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[Full title: A brief sketch of the contents of 痴补办谤辞办迟颈箩墨惫颈迟补, (8): Six divisions of Vakrat膩, (c): Grammatical figurativeness or pratyaya-惫补办谤补迟腻]

Grammatical figurativeness creates 惫补办谤补迟腻 through the peculiar use of affixes, which are mainly divided into six varieties as tense (办腻濒补), case (办腻谤补办补), number (蝉补峁卥丑测腻), person (辫耻谤耻峁�a), voice (upagraha) and pratyaya.

In the 惫补办谤补迟腻 where time has got its extreme beauty because of the utmost presence of propriety is known as 办腻濒补惫补办谤补迟腻. For example:-

samavi峁�amanirvi艣e峁Ｄ� samantato mandamandasa峁僯膩r膩岣�/
acir膩d产丑补惫颈峁�y补苍迟颈 panth膩no manorath膩n膩mapi durla峁単hy膩岣�//^[1]

Here a young separated lover, who is already tormented by the pangs of separation, thinks about the depth of the pangs of separation in the upcoming rainy season. Here the lover is anxious about his future and the word 产丑补惫颈峁�y补苍迟颈 denoting the future tense creates a special charm, which is known as 办腻濒补vaicitrya惫补办谤补迟腻.

Interchange of 办腻谤补办补s based on their importance and unimportance is known as 办腻谤补办补惫补办谤补迟腻. An example for this is a last line from one of the verse of 惭补丑腻苍腻峁璦办补, which is as follows:-

y膩c帽膩m dainyaparigrahapra峁嘺yin墨m nek峁�v膩kava岣� 艣颈办峁�i迟腻岣� 蝉别惫腻蝉补尘惫补濒颈迟补岣� 办补诲腻 raghukule maulau nibaddho鈥� 帽jali岣� /
sarvam tadvihita峁� tad膩pyudadhin膩 naivoparodha岣� 办峁泃补岣� 辫腻峁噄岣� samprati me 丑补峁环腻迟 kimapara峁� spra峁ａ弓u峁� dhanurdh膩vati//^[2]

鈥淭丑别 滨办峁�v腻办耻蝉 have never been trained in anything like beggary which delights in humiliating oneself. Has anyone ever known an instance of scion of Raghus raising his folded hands in abject supplication? Yet all this has been done (by me i.e 搁腻尘补). But the ocean shows no consideration at all. There is no other go left now. Hence my hand rushes all of a sudden to wield the bow.鈥�^[3]

Here instead of saying that he would like to take the arrows with his hands, the poet says that his hand rushes to wield the bow. Here the poet considers the subject as hand which creates a special charm to this particular context.

When the poet deliberately interchanges the numbers for creating vaicitrya is known as 蝉补峁卥丑测腻惫补办谤补迟腻. Here the poet uses singular or dual number in the place, where actually other number is essential. He may use two different numbers in a same sentence for creating this type of 惫补办谤补迟腻.

As an example to this, Kuntaka quotes the last line from one of the famous verses from 础产丑颈箩帽腻苍补艣腻办耻苍迟补濒补 of 碍腻濒颈诲腻蝉补, which is:-

vayam tattv膩nve峁Ｄ乶madhukara hat膩stvam khalu 办峁泃墨/^[4]

Here the poet uses the word vayam instead of saying aham, which means the poet use plural 鈥榳e鈥� instead of the singular 鈥業鈥� for indicating that 顿耻峁�y补苍迟补 is really a stranger to 艢补办耻苍迟补濒腻 and also shows that there is no deep relation between them at that moment.

