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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.

आगता यमुन�-कुञ्जं हारिण्य् अप� विहारिणी �
नित्यं वल�-युक्तापि राधा � वलयान्विता �

āgatā yamunā-kuñja� hāriṇy api ṇ� |
Ծٲⲹ� valaya-yuktāpi rādhā na valayānvitā ||

has come to the pleasure grove near the ۲ܲ. She sports (ṇ�) (or She has no necklace) although She has a necklace (ṇ�). She has a new kind of combination of song, dance, and music (nava-laya)[1] (or na valaya, She has no bracelet) although She always has bracelets (valaya). (Bhakti-峾ṛt-śṣa 4.279)

evam ādy ukti-vaicitryeṇa śṣato’pi virodho manyate.

A contradiction even on account of paronomasia is taken in consideration in this way because of the amazement of the wording.

Commentary:

The paronomasia in this verse is only a semblance of paronomasia (śṣāb) because the double meaning is not congruent either as a literal meaning or as an implied sense. The notion of śṣāb in the context of ǻ is fitting. According to ʲṇḍٲ-Ჹ Բٳ, the aforementioned ten categories of virodha are not really appealing, therefore virodha has two categories: pure and paronomastic. Բٳ gives these examples: hita-kṛd apy ahita-ṛt, “Although he is hita-ṛt (a benefactor), he is ahita-ṛt (he cuts down enemies),�[2] and: agoddhārako’py 岵ǻ첹�, “Though He is ǻ첹 (He raises a mountain), He is not ǻ첹 (or He is 岵ǻ첹, He raises snakes).� Բٳ says that if the word api (although) is used, then the śṣa-ū virodha is ś岹 (understood from the words), otherwise it is ٳ (understood by the force of the meanings, i.e. implied[3]).[4] Mammaṭa said that such a double meaning is a semblance of a double meaning (śṣāb), yet he did not include it in his poetical theory.[5]

Udbhaṭa gives two examples in one verse:

aٲ-vārtāpi nandana-śīr bhuvi sthitā |
abindu-ܲԻ岹ī Ծٲⲹ� -屹ṇy-Իܰ ||

“She whose splendor was delightful (nandana-śī) (or she had the splendor of Nandana Garden), even though talk about her did not involve ٲ flowers, lived on Earth. She was beautiful like the moon reflected on water (abindu = ap-indu), and she constantly had trickling drops (bindu) of loveliness� (屹ṅk--ṅg 4.17).

Footnotes and references:

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[1]:

valayāni kalāvikā-bhūṣaṇāni. navena layenānvitā ca. īٲ---lāsyānā� mitha� 峾ⲹ� laya ucyate taj-jety ٳ� (ṛṣṇānԻ徱ī); ⲹ� 峾ⲹ (-ṣa 1.7.9).

[2]:

Hita means “benefit� and ahita means “enemy�. The first word ṛt is made with the verbal root [ḍu]kṛ[ñ] karaṇe (to do), after which the suffix t[uk] is added, by the rule: hrasvasya piti ṛti tuk (ṣṭī 6.1.71), and the second word ṛt is made with the verbal root ṛt[ī] chedane (to cut).

[3]:

ata evāpi-śabdābhāve virodho vyaṅgya iti āhu� (Marma-ś, 屹ⲹ- edition of Rasa-ṅg󲹰 p. 429).

[4]:

vastuto jāty-ādi-bhedānām ahṛdyatvāc chuddhatva-śṣa-ūtvābhyā� dvi-vidho ñⲹ�. nanu, hita-kṛd apy ahita-ṛt, agoddhārako’py 岵ǻ첹�, ity-ādau virodhasya pratibhāmātram, śṣa eva tv ṅk�, tasya sva-viṣaye prāyaśa� sarvālaṅkārāpavādakatvād iti cet, 첹� śṛṇdzپ (this means Բٳ only listens to, but does not accept, Udbhaṭa’s opinion regard the predominance of śṣa). ida� tu bodhyam. yatrāpi-śabdādir virodhasya dyotakas tatra ǻ� ś岹�, anyatra tv ٳ iti tāvat prācā� Գٲ� (Rasa-ṅg󲹰, KM p. 428). Բٳ’s methodology of śṣa is based on Udbhaṭa’s and Rudraṭa’s interpretation of śṣa and is thus different from Mammaṭa’s methodology.

[5]:

na ca “abindu-ܲԻ岹ī Ծٲⲹ� -屹ṇy-Իܰ”[ 屹ṅk--ṅg 4.17] ity-ādau virodha-pratibhotpatti-ٳ� śṣa�, api tu śṣa-pratibhotpatti-hetur ǻ�. na hy atrٳ-dvaya-پ岹첹� ś岹-śṣa�, dvitīyٳsya pratibhāta-mātrasya prarohābhāvāt. na ca ǻ iva ǻ� śṣāb� śṣa�. tad evam ādiṣu vākyeṣu śṣa-pratibhotpattihetur alaṅkārāntaram eva. (屹ⲹ-ś, verse 379 ṛtپ)

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