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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...

Go directly to: Footnotes.

Text 9.44 [zig-zag diagram]

गो-मूत्रिका-बन्ध�,

-ūٰ-Ի�,

This is an example of the zig-zag diagram:

smarāgha-ś ܰ� Ჹ-bharātisādanam |
ܰ-峾 屹-ra� parāvarٳ-󲹲Բ ||

smara—you should remember; agha—of sin; ś—the destroyer; ܰ—s󾱲ԾԲ[1] (effulgent, i.e. in its true form of --ԲԻ岹[2] it is self-manifest); —of old age; bhara—the burden; پ-岹Բ—the intense dispeller; ܰ-—the name Murāri; love; ram—it gives; para-avara-ٳ—the higher soul and the lower soul; 󲹲Բ—the means of accomplishing.

Remember the name of Murāri. It puts an end to sinful reactions. It is effulgent, it completely dispels the burden of old age, it gives love, and it is the means to realize the soul and to attain the Lord.

Ҵ-ūٰ

(urination of a cow) (zig-zag)

The Zig-zag diagram

eṣa eva baddha-kapāṭo mukta-kapāṭo’śva-gatiś ca. evam anye’pi bhedā� samunneyā�, nīrasatvād grantha-gaurava-bhayāc ca nātra kārtsnyena darśitā�.

This verse also fits in the closed-door diagram, the open-door diagram, and the course-of-a-horse diagram. Other kinds can be inferred in this way. All of them are not shown here out of fear of increasing the size of the book and also due to being tasteless.

Commentary:

Mammaṭa showed four verses of ٰ-屹ⲹ, three of which are from Rudraṭa’s 屹ṅk. The four diagrams are: the sword (ḍg), the drum (muraja), the lotus (padma), and the mirrored squares (sarvato-bhadra). Mammaṭa says other varieties of citra-屹ⲹ (such as a verse of one consonant) exist only for showing off one’s skills and therefore do not assume a form of poetry (when there is no ornament).[3] This refers to verses of one consonant, and so on. In that regard, Bhoja says that picture poetry, which he calls -citra, is one of six subcategories of ٰ-屹ⲹ.[4] ĀԲԻ岹󲹲Բ accepted citra as a form of poetry only in conformity with the usage of old-school poets, yet in truth he does not acknowledge it as real poetry.[5] Kavikarṇapūra states that the ancients said ٰ-屹ⲹ is tasteless in the sense that it is not conducive to the manifestation of rasa. However, he says ٰ-屹ⲹ is relishable when it centers on the Lord: ya� rasābhivyaktaye nāsau śپ-jñaptyai sa kevalam, ٰ� nīrasam evāhur bhagavad-ṣaⲹ� yadi tadā kiñcic ca rasa-vat (ṅk-첹ܲٳܲ 7.75).

Footnotes and references:

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[1]:

The word ܰ is formed by adding the suffing [gh]ura[c] after the verbal root bhās[ṛ] dīptau (to shine) (ṣṭī 3.2.161). Jayāditya and 峾Բ explain: ܰ� jyoti�, �ܰ means a light� (ś 3.2.161). The author of ṛṣṇānԻ徱ī glosses ܰ as tejasvi (effulgent).

[2]:

tasya kṛṣṇatve ٳ� abhinnatvād iti. ekam eva sac-cid-ԲԻ岹-徱-ū貹� ٲٳٱ� dvidhāvirbhūtam ity ٳ� (ٳܰ-ṅgī 1.2.233).

[3]:

sambhavino� py anye prabhedā� śپ-ٰ-śkā na tu 屹ⲹ-rūpatā� dadhatīti na pradarśyante (屹ⲹ-ś, verse 388 ṛtپ). Here Mammaṭa implies that ٰ-屹ⲹ has subcategories such as a verse of one consonant (ṇa-citra).

[4]:

ṇa-sthāna-svar-gati-bandhān pratīha ya� |
niyamas tad-budhai� ṣoḍhā citram ity abhidhīyate || (ī-첹ṇṭ󲹰ṇa 2.109)

[5]:

etac ca ٰ� kavīnā� viśṛṅkhala- rasādi-tātparyam anapekṣyaiva 屹ⲹ-praṛtپdarśanād asmābhi� parikalpitam. idānīntanānā� tu nyāyye 屹ⲹ-naya-vyavasthāpane kriyamāṇe nāsty eva dhvani-vyatirikta� 屹ⲹ-, yata� paripākavatā� kavīnā� rasādi-tātparyavirahe eva na śobhate (ٳ󱹲Բǰ첹 3.42).

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