V Q \ 1'UMSNVS '0d P, B. SANSKRIT 33 i THE KAVYA-PRAKASHA OF MAMMATA ULLASA VII. WITH THE CORRESPONDING PORTIONS OP THE KAVYA-PRADIPA OF GOVXNDA AND THE TOYOTA OP NAGOJI-BHATTA. EDITED BY DINKAR TRIMBAK CHANDORKAR B. A. PROFESSOR OF SANSKRIT, FERGUS SON COLLEGE. WITH I Notes and Appendix. ( All rights reserved ) PMIA. 1895. Price Rs. 1-12, The Printed and published by THE PROPRIETOR of “ JAGADHITECHCHU ” Press. at the “ SHRI VITHAL ” Press. POONA. P fc, i CRITICAL NOTICE. In preparing the present edition of the Kavya-Prak&sha, Ullasa VII., the following printed and Manuscript copies have been used. This is a printed edition of the Kavya-Prakasha, edited by Shyamacharana Kaviratna, with explanatory and illustrative notes by Pandit Maheshachandra Nyayaratna C. I. E., Principal, Calcutta Sanskrit College. *5. This is a lithograph edition of the Kavya-Prakasha> with a Commentary by Kamalakara, published at Benares. cT. This is a Manuscript copy of the Kavya-Prakasha* with a Commentary by Jayanta Bhatta, procured from the Deccan College Library, Poona. |T. This is a printed edition of the Kavya-Prakasha, edited by Mr. Yamanacha’ya Zalakikar, Shaitri, Deccan College. The text of the Kavya-Pradipa is based upon a collation of the Bombay edition of the Ntvya-Pradipa, published by the Proprietor of the Nir»aya-Sagara Press, and a Manuscript kindly lent me by Mr. Vamanabharya Zalakikar. The text of the Udyota is based on a collation of three Manuscripts : One (^>) kindly procured for me by Mr. Gr. R. Nandargikar, Teacher, New English School : another (*w) by Mr. Vasudeva Shastri of the Fergusson College : and the third placed at my disposal by Dr. R. G. Bhandarkar. This Manuscript is, however, incomplete, and ends with the words (vide page 17). ) A LIST OF ABBREVIATIONS USED IN THE BOOK K P — ) A K&vyap_ ) Kavyaprakasha Mr. Zalakikar’s first edition. Kam.—Kamalakari by Kamalakara. Pr.—Prabha by Vaidyanatha Tatsat. Sar.—Sarabodhini by Shrivatsalancchana. Su — ) gu^A_^ Sudhasagara by Bhimasena Dixita. Chakra—Vistarika by Chakravarti. San—Sanketa by Manikyachandra. | Sahityadarpana by Vishwanatha. Chandrika—Udaharnachandrika by Vaidyanatha Tatsat^ Mahesha— 1 Tatparya-Yivarana by Maheshachandra. S. T.—Balachittanuranjini by Sarasvati-Tirtha. Jayanta—Dipika by Jayanta. R. G.—Rasa-Gangadhara by Jagannatha. D. R.—Dasharupa by Dhananjaya. Vam.—Yamana. Bhoja.—Bohja-Raja. V ag-Bha.—V ag-Bhata, Vishva.—Vishvanatha. Prata.—Prataparudra. Rudra.—Rudrata* PREFACE. Th« following pages are the result of an endeavour to furnish the general student of Sanskrit and the University student in particular with an edition of the Seventh Ullasa of the Kavya-Prakasha, together with the corresponding portions of the Kavyapradipa and the Udyota. The Kavya-Prakasha is by no means a simple book. It belongs to that class of writings, whose style aims at conciseness, and consequently possesses all the characteristic defects of that style. There is thus much in it that is elliptical, much that is vague and obscure. To supply these ellipses and to clear up these obscurities, the aid of a commentary is indispensable. The commentary, which I have selected for publication along with the Kavya-Prakasha, is the one composed by Govind Thakkura, by name the Kavyapradipa. The reason for this selection is that of all the commentaries extant on the Kavya-Prakasha, none is, in my opinion, better fitted to be a safe guide to a right understanding of the Kavya- Prakasha than the Kavyapradipa. Its author, Govind Thakkura, is a man of deep learning and fine logical intellect, and brings a perfectly unbiassed mind to the interpretation of his author. Hence his exposition is very full and systematic, his views independent and sound, and his interpretations generally correct and trustworthy. His method of explanation, however, is different from that of other commentators. Instead of explaining the text, word by word, as the other commentators of Mammata do, he generally gives the substance of each sentence in his own words, following, however, Mammata’s phraseology as closely as possible. Sometimes, while giving his own interpretation of a passage, he takes occasion to criticise the interpretations of others, and’refutes -them'with great polemical skill. Sometimes, he differs from Maminata himself. On such occasions, he always takes care to base his difference on solid grounds, • and • back his own views with cogent arguments. There are two commentaries on the Kavyapradipa :— The Prabha and the Udyota, the first composed by Vaidyanatha and the second by Nagojibhatta. Both the commentaries are very clever, and they are quite essential to a proper understanding of the Kavyapradipa. I have, however, published the Udyota only. One obvious reason for so doing is that the Udyota has been hitherto unpublished, whilst the Prabha has been already published along with the Kavyapradipa in the K^vya-Mala Series. The second reason is that the Udyota is more copious than the Prabha. Many difficult points of the Pradipa are passed over by Vaidyanatha which are fully explained bv Nagojibhatta. I have, however, made ample use of the Prabha in explaining the Pradipa in m}T Notes, and have given all important extracts from it in the foot-notes. In the Appendix, I have arranged under each fault (^fa), mentioned by Mammata, the corresponding faults, with their examples, given by several other well-known writers on Rhetoric, who preceded or succeeded Mammata. The Appendix is intended to serve a double purpose, viz. that of putting the reader in possession of a large stock # Some notes in Sanskrit, giving additional explanation and information, prepared by Mr. Vasudeva Slustri, have been inserted into the body of the Udyota, being- enclosed within brackets. ( 8 of examples of each fault, thus enabling him to gain an additional insight into his subject, and secondly, that of showing how far Mammata has made an advance on his o predecessors in this part of Rhetoric, and how far he has been improved upon by his successors. The reader will thus be able to guage the extent of our author’s originality. In the Notes that are appended to this volume, I have tried to give a full and systematic exposition of the subject treated in the Seventh Ullasa. In this exposition I have mainly followed the Pradipa, translating and explaining the whole of it with the aid of its two commentaries-the Prabha and the Udyota. I have also added, in various places, the views of other commentators and writers on difficult points of the text, giving the original Sanskrit extracts in the footnotes. The object aimed at in preparing the N otes is to enable the general Sanskrit reader to understand the subject of this Ullasa independently of the Sanskrit original. To meet the especial wants of University students, however, I have adopted two expedients. The first is that the translation and explanation of Mammata’s Vritti have been incorporated into the main body of my exposition of the Pradipa, care, however, being taken to mark them off from it by printing them in italics, or by enclosing them between inverted commas, with the word Vritti written before them. The second is that the whole body of the Notes has been divided into two parts, one intended for students reading for the University examination and the other for such as may be desirous of diving deeper into the subject, and acquainting themselves with the intricate subtleties of Sanskrit commentators : the first part being printed in large type, and the second in small. It now remains for me to discharge the pleasing duty of 4 thanking all those who have assisted me in the execution of this work. And first of all, I take this opportunity of expressing publicly my gratitude to Mr. Vasudeva Shastri of the Fergusson College for the manifold and valuable assistance he has uniformly given me in the preparation of this volume. My deep obligations are also due to my respected teacher, Dr. R. G. Bhandarkar, who kindly allowed me the use of Manuscript copies of some of the commentaries on the Kavya-Prakasha, which are deposited in the Library of the Deccan College, and who also kindly placed at my disposal one Manuscript of the Udyota, belonging to his private library. My thanks are also due to the other gentlemen, who lent or procured for me the Manuscripts of other commentaries on the Kavya-Prakasha. I have derived most important assistance from the Mirror of Composition, a translation of the Sanskrit Sahitya Darpana by Dr. J.R. Ballantyne and by Mr. Prauiadadasa Mitra. The two editions of the Kavya-Prakasha, one by Mr. Vamanacharya Zalakikar, and the other by Mr. Shy£- niacharana Kaviratna, have also been of considerable use to me. In conclusion, it is to be feared that in spite of the great care bestowed upon the Notes, many errors of interpretation or explanation might have inadvertently crept in. As far as I am aware, however, this is the first attempt to edit and annotate the Kavya-Prakasha in this manner, and I trust the reader will judge the work in an indulgent spirit. * INTRODUCTION. ..«>sa»o>»c4X»»-- The three powers of a word. According to Sanskrit Rhetoricians, a word lias got three powers ;— Denotation ( srfijvjr )* Indication )i and Suggestion ( )• Denotation is that power, which conveys to the understanding the meaning which belongs to a word by convention,—which primarily made it a word at all. Indication is that power, which is communicated to a word, when its principal meaning is incompatible with the rest of the sentence, and in virtue of which, another meaning, in connection with the principal meaning, becomes apprehended either through Usage or. a Motive. For Example, in such an expression as sfjpfrr: VTTf[KUFi:, I'10 word ^f&ir, incompatible with the epithet F taken in its literal sense of ‘ a particular country on the coromandal coast, ’ causes one to think of another meaning, viz, ‘ an inhabitant of tfipsrr. ’ which meaning is connected with the principal meaning. The reason why the word has the power of indicating ‘ an inhabitant of ’ is Usage, that is, the fact of the word being familiarly known to signify ‘ an inhabitant. ’ In such an expression as jjjjpqf qtg:, the word ijj]j indicates ‘ the bank of jffjf ’-a meaning which is connected with the principal meaning of the word viz. ‘ a current of water. ’ The reason why the word jjjjf is here used, instead of jjijitTK. is a Motive Consisting in this, that it causes one to'think of ‘ the extreme of coolness and purity ’ pertaining to the Ganges which would not have been thought of from the use of the word JTTipfD. This Indication is called Qualitative (ifiofr)* when the relation between the principal sense and the Indicated Sense is that of‘likeness ’ and when it is otherwise, the Indication is called Pure (). For example, in such an expression as visit WTTrrf ( The king clears away the petty foe,-the chief of jfrT ), the word is used in the sense of ‘ a small foe ’ on account of the relation of ‘ likeness ’ subsisting between ‘ a thorn. ’ which is * Before proceeding with the text, the student is desired to road this Introduction as it contains information necessary to the propor understanding of the subject of the seventh Ullasa. The information is borrowed from the Mirror of