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 11.48
उदाहरणम्,
सा राधिका स्मर-पतत्रि-वशावशाङ्गी फुल्ले� नेत्�-कमले� ददर्� कृष्णम� �
ܻṇa,
smara-patatri-vaśāvaśāṅgī phullena netra-kamalena 岹岹ś ṛṣṇa ||
; �; smara—of Cupid; patatri—of the arrows; ś—due to the control; aś—is not under control; ṅgī—whose body; phullena—bǷɲ; netra—[in the form] of eyes; kamalena—with the lotus; 岹岹ś—s; ṛṣṇa�ṛṣṇa.
Rādhikā, whose body was not responsive due to being subjugated by Cupid’s arrows, saw ṛṣṇa with the open lotuses of Her eyes.
atra kamalasya darśanopayogitva� nibadhyate, na tu netrasya mayūra-vyaṃsakādi-samāsena para-padārtha-pradhānyāt. na ca netra� kamalam ivety upamiti-samāsa� phulleneti mānya-dharma-yogāt.
The syntactical construction is that the lotuses, not the eyes, are used for seeing, because the compound netra-kamala cannot be taken as a simile, since an attribute in common (phulla, open) is stated outside the compound. The rule for construing a simile is: ܱ貹ٲ� vyāghrādibhi� mānyāprayoge, “An upameya is compounded with an ܱ貹Բ, providing there is no mention of an attribute in common� (ṣṭī 2.1.56).
Commentary:
Here the lotuses, the ܱ貹Բ, need to completely assume the nature of eyes, the upameya, in order to accomplish the action of seeing.
ʲṇḍٲ-Ჹ Բٳ gives this example of the 貹ṇām ornament:
apāre saṃre viṣama-viṣayāraṇya-saraṇau
mama bhrāma� bhrāma� vigalita-virāma� jaḍa-mate� |
pariśrāntasyāya� taraṇi-tanayā-tīra-nilaya�
samantāt san貹� hari-nava-ٲs tirayatu ||“May this young ٲ tree of Hari, which dwells on the shore of the ۲ܲ, completely dispel my distress. Without respite, in this boundless material existence I have been repeatedly wandering on a path in the forest of adverse sense gratification. My intelligence is dull, and I am tired� (Rasa-ṅg).
Here the ٲ tree needs to completely assume the nature of the upameya, Hari, in order to make sense of the action of dispelling distress.[1]