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...
Text 11.48
उदाहरणम्,
सा राधिका स्मर-पतत्रि-वशावशाङ्गी फुल्लेन नेत्र-कमलेन ददर्श कृष्णम् ॥
udāharaṇam,
sā rādhikā smara-patatri-vaśāvaśāṅgī phullena netra-kamalena dadarśa kṛṣṇam ||
sā—She; rādhikā—Rādhā; smara—of Cupid; patatri—of the arrows; vaśa—due to the control; avaśa—is not under control; aṅgī—whose body; phullena—blown; netra—[in the form] of eyes; kamalena—with the lotus; dadarśa—saw; kṛṣṇam—Kṛṣṇa.
Rādhikā, whose body was not responsive due to being subjugated by Cupid’s arrows, saw Kṛṣṇa with the open lotuses of Her eyes.
atra kamalasya darśanopayogitvaṃ nibadhyate, na tu netrasya mayūra-vyaṃsakādi-samāsena para-padārtha-pradhānyāt. na ca netraṃ kamalam ivety upamiti-samāsaḥ phulleneti sāmānya-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: upamitaṃ vyāghrādibhiḥ sāmānyāprayoge, “An upameya is compounded with an upamāna, providing there is no mention of an attribute in common” (Aṣṭādhyāyī 2.1.56).
Commentary:
Here the lotuses, the upamāna, need to completely assume the nature of eyes, the upameya, in order to accomplish the action of seeing.
Paṇḍita-rāja Jagannātha gives this example of the pariṇāma ornament:
apāre saṃsāre viṣama-viṣayāraṇya-saraṇau
mama bhrāmaṃ bhrāmaṃ vigalita-virāmaṃ jaḍa-mateḥ |
pariśrāntasyāyaṃ taraṇi-tanayā-tīra-nilayaḥ
samantāt santāpaṃ hari-nava-tamālas tirayatu ||“May this young tamāla tree of Hari, which dwells on the shore of the Yamunā, 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-gaṅgādhara).
Here the tamāla tree needs to completely assume the nature of the upameya, Hari, in order to make sense of the action of dispelling distress.[1]