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 10.96
啶曕啶班ぎ啷囙ぃ啷嬥う啶距す啶班ぃ啶,
啶ㄠう啷�啶ㄠぞ啶� 啶� 啶掂ぇ啷傕え啶距 啶� 啶囙い啷嵿く啷� 啶嗋う啶苦イ 啶呧い啷嵿ぐ 啶啶班啶啶｀ぞ啶� 啶啶班啷冟い啶む啶掂ぞ啶︵ 啶夃お啶啶い啷嵿さ啶啷� 啶ㄠう啷嵿く啷�-啶嗋う啷�啶ㄠぞ啶 啶呧お啷嵿ぐ啶曕啶むい啷嵿さ啶距う啷� 啶夃お啶ぞ啶ㄠい啷嵿さ啶啷� 啶掂啷嵿ぐ-啶椸い啶�-啶班啶 啶оぐ啷嵿ぎ啶膏 啶む 啶膏啷冟う啷� 啶夃お啶距い啷嵿い啶冟イ
办谤补尘别峁噊诲腻丑补谤补峁嘺尘,
nad墨n膩峁� ca vadh奴n膩峁� ca ity 膩di. atra prem峁嚹佱箖 辫谤补办峁泃补tv膩d upameyatvam. nady-膩d墨n膩m a辫谤补办峁泃补tv膩d upam膩natvam. vakra-gati-r奴po dharmas tu sak峁沝 up膩tta岣�.
Examples are shown in order. The verse that begins nad墨n膩峁� ca (4.19) illustrates the first variety of 诲墨辫补办补 (办谤颈测腻-诲墨辫补办补): 鈥淭he course of rivers, the manners of women, the motions of snakes, and the ways of love are always crooked. No cause can account for them鈥� (4.19) (础濒补峁卥腻谤补-办补耻蝉迟耻产丑补 5.38). In this verse, love is the upameya because it is the subject of description. The rivers and so on are the 耻辫补尘腻苍补蝉 since they are not the subjects of description. The common attribute, 鈥渉aving a crooked motion,鈥� is stated once.
Commentary:
Mamma峁璦 says 诲墨辫补办补 (lamp) is so called because the attribute, situated in one place, sheds light on the whole statement.[1] 闯补驳补苍苍腻迟丑补 says 诲墨辫补办补 signifies that the attribute sheds light on the 辫谤补办峁泃补 and on the a辫谤补办峁泃补. In other words it makes them shine from a literary point of view. Alternatively, he says 诲墨辫补办补 means it is like a lamp.[2] Either the suffix 摆峁嘳补办补 is applied after the verbal root d墨p[墨] d墨ptau (to illuminate), or the suffix ka[n] is applied after 诲墨辫补 (lamp) in the sense of iva (like), as in the word yamaka, by the rule: ive pratik峁泃au (础峁ａ弓腻诲丑测腻测墨 5.3.96).
In the ancient rhetoricians鈥� methodology, there were three varieties of 诲墨辫补办补, depending on whether the attribute is placed at the beginning (膩di-诲墨辫补办补), middle (madhya-诲墨辫补办补) or end (antya-诲墨辫补办补) of the verse. The idea was to give style to the verse by so positioning the word expressive of the attribute, like one might place a lamp in the corner or in the middle of a room for a stylistic effect. Mamma峁璦 was the first poetical theorist to reject those three varieties. In other words, 诲墨辫补办补 is like a lamp, and that lamp is the attribute that as if illuminates all the nouns for the purpose of bringing to light a similarity between them.
Kriy膩-诲墨辫补办补 (one verb for many nouns) is similar to the 迟耻濒测补-测辞驳颈迟腻 ornament (equal connection with an attribute) (10.100). The only difference is that in 诲墨辫补办补, one thing is the subject of description and the other things are not the subject of description. By contrast, in tulya-测辞驳颈迟腻, all the things are either contextual or noncontextual. Determining whether a single verse without a context and without a vocative is a 诲墨辫补办补 or a 迟耻濒测补-测辞驳颈迟腻 is often a matter of choice, according to 笔补峁囜笉颈迟补-谤腻箩补 闯补驳补苍苍腻迟丑补.[3]
This is his example of 办谤颈测腻-诲墨辫补办补 with a vocative (which establishes a context):
sudh膩y膩艣 candrik膩y膩艣 ca sa帽j墨vany膩 mahau峁dhe岣� |
day膩-d峁涐梗峁璭艣 ca te r膩jan vi艣va-sa帽j墨vana峁� gu峁嘺岣� ||鈥淣ectar, moonlight, the 蝉补帽箩墨惫补苍墨 herb, and your glance of compassion, O king, have the quality of enlivening the world鈥� (Rasa-驳补峁単腻诲丑补谤补, KM p. 323).
Footnotes and references:
[1]: