Da峁囜笉墨 exalted his 蝉补尘腻诲丑颈-驳耻峁嘺:
tad etat k膩vya-sarvasva峁� 蝉补尘腻诲丑颈r 苍腻尘补 yo 驳耻峁嘺岣�, kavi-s膩rtha岣� samagro鈥檖i tam ekam anugacchati,
鈥淚n poetry, 蝉补尘腻诲丑颈-驳耻峁嘺 is all in all. The whole caravan of poets follows that one鈥� (碍腻惫测腻诲补谤艣补 1.100).
Years later (c. 850 CE), 膧苍补苍诲补惫补谤诲丑补苍补 revolutionized poetry by inventing the Dhvani theory.
Bharata Muni classed an exalted occurrence of either 艣峁涐箙驳腻谤补-谤补蝉补 or adbhuta-rasa in his 耻诲腻谤补-驳耻峁嘺 (exalted).[10]
Footnotes and references:
[1]:
Rather, in the modern system, 痴腻尘补苍补鈥檚 fifth category of ojas, which is the fact of having a purposeful word, is classed either as Mamma峁璦鈥檚 parikara ornament (the assistants) (10.176) or as Jayadeva鈥檚 辫补谤颈办补谤腻峁卥耻谤补 ornament (highly significant noun) (11.40). See 闯补驳补苍苍腻迟丑补鈥檚 example in the Commentary.
[2]:
apare tv e峁 gu峁噀峁 katipay膩n pr膩g-uktais tribhir 驳耻峁嘺ir vak峁am膩峁嘺-do峁Ｄ乥h膩v膩la峁卥膩rai艣 ca gat膩rthayanta岣�, k膩峁兣沜id vaicitrya-尘腻迟谤补-r奴patay膩 kvacid do峁tay膩 ca manyam膩n膩 na t膩vata岣� sv墨kurvanti (搁补蝉补-驳补峁単腻诲丑补谤补, KM p. 62).
[3]:
prau岣峢i岣� pratip膩dana-vaicitryam (搁补蝉补-驳补峁単腻诲丑补谤补, KM p. 61).
[4]:
[5]:
[6]:
bahu艣o yac chruta峁� 惫腻办测补m ukta峁� v膩pi puna岣� puna岣� || nodvejayati yasm膩d dhi tan 尘腻诲丑耻谤测补m iti sm峁泃am || (狈腻峁瓂补-艣腻蝉迟谤补 16.105)
[7]:
ekasy膩 evokter bha峁単y-antare峁嘺 puna岣�-kathan膩tmakam ukti-vaicitrya峁� 尘腻诲丑耻谤测补m (搁补蝉补-驳补峁単腻诲丑补谤补, KM p. 59).
[8]:
鈥淧erhaps by this Gu峁嘺, Bharata means to imply some kind of hint (anukta artha), transparent from the words used (such as we find, e.g., in the figure 尘耻诲谤腻 in 颁补苍诲谤腻濒辞办补, and 碍耻惫补濒补测腻苍补苍诲补), which may correspond partly to the metaphorical mode of expression included by 痴腻尘补苍补 in his peculiar definition of vakrokti (iv.3.8), or comprised by later writers under 濒补办峁峁嚹� or 耻辫补肠腻谤补. Referring to 痴腻尘补苍补鈥檚 definition of artha-驳耻峁嘺 辫谤补蝉腻诲补 as artha-vaimalya (iii.2.3), Abhinava seems to support our suggestion when he says: so鈥檙tho vaimaly膩艣rayo鈥檖i vaimalyam upac膩r膩t, [鈥淎lthough the meaning is based on clarity, the said clarity takes place figuratively (because that meaning is not literally expressed),鈥漖 thus attempting to approximate Bharata鈥檚 辫谤补蝉腻诲补 to 痴腻尘补苍补鈥檚 artha-驳耻峁嘺 of that name.鈥� (De, S.K. (1988), History of Sanskrit Poetics, Vol. II, p. 13).
[9]:
upam膩sv iha d峁涐梗峁乶膩m arth膩n膩峁� yatnatas tath膩 |
pr膩pt膩n膩峁� c膩tisa峁卥峁p膩t 蝉补尘腻诲丑颈r nir峁嘺yo yata岣� || (狈腻峁瓂补-艣腻蝉迟谤补 16.104)