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...
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Text 10.222
उदारहणम्,
पृष्ठे मणीन्द्�-महसि प्रतिबिम्बम् एव
केशस्य के�-परिशेष इत� भ्रमेण �
उल्लासयन्त्य� असकृद् अङ्गुल�-पल्लवे�
सा व्यग्र-धीर् अजनि केशव-के�-बन्ध� �
ܻṇa,
ṛṣṻ maṇīndra-mahasi pratibimbam eva
śⲹ ś-pariśeṣa iti bhrameṇa |
ullāsayanty asakṛd ṅgܱ-pallavena
vyagra-dhīr ajani śva-ś-bandhe ||
ṛṣṻ—in the back; ṇi-indra—like a sapphire (“the king of gems�); mahasi—which has an effulgence; pratibimbam—the reflection; eva—oԱ; śⲹ—o hair; ś—o hair; 貹śṣa�—the end; iti bhrameṇa—because of this mistake; ܱⲹԳī—placing upwards; ṛtٱ; ṅgܱ-pallavena—with the buds in the form of fingers; —s; vyagra—was confused; ī�—whose perception; ajani—b; śva-ś—the hair of Keśava; bandhe—while binding.
While styling Keśava’s hair with her blossom-like fingers, a DZī, mistakenly thinking that His hair’s reflection on His back, which shines like a sapphire, was the actual ends of His hair, repeatedly attempted to take the reflection of His hairs upward. (ṅk-첹ܲٳܲ 8.276)
ū貹첹-prathamātiśayoktyor āhārya-bhramatvāt tābhyām asya bheda�.
The difference between Գپ on one hand and ū貹첹 and the first variety of پśǰپ on the other is that in ū貹첹 and in پśǰپ, the perceiver knows that the fancy is an imagination.
Commentary:
kanaka-drava-kānti-kāntayā milita� rāmam udīkṣya kāntayā |
capalā-yuta-vārida-bhramān nanṛte ٲ첹-potakair vane ||“NdzپԲ 峾 with His beloved ī, who is lovely with her radiance that resembles a flow of gold, the young ٲ첹 birds danced in the forest because they mistakingly perceived a cloud with lightning� (Rasa-ṅg).
Բٳ says that if the last clause were reworded as follows, it would illustrate a Գپ-dhvani, “the young ٲ첹 birds, whose expanded wings were like new shoots, became joyful in the forest.�[1]
This is another example:
mugdhā sudhāṃśu-kiraṇe jāla-gate bhavana-dāha-cikitākṣ� |
ādātum avadhi-lekha� praviśati bhavana� nivārya sahayāntī� ||“When She saw moonrays go through the windows, She became alarmed: She thought that the house was going to catch on fire. That bewildered girl rushed into the house to retrieve His love letter while preventing Her friends from following Her inside (so that they would not be harmed by the fire)� (ṅk-kaustubha 5.33).
Kavikarṇapūra shows the verse to illustrate vipralambha (love in separation).