Composition, u the principal meaning of the word, and ‘ a small foe ’ which is its Indicated meaning. In such an expression as ?jsT[S*fr (the king’s officer goes), the word ^jsrr is used in the sense of 1 the king’s officer,’ on account of the relation of ‘ the master and the servant ’ subsisting between ‘ the king ’ which is its literal meaning and ‘ the king’s officer, ’ which is its Indicated meaning. When the powers of Indication and Denotation repose after having done their duty, that power of a word or its sense, by which a further meaning is caused to be thought of, is what is called Suggestion (sqsrqf). For example, in TpypTf iffa: the power by which such a thing as ‘ the excess of coolness and purity ’—the Motive for employing the word jpjT in the sense of ‘ the bank, ’—is caused to be thought of, is called Suggestion. A word in virtue of these three powers is called an Expressive ). Indicative ( 5^ ), and Suggestive ( ) word, and its sense is called an Expressed (qirq), Indicated O^q), and Suggested (5qjq) sense, respectively. ^T, and The Suggested sense is of two kinds:—Of Perceptible process ) and of Imperceptible process (3T^qif;g ). The first is when the Suggested sense is preceived to spring from tire Expressed sense . the second is when the Suggested sense, although springing from the Expressed sense is not so perceived. The first kind consists of a simple matter (^q), an’ ornament ( ), &c. the second kind consists of a Flavour ( w ). Mood *fr<i &c Love or the like, brought out into manifestation, not by the direct mention thereof, but by an Excitant ( faiTN)» or an Accessory ( ) an,i being the Permanent Mood or main sentiment in any composition ( ), attaias t0 the condition of a Flavour ( w ) in the man of a poetical sensibility. What things in every-day-worid awaken in one, Love or anv other of the emotions, are, when represented in poetry and the drama' called Excitants (few?). The two divisions of Excitants are the Substantial or Essential ( ), and the Enhancing The Substantial Excitant ( ) is such a material and indispensable ingredient as the Hero, the Heroine, the rival Hero &c.: for thereupon is the arising of a flavour altogether dependent The Hero is declared to be of four kinds:— ( 1. sftrfar’T is one who not given to boasting, placable, very profound, with great self-command, resolute, whose self-esteem is concealed, and faithful to his engagements. '4TCT^r is one who is given to deceiving, hot, unsteady, having much egotism and arrogance, and fond of praising himself. 8, is one who is free from care, ever gentle, and devoted to the arts. 4. sftorerFrT is one who possesses largely the generic good qualities of a Hero ; such as a Bruhmana or the like. These Lur kinds of Heroes are further subdivided into yg, and ^rs. ( Impartial, Saucy, Faithful, and Sly, respectively. Of these, is one who is equally attached to several women, i, e. whose affection for two, three, four or more women is equal, yg is one who though culpable is yet undismayed, when reproached, yet not ashamed, lying barefacedly even when his offence is seen, is one who is devoted to one Heroine only. is one who, being attached to only one, acts covertly with unkindness towards another, whilst shewing affection outwardly. The Enhancing Excitants ( ) are those which enhance a flavour; such as gestures, beauty, and decorations, of any principal character ; times, places, the moon, sandal-wood ointment, the voice of the cuckoo, the hum of bees &c. That which displaying an external condition occasioned by its appropriate causes, in ordinary life, ranks as an effect, is reckoned in poetry and the drama an Ensuant ( ); as the gestures manifesting externally the love &c., excited in our minds by such appropriate causes as a woman, moonlight &c. The Accessories ( syfirgift ) are those that, cooperatingly go along with- whether immersed in or distinguishable from,-the Permanent Mood; as in regard to Love or the like, while it remains the main sentiment, Self- disparagement ( ) and such other things are called Accessories, inasmuch as they tend in the same direction, whether obviously or covertly. These Accessories do not form a necessary substratum of any still they act as feeders to the prevailing sentiment, and strengthen it in various ways, whether openly or convertly. That Sentiment which, neither those akin to it nor those, opposed to it, can overpower—-the root of the sprout of gustation—is held to lie the Permanent Mood or main sentiment of the composition, such as Love m irth ( fgxT ), Sorrow ( ) &c. This permanent sentiment running through other sentiments like the thread of a garland, is not overpowered by them, but only reinforced. The Permanent Moods sometimes become Accessories • as in the Erotic, Love is the Permanent Mood while Mirth is merely an Accessory. These, the Permanent and the Accessory, are called (Moods ) because they give occasion for the existence of a flavour. Flavours are nine; The Erotic ( STrpy ), The Comic ( £pPT ), The Pathetic (Wl)’ Tho Flirious ( ), The Heroic ( Cir ), The Terrible ( ), The Disgustful (fr*T'*T), The Marvellous (3^), and The Quietistic (^TFrT )• Tlie Substantial Excitants of the Erotic are the Hero, the Heroine &c. Its Enhancing Excitants are the Moon, Sandalwood—ointment, the hum oi bees &e. Its Ensuants are Motions of the Eyebrows and side-glances &c., and its Accessories may be any except Sternness, (3}X£if), Death ( ), Indolence ), and Disgust ( jijceT ); and its Permanent Mood is Love ( )• Lie Erotic is of two kinds:—Love in Separation ( ) and Love in Union ( ). .1 he former is where excessive love does not attain the beloved object, such as the Hero or the Heroine; and the latter, when two lovers mutually enamoured are engaged in looking on one another kissing one another &e., 1 he Comic has Mirth (£Tff) for its Permanent Mood. Whatever a person laughs at, when he beholds it distorted in respect of form, speech, or gesture, is called the Substantial Excitant of the Comic, and the gestures pertaining to it are its Enhancing Excitants, Among its Ensuants are dosings ol the eyes ( )> smilings of the countenance ( ) &e.; and the Accessories may be Drowsiness ( f^), Indolence ( 3TFPT ) &«*■ 1 lie 1 athetic arises from the advent of what is unpleasant or from the loss of what is loved. Sorrow () is its Permanent Mood. The object sorrowed lor is its Substantial Excitant. The burning of the dead body of the loved one is its Enhancing Excitant. The cursing one’s Destiny, falling on the ground, wailing, sighs, sobs &e. are its Ensuants. Its Accessories are Indifference to all worldly objects (faifc), Fainting (jftf) Epilepsy ( ) &c. The Furious lias for its Permanent Mood, Anger (sffpq ), Its Substantial Excitant is an enemy • and bis behaviour is its Enhancing Excitant. Its. Ensuauts are the knitting of the brows biting of the lips, threatening gestures etc. Its Accessories are Sternness Horripilation Opnii^) Perspiration Intoxication (q:?) etc. The Heroic lias Energy ( ) for its Permanent Mood. Its Substantial Excitants are those persons that arc to be conquered etc. Its Enlianciag Excitants are the behaviour etc. of the persons to be conquered. Its Ensuauts are the seeking for allies etc; and its Accessories are Firmness, ( £T%: ), Pride ( rrq ), Reasonings ( cf£) etc. The Heroic is of four kinds :—The Heroic in Liberality ( )> as The Heroic in Duty iis The Heroic in War ( as nrr: and the Heroic in Benevolence or Compassion as gfpjrfqigq. The Terrible has Fear ( ¥PT ) for its Permanent Mood, It belongs to women and mean persons. Its Substantial Excitant is that by which the fear is produced ; and its Enhancing Excitants are the fierce gestures of the object of fear. The Ensuauts arc changes of colour ( qqdj )y speaking with a stammering tone, trembling etc. Its Accessories are Aversion, Agitation, Terror Debility etc. The Disgustful has Aversion (jTqqqr) for its Permanent Mood. Stinking flesh and fat are its Substantial Excitants. The presence of worms etc. are the Enhancing Excitants. Spitting (ftpfRJr), averting of the face etc. are its Ensuauts. Bewilderment (rfr?r), Epilepsy (apffinO' Agitation (anVr), are its Accessories. The Marvellous has Wonder for its Permanent Mood. Its Substantial Excitant is any supernatural thing. The greatness of the qualities of that Supernatural thing is its Enhancing Excitant. Stupefaction Perspiration (fpr), Horripilation etc. are its Ensuauts, and its Accessories are Debate (fq?T^), Confusion (q+q-fjvq), Joy (?rq) etc. The Quictistic has tranquility fag) for its Permanent Mood. Its Substantial Excitant is the emptiness or vanity of all tilings by reason of their not being lasting, or else, it is the form of the Supreme Spitit its Enhancing Excitants are holy hermitages, sacred places, pleasant groves <Scc. Its Ensuauts are Horripilation &c., and its Accessories are Self-disparagement kindness towards all beings etc. Merits (mr). Merits or Excellencies are to the flavour what Heroism and the like are to the soul. These are ot' three kinds :—Sweetness (lTT'^)> Energy )> and Perspicuity (q-^). Of these, Sweetness is joy consisting in the melting of the heart. It is successively higher in Love in Union (^[jj ), The Pathetic (q;$rq), Love in Separation and the Quictistic It is manifested by the letters ^ and q short, and such letters excepting the linguals Z, Z, 3", as have their respective nasals on their heads ( as 3j, ^ ), as also an absence or a paucity of compounds and a melodious style. Energy is the State of being fired, or in other words, an expansion of the mind. Of this there is a successively higher development in the Heroic, the Disgustful^ and the Furious. It is manifested by the first and the third letters joined with the second and fourth of any series, that is to say, with any of the aspirates, such letters as have ^ above them ( as ) or below them ( as q|T ) or both above & below them ( as £r )! the linguals z, Z, Z, even though uncombined with another consonant, and the hard sibilants and q, as also an ample use of compounds and an exalted style of composition. Perspicuity is that which, existing in all the flavours and the four Styles of composition, pervades the heart as fire spreads itself through dry fuel. It is manifested by such words as convey their meaning as soon as they are heard. / Stylo (T^RT). Style (c^TT) is an arrangement of words auxiliary to the flavours <fce. as the conformation of the body is to the soul. Of this there are four varieties the Sfctff, the the qfar«T,and the prevalent respectively in iffe, an<1 <XTZ. A dulcet composition with letters manifesting Sweetness with few or no compounds, is designated the ffcjff style. The ifrif is a grand style composed of letters manifesting Energy, and abounding in compounds. A composition comprising other letters than those of the two foregoing styles, and containing compounds of five or six words, is the qrqrT^TT. The is a style intermediate between the and the qfauft- +Mmcw?i. 3SFTV3 ^T. -—~^<38S>S—--- ^5^PT ^ ^ftcT TT- *T- fcRPT ^W^rKlm 'TTfeq- *RfKTT% JTt%^T ♦ »\» ✓'•v ^ *\ trt r^ff^^rr ^flf %^Tf <M4T *TFTT 3TTW 3^ ^ ” ^TO r^_ ^ ^^5 ^t. --c^TfcSSS'Dva,—* f^ncT ^o ^o sv mm. i~Vt^ *rr auirffa^ Wr^fr ^ arrowy ^rr*frc 5T%3 arr^T. srfa'TifecrRi fqqqpri qoiRFiRiitq^q'nt i Nil s9 m*r: ot. I .X*X 3T^Ft stsrr.xs x arftr^WT.. ...XX 3rfWRcTT ( 3*T: ).XX* 3R*TFITtWrT..m 3RftftcRRRcTT.vsX 3R^cTR^.X°^ 3TT»R^r .1 ovs 3R5RW *ft<TRRRcTT.X*X ST^Hm^TT. ^RT^rfKTT.m arT^tKTT. xxx arrspfcn.«>3 3T5RfTcTc^. K 3T5RfRTR^ ( RT: ).X*^ 3TSRTfKTr.<I^3X sRWcrr ( ^r: ) ...xx*> 2«RfrTtfRR.^ 3T*R'*PRPT:... 7..\< 3T*TdM<IWT.s?. ^ IR <ti d l. $vi> ^RTR^rr.xx,3*,^o STR’SSR^TRTRff. ^rf%^R f^renr:.^ o <*> ^T^I^dT.xh 3T^5cTT f:f^r:.x*X 3T$WRT..."J.XXX 9TCR*faT.^ 8RTOW^T.s*c % «re«*T!I^RRre?TT. stwtcwstortt ( atf^gor:)... xb« r%*rc: m.- iet ^TTTgcn. ,. < ** ^cT^jfcTT. ...^ ^PRtRRJT. ^RcRXR^ nWcTT. • X3X <?R^RrfR: •.. \. .. XXS ^sr^crr. ^T^rfrqT JFRr. ...x*x fjRvr ?r ^r: ...x*« T^ScTT* •• ••• ••• ••* •, f ...*x R^XTRff. .... ^ ^ JTRTcTR . . X3^ STTRRff.. .....x^ rjrr w^rgur. ... XB» R^T^ciT. ... . .. ...V9 RW^T^fr^cTcTT. ... xx^ . ...^ . ^PRfRcTT JpjRTT ....x*x ."... ... ..x^yc fairer. ... x°® ftficTr . ..x*° f^^TT^cTT.V3 X.VC fafcTTsffir fn%w <fR: ... ... xv^ %?TPRr. -spfRR . . ...X'i ?g;RRR .... .... 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I APPENDIX. * 'Mku^ T%I^: ^huif: I snnrsro-^ffa^—^wwi faftm m i ’^n^fo—^5f ?T5r | %$% %:^MSq W& TO II sTrmro-'m^—f?r: tottcittot ^r^rf4f i o—j:^TWT^T ^cT^TT ^swnro^r i 3TT*o ——^TTH’ll+IM^’il' || •^TT^o—3THT|—^KWfTOT Wlfo TO cT I „ ( ^T° ) ?ror *t ^tr w 3tct% w n „ *TftTOfa ^ TO^: „ ( 3T<> ^f* ) ^TRPTTW^TT %3TT%ft I *pM w'feiW totttow; ^f£t—w i *jfrcmr%mT w n q-rTpjo-^W ^ sq?#R^PT: I „ (<r° ^ ^%i?tCi4wrII ,* 3r^ta*-ro % ^r i „ ( mo ^ %*T ftr^r fcfl ^ I f^T o JIF^T^F ^T«TDTR^ fiTOft#TO^ w Upon stfTO &, observes:—en*r^ =q ^T*TT^ W^TPR: M*{iqi&3d I Upon ?r ssitot & c srtptes; observes:—ar^T f|<T ?r q^- sfaTfraprus^ita fswid ^ q^frorcir i Both these writers make a distinction between =^W- *^j%, a word-fault, and a sentence-fault, on the ground, that in the former, a word is faulty by itself; whilst in the latter, it is faulty only in reference to another word. But and fqw*r do not regard this distinction, fe- ^t*t says:—4 strr j |r% q^r frtt ?r arfa <3 q^Fcrcrc- 1 1 cT«rrf|—q'JifrqTojqrcmt 5^- tg: I ff <T ‘ 3n^ ’ ?T% 'T^ffT- 1 q^Fcrcruii qKqcRsfq cT^q q^iq 1 %S*ft r^JT^TfUT^Tftr^L I h srfar f% ^ ll —flprftaq—WJ& ™ sirTR0^ ^ I q|4 ^cT 3#FTT: II f^r«sro—^jpfhro—^ w: i ^z regards this Fault as a Sense-Fault. * <4 wn ?rf^ I ^r*—3^1$ 0—■f^T'TUTBW^ ^Tdt4cM<Wc| cT^fs^t I WA ^ WT *TOT ff^T II f^ucro—1 w .. i I’.Hf w: I cRTFlFcT JTR^Nfa ?N& II ^nr:-JT?r^ v ( fT^« ) ’STRT©—^ ^5*1—3rr^—!R^rwfo wffam, i ^Wfmpf <rt mi mi^t II sprRo*iIjn^^l-Pidl*«iw w ^™@$foqw i f^^i^yj #fRp^TT TRFfFFffl: II ft’**©—f^TT^—*PP -^cfFfR^ I $ 3T31%pH f^o—^f^Tpl*—•“ qjtf WcTT^TTFrT ’T^cR I « RRfw. frferc#ffapf ftPtf ptffa i%- ^t: RFR! I ^TX5RT<>-3T^§ro—*RTT fcrRRP ^ SHIOTf Tf <| I ’^rnro— —farfrT *T3f ft rIr I * t %: ^RH FTT^ RcRTRPR: II srrn^©-fM$R-( See the word marked 2 in the example ^ of ^pRRftt) fk*% © —f^^—ipT ’TFT ft qn%l% I * 3RR^. ( R^fel© ) % JRTO^f faWFTRfR I •^fnro—3T??n^—i ft if|<IWRT afifSI'Fta ll „ — ft^^R * % *T t T3RTR I RTR#rT R t |:^ SRiRf^T R %fsRTTR II stfitt o - wr*?^-—%pt qpflprr i & 3 RcFRRTO WS*Tg^TT%ft: II 33 ( See the word marked 2 in the example of FtfcTm ). f^r*—i f^r *t c^% hrth MN^ift wrt i % 3P$35*. „ ^ wif%c# o -wf^r j „ RIRRR RtWF: ^4%: 35 —Wf$: 3, ^f^f3T^#o-HRwi j vfj^o-3TD^^— , w*ipl- i *T$P^- V „ 2ir® w ) ) „ JFT° W ) 31W^. ) „ W w) FTlW- j „ 3FT° W ) ^TT’fer- > vm°~) ^r^rcmr: wi ^33m^lRfR3^Tr ’TTl q: I T q: qjrsfM' II %rrc«TAm imW( *rr w. Rrt I 3HA7 3U%^PTT ^ ^ Will qf i M: f qiTfeErTRr AT?: sRff ARW II %J% WAAIA ^«lf: WRI ^ II A 3T(prSf qft^qifq % # AffRcRI =A I WW% AT R>FT AIT% I f qrfDrrsq f^rr: ' qf?rr prcpnH^sqq^ li 3TT0 l^fT- ( q^r =f^T FPI qq?qq ^PFPT: i q?qq— 5 qpf^mt fagpFTTWii jq% 11 ^tZT l qTNTteqrrmr iF#f ^FjjqFift ^ 1 ^ _' y^qtSI qft RqtPTqfpF=»nT II 3T« W- ) ^h >r%s qirrH q; 1 WVFFT 3%o^=ript: II 33 33 33 rv r: ?t: 4wdRt 1 ■4H TO^feif^TT* 11 dfo % m II vmi 3*— STrTTo-^qo ^T%T fpTo 3T- ^tm— f4*eT®-WTo |fo 44« q-- ?TT*R has two more divisions under 3T$n?5, in addition to those of According to him, spste is a makes sr^tes, a subdivision of wq, & makes srqira & w«tt^ co-ordinate with it. *4r2T®——4t^ ^tRd^frf^I dfr^T ^PTc^H I H ^ ft ^ II ^[TTffi%T#r m\ d m n —WJtH—f^«ff4rf ^ qfaFtfd [%W HdFR I Wt4 dW ddT d^TddldTl^md. II „ ^Tdfd^—dTrdrWdT^fa *pmd f*dT TdfcdfoRd^l dr£ddf4dldddf4 WTd^TdT f|dfT II smno-^r^n—( see the words marked 3 in the example of f%^o—rffirr'iDj—sjrefh'ii^w 'Rtf 1^1 T-ii f5 I *i aPEfaiq. -T„ o. ✓ fa ^Tf^T 3f*TT m^r: ^ffcro- J«rWW» ^Wd^TdS^- *TT^*: II 3TrTrroIT^^T: W> ^rTf: ^NI^RcTh I <r JTF^ ^TT^ro-T^qa—3T?[%dF 3^: qq qpq f^PTP^ | ^TTir 0 —^qq_qgfJ ^oqqgj d ^5fT 3^7 ^TI II —?n^[—^n^rfd <re?r w m\ ?rt m\ ddi sift I fr%%rTTT || „ ^-wR i STrfTTo-Jn^I—( see the words marked 3 in the example of TdfdTd. ) fk**o— 5TT^—Sift# dd: I ^r*R defines ^rrcq- as—wNfc tt^ 5^ ^ sr stt# i ^rnqz „ „ „—^ erf^c ^ anrsf ^ ^rrn 1 „ „ as ^r**T£ does. *Ttm* defines ^ as—cT^mfrr fkids ^sjc'Tr'rWd. 1 WZ „ as vr^r^T does. n %n%- mrpri-^qrsJn— \ ht^ qfofaffiRPPgTHw^tT (q^pi ?i#) 5 1 m 3T*TH :-^RTT^— 1 qffc (q^T^to) 5 qmr 0 w:—^spftrcr- tii -qqr tRteq ii ftirpqfqfrRT I qTpTR^^Tq^qjT Prt n l STrmo-Wiq-—( see the word marked 4 in the ex ample of ^dti^Kl* ) qjq% ^"TRR P* %sqr^ I ** <h 1 d n dq^^t%d^n ( q^rq^o ) ^tc^rriqf wfwwv qm% 1 ^TT^o-^fq^w—qR^t^:’ (qro ?\o) (TqtRqm^rftiqqi tr Rq: 11 ■*fhsr°—3T55F^—I fts^raf^Jl! TO *TTOR: II fi^—Pr^r^q^RpqT^ *w 1 FT sqfarsftq*# || J? MrliH®-3T3BT^— ^5TR[ I tot h?h| Pk FfT » f^r ^WTt?n% wto 1 R^rs defines araftR as ^r=ft ^ ^ 3RRTRrrf¥r tffacft I rrut defines arranl as ^ra (RgrfStTO ^32$ | rv\ ♦ 3 s W*R STrTTTo-aTftllsftfofa® — See the example’of TOST1?. Prjsre— „ —y; wp? wng5w% 1 —“TOHg^tMraroii 1 ” V) V! ?J ^ % it# if 'ra^m ?q 'mw i «rTT*To-o^lfrtI^—^^715 Wq^iq^ W I *ffcr«—frs^— ^T|q|Hq|qw qttf^taH: I qw& *w ^ wmi i wte tTOT% ^OTFtTfcf*PT II srm^®-f^tfcpp[—wti ^ i wui wgtwi» f^r®-- „ wfhn I 5RJT' defines air?<n«r as sierra ^ferthiwraRiTHTJm i »«jrf^stpjK ^TT^-fTft^- 0?T*Cr*) 55 55 55 55 55 55 55 55 55 55 55 55 55 55 IOT OT?T fl I 3TT#T?t *FT: I T%fe«TT% *T ^rOTOT^t 3% II ^T%^remFrr£i *n%% i : WTO: II rs r\P rs ♦ ^n rN OT^*TI5F3^ WOT ’OTT^R I ^IWte m |i ot *ftot wott I ^ II W I fcffaOT H^t %*TT ltf%c%OT || fat % faffacT faffc<T OTftT% I ^ WPTFT *TT FT ?T ^TOT ^ II W W. OTcT: W #FR: f^T: | ^ Tint ^TirnSOT OT: II *siT3T 0 -(^T ° ° )-*RrT F ^TT F 3J%oii WTTFFT* I „ R^rcit #5 f il 5? eh$'*iteH+*al$: I „ Rp?W g%? IT: II ^t iRsR ^rimfclpw: il TOf o—3§[&Tki ^iteFR wR RpR % I ffi?tR ^#r RttsfR ^*tft fpR ITT II ** STrTT^T o -f^FT%H o -F>TT ^ ^ I WT <?FT fcTT ^ft^ri^fterr *PFJI f^*©—gHPrafr©—ttctf t%t f*n i FTPRlrf©—4rT *FT ^RfTf% I *• R#' srnro—pTHfcr—*ffff Fpr i „ f (Pr^)-^% ^ pF^wRReTTTC^:| ! FT^FTR F^TflR I „J (F^^MRfwR f^MFWm^tf^Fr I WH <FIFtI: 5ft WF[^[: || RFSTWFPFT 'T^FIT^c^F; I f&rtoT pr ii •sfHro—fWfa—F^T PTIWpTT^ | *\m§WTrq\^\ Rp?t il —RthRf—*rtfVt fjftjf^swT i pg^R ^rt wwp^R il ^TF^r #R #ht RR I ^ TTP## 5ir|wRT 5? —ftTTf#—c#RT mw H f?4 *PJT*?T W STTfcp I SPTTo— 5, £ —|^TFW^ cT^RTrT^ I ^o- n ) (fr#0 —■<?/# Sc# # 3#0TT 3FTSTFT cf I 55 J —W^R%fScf'- I 55 ^ fag*)—Cpifei ?#% ^1##: I ^rr^i-piw^r3^ ’r^im tr woH i 55 ^TT%^g^-^fTHT TP# TpRPT ^FT W# I ^TT^T- OTT WcT^^% T#%T: I M#: ^FF^^^R R#: I ^R^To-^r^—H S*# T#1#- TO^FTfTFN: I yy —FFRTRf SFRFTFRf | ■*rnr o—'qw^t—FRFF W WSFT 3TFFTSTST RmflTcT: | c#T w%Fiwif#T msm: il yf *rcprfif—3ii^i ncfiui=ir'i] wftt 55 yy yy yy I #>TT W\ti *#S- fb || —T#W #?: I 55 { (IT#»5)—1®lM cT^r TTfr: %F«tcW^: I f^r^rP^—^I^l: T%ftrrr: I ,5 f (^TTf#^T)—H^TT^ ! TWRF || 55 J (panm:)-^t f#tcf%tfi < I RRRI^MT hR|c1U HriPci yy yy yy STrnPT©-W^~- V I jy sff^rsi:— l f% qqfcT qr^Fq il © —^Ti«—^cT qqq>q*qf FRf „ C (W^)— $ftp I „ < (thh*©)—'4q qrFF qr §5 qFF i ^TT^o-3THfi^qn—q^T ^Fcff 3^: qft: I %^o—3^^—tr^cTT^jl qqk£^nft%^q I qfmftreqqt q^qmcf wFTqq. |i STrTTro-^TWTqr-^ F^^Tt W q^ff© I ^F^r quHi^FT R*FTq f^-^-o—Tqjqq^q—qf^ qsqffiqf qfe: f% qq^qqf rRT qpnrc defines BTtffcJF as foqT'R'rqfff qrTqqfcsKqg^qw | ^Tttttjt defines britr as raqrqqfogiq ^mK cT^cT i srm^<>-^F^o-RqTbM^MFi qqft q^wr: i qqt^q^iqiT^^’FFiqqffTf: n fir**®—qf^o-“ 1 ” “ qqn%q qtfq fcrramPl^ i ” ** __ vfrjio—qqqf^qq- ( ^^rq-qqq^ q^fq^^qq: i 5 ^qtvTOF^q^ i n H m 0 -qq^frfiqq-qi'qqirqqH^rF fMq ^dr^rr: n fq^o—qrfqqqqq^—q ff q^t^qP)^ q*R n qFu^r defines 3^%^ as qq qqr*fan%fi qq qq qqsi'qrqq 1 ^sr defines as arfaqqq qqr% qrq viwi qrRqq I 3Fq: ^Kcfr qrfa ^*,\§ qrt qqT 11 f^lKoqi fam> II f^-^o— 53 i WT^FTl^r^ ’TTl ^ TORTR II —( See the line marked ( 2 ) in the example of HAcMd^* ) fir^o- „ —TCM'dlT mMFT cTTRFdt Mrf*R: I TcfFcf ^TT$T^T: <Tim WRf: H ^V5 S^^FTT^. 3R: I wm §s cf# ! ml m II STrTTOo-WT#F*-^RRIF «^TM ^ I II „ ^TmiT—W-%%mRTTmmmHr #^m?TT I ^.wpcT^iw^ wfttr II 35 l^R—^ m%l RRFT *T mm FFRTI Fft: I ##r m?w n m*im^ mm mm fcmm % fdtssi rt h 5T?TTtr^—defines as 5<r: I „ —arjjfr as 3Tjw <rs;^r ?r I „ —favT as ^tW3FT ^RFTFlf^t I n 3Rf^?RFqn. n?mo-^r^T%®—f^ti 5mtwrcr>iwR> #T^i <ra? i 0—^I<.'4 M np’iro%I f’ajfo I *1 STT^WrTCPJ- STrTTT©- mw sswr: i f^©--3TPTT^WFTT-<f$ rfcfft ^^TRT vm i Jr *s 55 ^TIN TO|W *ft#Frfai ^T%T^%r: I ^mt STSft II ' <. ttt*©■ mi wit %sfmf I •WTryTo—o^T^q-—^ ^P^Tcf <TT%qT fffl: | 5^ sift* ii „ ^ ^T%: ft I WT pip# TOlt ^W: I) STrTTTo-oqT^T^—W’TT^T ^ ^OTcflft§: I wp% teMT ft# I „ w ?r iWt^ i ft^T #ft?T cf^t 3|Rm ^T f^T || o fa fR# <re*rarc i htttvtc: defines secrets- as ssrfa'T^^ ^T^re^rg^ra- i ^TFxRTiT defines s^refFr as s^rrefa? crfam^jf^r T^ThrMmd*ii'd: I 3 3 *TffcfJT. ^TT^o-^fu^fq—qri m *tf*F3*- ^ ft*: I ^So itrc qfc ^iRh4^^ f^w- ll STrTTR<5 ——fTc^T^MfK^t^ 3>RTT?PTf^HI[*[ II qgj q W*ti %$ rrf^TT^rf^TT I o -7Tr%Rr-W W^^TS’PT I H[% ^ dr^ ^[Ntll^rfT: f^: II qRqs defines ^r^fcT as qrqqRcRqqtrq i _£\ rs. *» jfrcrrapq. *3^:—jttwi—^r% ^iawqr%3 ^r I «ri5rain*TF|p7f ^nf^5 irf%sn^ ll ( 7 th variety ) -ff St°- i^Rnr-sf® ^r«- ^"oJSStr^ } *rtaft w: 1 ^o-^7) | ^ i ^rnpro-^q^qi^—f^T^HT p^^TTST ^ I -^TTT^T ^tt WT^t HMHI ^TfcfaT: ^^fdI%R[?x qg =m%cT: II ^r#T—srq^qw—Rstfcrm^H^d% I ^HRNU|P^#rt: qr^fRT q: || q?m o pprrpr ^DTtsw | (sffqo) ^FRRfqW ^Ncfl: II qiTTO TT°T'TTRTTH ^cffaRT I (^°) | ^ TO:5Rm3l^ ,N W ^TRt teFRFc^t %q: | f^r^-o-^q:—q qiRq tpr q^ qr q^iWR i ^rsRT^T defines ww as qrore qqriqf 5n*Ct qr qq q ^q: i ^ defines t as ^STTjnpiirsst %c^t: I vth cf frw^4r f*T: i STWT-H^ ^ 3Rtra STO^cT ^rfrt^IT^ | ^4 *t4 4srfw &c. V* ^rfwH f^©--wWfai—mwi. &c. V* W- vrnro--3TSfq^T^—^I ( <T© $0 ) ^iVt ^TFfa rtto; II ^4^—m%Tm x^mi\ wiwisw m \ m 4)- II it tt wz**—mm 1 H 4 chil<r|'tl|H>H II el^R—3 W^rl *T>pT: I WIf4 d^#m%fl4q n STrTFT©—:—( See the words marked 2 in the example of %£•) fa^©-3T<P**©—T%^ ft* W% ^ I STrTTT©-^I^—f4fe ^3^4 sfNf srPtff I ’TI^fR era ^ II WTT5T defines amnns as I „ „ W4 as arfaif^eitf ^ i W? defines cT£T^ as:— 2fr ^rens^rfiRTtf Vm^f i ^fr ?ra *r eTSTfafa 1ft: i| HT pT W wfa'- I *T^»: TOT 5T ^ * cTWT II 3° ^TTfrT:. S*w. w^tm %%mft I c^u^j——^Tt fic^f Wf R^WT^TT^ I ^ f%?\ H^cTT^FR: II ^ZTZ:—<T^f ^ sTTC^k I ^T'4: fl ^W%Rt W^T ^T cT^Tf^ II f^ro-^IT^To -f^cT 3RT ^ I mA <Fft II ^ 3^^- THT®—^ R%TW §f^: I ^TI^T o stf^ssr^ sMtftfr fw;i ^3^^5T%^#I^^FcTI flTC^MI lIHTcT- nttfrWlVlk ft ^ ^^,l 3T[[%ffcTT ^ ^*ft: II ^ ^see examP^e °f ) 14 n1^ ^70^^)— | ^ see examPle of ^f°- ) 55 55 55 mfnn snrwT *rf&cn^ fi^r i wisrctar deJines as | ?n^. f^n^o-JT^To—“^T% ^ qfift *r ffa I ” ** #^p. ttht o -mum—I ^TTTfM^f ^RTT * m ^ft^K II sTrTT^o-H^r^nr-—^ I #*TT fFl WrTT *TcTT: II f^^o-^tf^TW—3TW[ ^1 *g: ^PTT ScT q%%J: | rx’xr 8^ R|3:- MdlMo-^^o-flPfirW ^Tcf I#sf^4>te?