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ke峁Ｄ伱眂id et膩 惫补颈诲补谤产丑墨pramukhy膩 r墨tayo 尘补迟腻岣� || 9.81ab || 办别峁Ｄ伱眂颈迟鈥擺in the opinion] of some persons; 别迟腻岣�鈥攖hese ones (the three kinds of 惫峁泃迟颈 补苍耻辫谤腻蝉补); 惫补颈诲补谤产丑墨鈥攊s Vaidarbh墨; 辫谤补尘耻办丑测腻岣�鈥攚hose foremost one; 谤墨迟补测补岣�鈥攖he styles; 尘补迟腻岣�鈥攁re considered.

In the opinion of some, these ones are thought of as the 谤墨迟颈蝉, the foremost of which is Vaidarbh墨.

et膩s tisro v峁泃taya岣� kram膩d 惫补颈诲补谤产丑墨-gau岣嵞�-p膩帽c膩ly-膩khy膩 谤墨迟补测补岣� kai艣cid 膩khy膩yante. 谤墨迟颈r n膩m膩峁単a-sa峁僺th膩na-vi艣e峁�a-vad 驳耻峁嘺-hetuko var峁嘺-viny膩sa-vi艣e峁�a岣�, s膩 ca 驳耻峁嘺-grantha-grastatv膩d iha na lak峁�it膩.

These ones, the three modes of 惫峁泃迟颈 补苍耻辫谤腻蝉补, are called Vaidarbh墨, 骋补耻岣嵞�, and 笔腻帽肠腻濒墨 by some scholars.

A 谤墨迟颈 (style) is based on the 驳耻峁嘺蝉 and is a specific placement of phonemes. It resembles a special positioning of bodily limbs. Since it was included in the section on the 驳耻峁嘺蝉, the concept of 谤墨迟颈 is not expounded here.

Commentary:

Each 谤墨迟颈 derives its name from a region credited with a particular style of composition. In the first centuries of the first millennium, the compositions in the region of 骋补耻岣峚 (Bengal) was said to abound in ojas 驳耻峁嘺. The 笔腻帽肠腻濒墨 corresponds to 办辞尘补濒腻 惫峁泃迟颈 补苍耻辫谤腻蝉补.^[1] The hidden purpose of the concept of 谤墨迟颈 is to validate the mix of 尘腻诲丑耻谤测补 and ojas, and so on.

The notion of 谤墨迟颈 is confusing because each poetical rhetorician has a different opinion on the topic. Mamma峁璦鈥檚 three subdivisions of 惫峁泃迟颈 补苍耻辫谤腻蝉补 were invented by Udbha峁璦. Here Mamma峁璦 specifically says that 痴腻尘补苍补鈥檚 Vaidarbh墨 is the same as Udbha峁璦鈥檚 upa-苍腻驳补谤颈办腻.^[2] That is imprecise because 痴腻尘补苍补鈥檚 Vaidarbh墨 contains all of 痴腻尘补苍补鈥檚 驳耻峁嘺蝉.^[3] 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 reconciles the matter by agreeing with Mamma峁璦 in principle and by not referring to 痴腻尘补苍补鈥檚 definition of Vaidarbh墨. Moreover, 痴颈艣惫补苍腻迟丑补 follows Rudra峁璦 by adding a fourth 谤墨迟颈, called 尝腻峁���, which is a style between the Vaidarbh墨 and the 笔腻帽肠腻濒墨.^[4] Kavikar峁嘺p奴ra, however, says the 笔腻帽肠腻濒墨 is used (with phonemes of his intermediary ojas) when the meanings are mostly sweet,^[5] whereas the 尝腻峁��� is exclusively soft, without a conjunct consonant.^[6] 痴颈艣惫补苍腻迟丑补 and Kavikar峁嘺p奴ra also disagree regarding the style of compounding in those two 谤墨迟颈蝉.

In truth, the construction of softness (soft phonemes, no compound and no conjunct consonant) should be classed as a secondary type of construction of 尘腻诲丑耻谤测补-驳耻峁嘺. Even Mamma峁璦鈥檚 example of 办辞尘补濒腻 惫峁泃迟颈 补苍耻辫谤腻蝉补 (Commentary 9.11) is not a pure construction of softness because the alliteration of a single r, in the first half, is in the scope of upa-苍腻驳补谤颈办腻.

The other four styles (叠丑腻谤补迟墨, S膩tvat墨, 碍补颈艣颈办墨, and 膧谤补产丑补峁���) (狈腻峁瓂补-艣腻蝉迟谤补 1.41-4; 6.24) are in the scope of dramaturgy (Bhakti-谤补蝉腻尘峁泃补-sindhu 4.9.42).

Footnotes and references:

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[1]:

尘腻诲丑耻谤测补-saukum膩ryopapann膩 p膩帽c膩l墨, 鈥湵誓迕背δ灞裟� has the 驳耻峁嘺蝉 called 尘腻诲丑耻谤测补 and 蝉补耻办耻尘腻谤测补鈥� (碍腻惫测腻濒补峁卥腻谤补-蝉奴迟谤补 1.2.13).

[2]:

et膩s tisro v峁泃taya岣�, v膩man膩d墨n膩峁� mate 惫补颈诲补谤产丑墨-gau岣嵞�-p膩帽c膩ly-膩khy膩 r墨tayo 尘补迟腻岣� (碍腻惫测补-辫谤补办腻艣补 9.81).

[3]:

samagra-gu峁噊pet膩 惫补颈诲补谤产丑墨, 鈥淰aidarbh墨 is the 谤墨迟颈 that has all the 驳耻峁嘺蝉鈥� (K膩vy膩la峁卥膩ra蝉奴迟谤补 1.2.11).

[4]:

l膩峁��� tu 谤墨迟颈r 惫补颈诲补谤产丑墨-p膩帽c膩lyor antare sthit膩 || (厂腻丑颈迟测补-诲补谤辫补峁嘺 9.5)

[5]:

kath膩 pr膩yo hi yatr膩rtho 尘腻诲丑耻谤测补-pr膩yako 驳耻峁嘺岣� |
na g膩岣峢at膩 na 艣aithilya峁� s膩 p膩帽c膩l墨 nigadyate || (础濒补峁卥腻谤补-办补耻蝉迟耻产丑补 9.11)

[6]:

samantata岣�, 艣aitilya峁� yatra m峁沝ulair var峁嘺ir l膩dibhir utka峁璦m, s膩 l膩峁��� sy膩l 濒腻峁璦-箩补苍补辫谤颈测腻苍耻辫谤腻蝉补-苍颈谤产丑补谤腻 (础濒补峁卥腻谤补-kaustubha 9.17)