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 7.22
अथ समास-गत� श्रुति-कट� यथ�,
atha samāsa-gata� śܳپ-첹ṭu yathā,
This is an example of śܳپ-첹ṭu (hard on the ears) in a compound:
pracakrame vikrama-vikraya� ܱ suvakrayāsau rati-cakram |
suԾṣṭܰ-ṣṭūԲ-kaṭākṣa-ṣṭ goṣṭhādhirājasya sute ṃṣṻܱ ||
pracakrame—She began; vikrama—o [masculine] vigor; vikrayam—[the multitude,] in which there is a sale (a loss); ܱ—with the brow; -—which is very crooked; asau—She (); rati—o love games; cakram—a multitude; —after doing the opposite procedure (i.e. after mounting in the male position[1]); su-Ծṣṭܰ—in such a way that it is very harsh; ṣṭūԲ—which is ejected (sent) (ṣṭūٲ); 첹ṭa-ṣa—in the matter of a sidelong glance; ṣṭ—[,] who has excellence; ṣṭ—o the cowherd village; Ჹⲹ—o the king; sute—toward the son; ṃṣṻܱ—who is unsteady (He was below Her).
Reversing the usual procedure, , positioned atop ṛṣṇa, who was unsteady, began a series of love games which involve a loss of the man’s prowess. With Her crooked eyebrows, She had expertise in casting harsh sidelong glances. (ṅk-첹ܲٳܲ 10.32)
evam anyac ca parīkṣyam.
Other instances should be examined in the same way.
Commentary:
The phonemes are expressive of ojas ṇa whereas in this context, śṛṅ-, phonemes of ܰⲹ-ṇa should be used. Baladeva Vidyābhūṣaṇa also shows this verse as an example of śܳپ-첹ṭu in a sentence (7.53). The phonemes of ojas ṇa are listed in text 8.23 and the phonemes of ܰⲹ-ṇa in text 8.21. Alternatively, there is no fault because the hard phonemes evoke the harshness of Her sidelong glances (7.121).