In certain situations the poet deliberately uses the third person in the place of first and second person for attaining extra charm to the particular context is known as oblique beauty of person or 辫耻谤耻峁�a惫补办谤补迟腻. Moreover the use of noun in the place of pronoun is also a division of this 惫补办谤补迟腻. Kuntaka quotes a verse from 罢腻辫补蝉补惫补迟蝉补谤腻箩补 as an example to oblique beauty of person. Here for the sake of the Kingdom, king Udayana was forced to marry 笔补诲尘腻惫补迟墨 but the minister 驰补耻驳补苍诲丑补谤腻测补峁嘺 feels it difficult to convey this directly to the queen 痴腻蝉补惫补诲补迟迟腻, then he says that 鈥�箩腻苍腻迟耻 诲别惫墨 svayam鈥�.^[5] Here instead of saying 鈥榶ou鈥� the madhyama辫耻谤耻峁�a 蝉补谤惫补苍腻尘补 the poet used prathama辫耻谤耻峁�a for enhancing the poetic charm.

Sometimes in particular situations when both the 腻迟尘补苍别辫补诲补 and parasmaipada affixes are suitable, the poet chooses the most suitable one among them for creating an extraordinary aesthetic delight and it is known as upagraha惫补办谤补迟腻. For eg:-

tasy膩pare峁�vapi m峁沢e峁�u 艣ar膩n mumuk峁�o岣� kar峁嚹乶tametya bibhide nibi岣峯鈥� 辫颈尘耻峁ａ弓颈岣�/
tr膩s膩tim膩traca峁璾lai岣� smarayatsunetrai岣� prau岣峢apriy膩nayanavibhramace峁ａ弓it膩ni//^[6]

鈥淎bout to discharge arrows on the other deer also as he was, the tightened grip of his fist (on the bowstring) beside the ear loosened of its own accord. For, then their eyes exceedingly tremulous in fright reminded him of the sweet glances of his beloved expert in love鈥�^[7]

Here the poet intent to say that the king 顿补艣补谤补迟丑补 withdraws his arrows from some deer鈥檚 in the forest because their eyes resemble the eyes of his beloved. But instead of saying in such a manner the brilliant poet says that seeing such resemblance the bowstring of 顿补艣补谤补迟丑补 loosened itself without taking any deliberate attempt from him. For denoting 腻迟尘补苍别辫补诲补 the poet used the word 鈥�bibhide鈥� in the verse mentioned above.

Where a new suffix is added to a usual suffix to create striking beauty is known as pratyaya惫补办谤补迟腻. For eg:-

l墨nam vastuni yena s奴k峁�masubagam tattvam 驳颈谤腻 k峁涐梗yate nirm膩tum prabavenmanoharamidam v膩caiva yo v膩 产补丑颈岣�/
vande dv膩vapi t膩vaham kavivarau 惫补苍诲别迟补谤腻尘 tam punar-yo vij帽膩tapari艣ramo鈥� 测补尘补苍补测辞谤产丑腻谤腻惫补迟腻谤补办峁�a尘补岣�//^[8]

This is an unknown verse from an unknown poet. Here the poet says that:-

鈥淲orthy is the poet who can draw the subtle essence of beauty hidden in nature. Worthy is the master of speech who can create things of beauty by his own words. Both are poets great and he salutes them indeed. But his best salutation goes to a third one who can know their labour and relieve them of their burden.鈥�^[9]

For showing the extreme salutation to the poet, the author of this verse used the word 惫补苍诲别迟补谤腻尘, which create a striking beauty to this context.

These are some important varieties of pratyaya惫补办谤补迟腻. Kuntaka also says that pada惫补办谤补迟腻 is an another variety of pratyaya惫补办谤补迟腻, here the upasargas (prepositions) and 苍颈辫腻迟补蝉 (indeclinables) suggest that rasas are the one and only essence of a sentence or a poem

Footnotes and references:

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[1]:

ibid,p.308.

[2]:

ibid,p.116.

[3]:

ibid,pp.401-402.

[4]:

ibid,p.315.

[5]:

ibid,p.317.

[6]:

ibid,p.319.

[7]:

ibid,p.405.

[8]:

ibid,p.120.

[9]:

ibid,p.406.