Text 8.17

समाधिश् चायोन्य्-अन्य-च्छाया-योनि-रूप-द्वि-विधार्थ-दृष्टि-वपुः. तत्राद्यो यथा, “सद्यो मुण्डित-मत्त-हूण-चिबुक-प्रस्पर्धि नारङ्गकम्” इति। अन्त्यो यथा,

samādhiś cāyony-anya-cchāyā-yoni-rūpa-dvi-vidhārtha-dṛṣṭi-vapuḥ. tatrādyo yathā, “sadyo muṇḍita-matta-hūṇa-cibuka-praspardhi nāraṅgakam” iti. antyo yathā,

As an artha-guṇa, samādhi is a quality in the form of seeing a meaning. That meaning has two varieties: ayoni (a novel idea) (lit. it has no source) and anya-cchāyā-yoni (a rehashed idea) (lit. its source is the splendor of another). An instance of the first kind is as follows: “A ripe orange rivals the chin of a freshly shaved drunk Hun” (Sāhitya-darpaṇa 8.16). This is an example of the second variety:

toyeṣu tasyāḥ pratibimbitāsu vrajāṅganānāṃ nayanāvalīṣu |
sva-bandhu-paṅkti-bhramato’timugdhā goṣṭhīṃ śapharyo racayāmbabhūvuḥ ||

toyeṣu—on the waters; tasyāḥ—of hers (the Kālindī); pratibimbitāsu—are reflected; vraja—of Vraja; aṅganānām—of the women; nayana—of eyes; āvalīṣu—when the series; sva-bandhu—of their friends; paṅkti—[in the form] of a multitude; bhramataḥ—on account of the bewilderment; atimugdhā—completely bewildered; goṣṭhīm—a meeting; śapharyaḥ—fish; racayāmbabhūvuḥ—organized.

Seeing the eyes of the Vraja gopīs reflected in the water of the Yamunā, the fish, utterly bewildered due to thinking that the eyes were their friends, organized a meeting.

pūrvatra sva-mātra-racitatvād ayonir arthaḥ, paratra tu nayana-śapharyoḥ sādṛśyam atiprasiddham. iha tu vicchitti-viśeṣeṇopanibaddham ity anya-cchāyā-yoniḥ. eṣa ca kāvya-śarīra-mātra-nirvartako na guṇaḥ.

In the first instance, the meaning is ayoni (a novel idea) because it was only invented by the writer. In the second example, however, the similarity between eyes and fish is very well known; still, here it was constructed with a distinct literary flair, therefore this meaning is anya-cchāyā-yoni (a rehashed idea). Each of these two meanings merely accomplishes the body of the poetry, consequently neither of them is a guṇa.

Commentary:

The verse also features the bhrāntimān ornament (erroneous perception) (10.221). Paṇḍita-rāja Jagannātha points out that Vāmana’s artha-guṇa samadhi is nothing but a form of creative intelligence.^[1] However, Vāmana’s samādhi is deeper than that. He expounds upon Daṇḍī’s samādhi (Commentary 8.14). Vāmana specifies that the guṇa is called samādhi because it is a cause of samādhi (contemplation).^[2] He only begins his explication of samādhi with the concepts of ayoni and anya-cchāyā-yoni (Kāvyālaṅkāra-sūtra 3.2.8). He expounds two other categories of meaning: vyakta (obvious) and sūkṣma (subtle) (Kāvyālaṅkārasūtra 3.2.9). He subdivides the latter in two: bhāvya (perceivable) and vāsanīya (arisen due to a predisposition) (Kāvyālaṅkāra-sūtra 3.2.10). He defines them: sūkṣmo dvedhā bhavato bhāvyo vāsanīyaś ca, śīghra-nirūpaṇāgamyo bhāvyaḥ, ekāgratā-prakarṣa-gamyo vāsanīya iti, “A bhāvya meaning can be quickly understood from the narration. A vāsanīya meaning is to be understood from the eminence of one-pointed concentration” (Kāvyālaṅkāra-sūtra 3.2.10).

Footnotes and references:

[1]:

samādhis tu kavi-gataḥ kāvyasya kāraṇaṃ, na guṇaḥ, pratibhāyā api kāvya-guṇatvāpatteḥ (Rasa-gaṅgādhara, KM p. 63).

[2]:

artha-dṛṣṭiḥ samādhiḥ (Kāvyālaṅkāra-sūtra 3.2.7); arthasya darśanaṃ dṛṣṭiḥ, samādhikāraṇatvāt samādhiḥ (Kāvyālaṅkāra-sūtra 3.2.7 vṛtti).