|pl5> I ?TM =t f^t: II f^R^°-f^°—’iCl't &c- n wrfete:. WT*T°- 7> V V 1) *H M o- ■#rf*rc3R— ( ) ^mtr *tt*t i _ „, . , v ^TT: II ( *pft W^RcTjl (¥RRt%©)—-Wlp5flf*TpW§ ^ " riTcft^T STC^ppft: | (^TFTpt*)—^fituT OTte I W T% ^ *[W || w^m 3#^mw4T wrftera i ^ ftfcrr?^ i?N^r w II *JZl—3Tft*TT^-^ r^t fftWTT: Smft ^TFcT | —'vilPk^H—^’jT’rr^'TiPifenro: I %P I # 5R*nill€^ li ^2c?ri| fpsft I R^Nt ^fcr: l| rf: ^K<s) ffTRT^i: I ftfelfe*: I%m: ^RF^T: II -BTrCdWf ^TI I 3WKtS?TO*it frflR: <3%!* II UrTTro-^R^^—R RRRR l 3TW fRT: II ?r 73 n 77 ?7 1t (^r%o)—sft jfti q: mmi n JTfr^sR^TFTIR mm 5^[R^on:tl f^c* 0 | <RWTO fft: I R5TU5T defines arfcfw as gc^f^TdrcrmfaJTTq i ** j?wr%R^::' ^ 1 ( see ^ > „ (^T© Jfo Ro)-R%fTR I 73 33 „ (^tojfofto) stl^l} -( see 3^- ) vfr^n:T^T defines as, T%£ cTSjq RfnTr%f^TT ^ | ^^Jrccfrrr II ^fr ^raR^n^uaT'T: ^rsfr | cT*TT*Rr% spfppj: II ff If jy 3T3*tr%Tw: *r ^r%g^fa*reit n .—S>S . , rv rs *\. r\_ ^ ^ tmpmfrfrsrT^ |qr: ii MlH-C-^lfao—^ife3T ^ ^ T# WTT^o-wmrwr^i^ wf q$mt I ^TPif^o-^^T ^n% f|*RT: T% i tf^RRRR^ FRR* I Wrf^ 5Tt: | (^osrrofto) \ II (3?0 3Ro f^o)-qFWh^^ I ( see qPR above ) (^T° ^tt° fq-o)—rmrrrfr^ rrt% l WRRW RTS4 TWIR: wm II (^1%o3To 7 I ffs )-} ^ *Rt ^TR^TR dfesTW II (4t® R® f^o)-qfi^lTTfr^rq RJR: wfi: I R^IIsR II (q® 3To fto)-qR#RR qHt SR^RT R *t T%T I *TRT R JR W3JI R|?RT^§q- l RcRiRR RTR: RRJRRftRSRR; I ^TRTfqo- | rf^T flRT^RI^tRq^RTFR^^II n riVrw l ^itwtr^r: *rr i •■RHfao— 3 SRRFte RRIRRR^tRR: II „ ^fr^q-^T-1 3RT%rmqts^r rrpt Rcr^ i RRT^®— C fan wii: n ?> » <^41—fro—I (see ^TTPT above) » 5n«R!^lfio—^TTT%^T s&Nt^TI I ^3C*J-—ftmm—mi h (Wrssrctsr n ft^T o -5T^R^TOI% o—3N> ^T^(t ^n^TT: | 8C SRRftffi:. 0-=rr?rp 0-H?r =ro% i ^ «^r W: I *T7F '# g# 5FT: H?r || 8 ^ HH^TRlrR. ^ ^RTWTftfTp. S* RR^TTRItT:. ^ STR^TTRItT" cTW^^T ^ II „ fcftsfcpn—“strrthth ^ fimv. f% ^ f^’ll „ rfcqr:f%qW%”ii „ ”ii wm-- wi q^r qq stw ^ iTprf^i ^Rcq ^ qtf qR ^cq% ^mtS^F || ^>2 3TT53*P- f^ro-.^R5^[-3Tr^r ^r^rqfamrM &c ^ «^PW5. STTTT00 -^TRqi 2J<T qpft 1 arN faqoTT q^qf^qi sfrqfo 3TTW II ftr^ro-Hf^n%prT-H^ ^ to; wtfr i ^VSR® f^q o-qqnT%qfq^T-‘^rcpfar few ^vs f^sqpr:. f^^ro-j^-qp^T—u 3TFT%^S#T fftsqftll He SUITOR5- f^n^o-^gqiqT^^T—^^1'^! qq! #Fqqfa^ 1 ! qFqqq q m fqi n P^q ®--Prifq>qH*TtRqo—^q qqFfqpqF &c. ^ 3P$V*. •sfrsr o vi wt l TTrpt STiqqS^q fT%T qqqqi%: II STrTrT0—3T^r^^—( see example of as a ’Tq^fa- ) f^ro-sr^N*—qfqqr qr©q?q m\m-1 qqrsj qrq^ ^ q qqT qqqqTcr: II o sqf^n^F^r-m f^pqo-“ ^TTrTT ^TT^rfT *pT ftqqi 'TRpPt ” I ^ WWW fk^o~u fT^TF^r m q: ^qqTqq I q^^TT^qq spqft qqqqrTq; II ” fq^o-“ 3RTqq TFrTRT^qi^i^ qfqqqiq> i ” W 3T3TOT TOf^FPTI s^:. f^qo-qqqqfq fqriwrf^fq qqqqq ^q^tqqiq^ i fqfr^TO^TF qRq# qr fq^qqi cNt ii \3 The same as given by Mamraata. ' ^ §5 cri% ^t 4fap#rcq; I ” t,tv.—f^n-( am ^jfrafRTOfsfr h«hr.) I nr^o-^: jr: frfti:—(imwft i) ^ defines as:— m ^TT^^tsfqr xm f^TT-cT^ TOT 5T*F^J I 3rr%fTffr if^ir€t <i$hr f^^renn# ii 3T^ jph* ?pt ^mrs^^cf: ^7t| ^fr^T°- \°z \ Gran— ***._ v. i, s ft frror I ' * 3 ) ^Tfi^T ^ m\\ JTrrT^o-fiRH:—^R?m rfpl: T^WTR: I W^T^HPT T%2b II f^^o-sr^r^ st?r^—VfrH^R- izmfe pfaw *fTfTc*TT flf I * % 3RJFI ^:. r^r* —The same as given by Mammata. ft^g-o-rftrra RtfRRiftsrarft. nnp* °—The same as given by Mammata. «5 RffaftTW. ■*TT3To-st^—3Trc4 tflSlH «pfl f^?r RTR t?R RRT I sfccr ^ n 3tt^4 +;=4|hw°*im1 ^ ^thp* i W^M II rs „ ^TT^-c^r ^Wr^IrT ^Tf^TW *\imi I *TfT#T% II *\ rs Jf WWMd %^ltrfxTfftSI’T TFTH^ I Tf II Tjm s?sht trim?'' I, or <TT^pftwft: tt**li4l'3j4IKcRI,14iv I & ^T5TU5T:—defines srcr as faf: i ^3: defines *n*JT as.-'— ^TfTTO^w^HTq; 1 ^^^TfarWRTTSRmr^m 11 -O Again ^gf^cr ^ i RRT^tTR T^qr *RfcT II TW STfT^T f^HTcf ^[^^WtW^TT I ^ ^ ^t%? r%i%t^T|fcr n f^T ©—The same as given by Mammata. The following faults I have not been able to include under any of the faults mentioned by Mammata. ^ra«—(arapio) —No example is given. •^TTjTo—( 3Tqpjo)—^^TT^RTf g[TR IPIdl *l\m I <T sn^oft p^RT TFH ^TFTT <?5T- ^ $\S'k II ^m—( )-flp: W *\ ■»v^_ I am JT^RT #W ?*twT: m: || 3TrTT^©-0W}° )-fcp TO: I w %wr w- f^rror: II —( 3PDr<jo )-cR f^FTOTO^ i wro% ii •^rnro—()-mm ^f: snspqi ?row m i ftf^frt TO II „ ( tor© )-rr m m to toth to*?? qp d tojti dTO#3dTOTT T%HdT P 3PTT% *TRTT II >> ( Pu^+K0 )~^TO; llHpd pTf: <*IKPd p- dRTHTH I SfRSTFcT 3^HR TOTFfll qTTTTo-qTO©-^RFTO qd TO: l%TOTRW ^ II pR^fq~3TTSnq | ^rr^TTO qp II 77 ^t*r defines as JiFTr^r ^fardtssfr ?rf^r^ <r*tri f|^TOT%r^rn. rrto defines eRR as, „ „ 3Tcj; cT^TT«f ^^: ^crn I u >> f^r as, „ „ 3TT^TfTrrr^4? %?WT|TOf*rc: 1 ., „ tTO as, „ „ drj 5 I „ „ ri^r as, „ „ rn%^TTJT^ I 53^ defines ap?|<j as 3^3 *#r tjj5fro*h 1 drfcT cRTct f^r ^RTTF II NOTES. Introduction In the first Ullasa, Manimata has thus set forth the nature of a poem:—A poem consists of words and meanings without faults, with excellences, and (sometimes) without ornaments. From this definition of a poem it will he seen that among the characteristics of a poem, that which stands first in order and importance is ‘ faultlessness.’ This feature preponderates over all the others. The conspicuous position assigned to this characteristic is due to the fact that a poem possessing even a multitude of excellences &e. does not charm, if vitiated by a single fault; just as the body of a woman, even of a surpassing beauty, does 'not attract, if infected with a single spot of leprosy. (Kavya darsha 1-7). Whilst it is possible to derive some pleasure, at least, from a poem that is untainted by a single fault, even though not possessing any excellence &c. In the case of such a poem,‘freedom from faults’ itself may be said to constitute an excellence. But ‘faultlessness’ is a negative term, or to use the technical terminology of the Nyaya, it is a negative category, a kind of nonexistence, f the nonexistence of faults/ and as such does not admit of a self—dependent description. The cT3[^t4t fr: firfir i Kavyap. I ’ ll. I, fourth verse, first line. 9 declaration of its nature is dejoendent upon that of its correlate, the positive category corresponding to it, i. e. the faults themselves. Thus an inquiry into the nature of ‘faults' must be set on foot. Its necessity is made evident by the following two considerations:— Firstly-that it is impossible to understand what ‘faultlessness’ means, unless .we have a full knowledge of the various faults themselves; and secondly, that it is also impossible to avoid faults, as Rhetoricians tell us we should do, unless we acquaint ourselves with what we are told to avoid. As for what is said, ‘that according to Vamana who defines ‘ faults ’ as the ‘ Opposite of excellences ’ it is excellences only that deserve to be described and not faults;’ it is not right, for we may, with an equally good reason invert the order, and define ‘excellences’ as the ‘ opposite of faults,’ and besides, the above definition is not right, since faults occur even when excellences are present. Our author, therefore, after having described the nature of a poem, first states a general definition of‘faults,’ before entering into a detailed account of them; for, unless the o-eneral is known, no desire for a knowledge of the parti- IT' cular is possible. KARIKA I. A fault is that from which springs depression of the principal sense. The principal sense is flavour, the literal sense is also called principal ( only t second arily) inasmuchas flavour resides in it. Words and others (i. e. letters and their multiform arrangements ) are useful to both; hence a fault resides in them also. + vrnfr Kam ■ A FAULT DEFINED. Poems may be divided into two kinds:-Flavorous and Flavourless. Flavour constitutes the essence of one; a striking sense or idea, that of the other. Let us bear this division in mind, while we analyse the definition of a fault. is here a Bahuvrihi compound, in which the first member is not in apposition with the second. That this Bahuvrihi compound is sanctioned by Panini, is indicated by the sutra 3§yf5T i where he says, that in a a word in the locative case and an attributive should be placed first, thus implying that the first member may be in a case different from that of the second. The word means (Flavour) which by regular derivation from the root ‘ to taste, or ‘relish’ signifies ‘ what is tasted or relished.’ So under this term are also included the ‘ conditions’ (vtr &c)‘pennanent’ and ‘ Accessory’ (^rtifr^ifr.) This is as regards a flavorous poem. In a flavourless poem means the literal sense; for, there is no flavour there, which a fault can depress. This sense is also apprehended as striking owing to its association with a flavour. This sense is called principal, because it serves the purpose of bringing a flavour into manifestation, through what are called the ‘ Excitants’ (fq-vrr^) and the ‘ Ensuants* (sfpTT?) <yc. The general meaning of then, applicable tc all poems, flavorous and flavourless, is the object of an appre- -i hension which is principally intended in a poem i. e. which produces strikingness. The word etymologically means ‘that which is made the object of a verbal congnition;’ and hence includes a word and a sentence only. Thus, the word 3THI in includes letters and their arrangements. Otherwise i. e. if we do not restrict the meaning of to and mw? only, letters also being included under the plural would be unintelligible ( there remaining only two things and ). A fault resides in these and others, because they are useful to both a flavour and a literal sense,he. they produce in our minds the apprehension of a flavour by enabling us to understand rt*TR #c, which are nothing but literal senses. The word ‘ ’ cannot mean ‘ destruction ’ here; for, a fault does not destroy a flavour which is • experienced even from faulty verses. The Vritti says that means ‘ depression; ’ but it cannot mean that; for, in that case, the definition would not extend to such faults as &c, which do not cause the production of a flavour. Nor can it mean‘non-production/ for, in that case, the definition would not extend to such faults as #c, where a flavour is produced but depressed. Besides the non-production or depression of a sense ( and the principal sense is but a sense ) is not at all dependent upon a fault. It must then mean 'non-production or destruction of the intended apprehension.’ The intended apprehension is firstly, undelayed, and secondly, of an undepressed flavour in aflavourous poem, and of a pleasing sense or idea in a flavourless poem. A. There is non-production of the intended apprehension in the following cases; — 0 a. Where the apprehension itself is not produced. b. Where the apprehension is produced but after much delay. c. Where the apprehension is produced but ( 1 ) The flavour is depressed ( in a fiavorous poem ) or ( 2 ) The idea is not striking ( in a flavourless poem. ) B. Destruction of the intended apprehension is either:— Direct as in the case of Ha vour—faults or Indirect as in the case of word-faults and sense-faults. There, too, in some, as in &e, this Indirectness is through nonapprehension of sense. In some, as in &c, it is through delay; in some, as in &e, through non-apprehension of the sense of a sentence. There to<>? in some, as in &c, it is through delay; in some as in &c, through producing dissatisfaction in the mind of a man of taste; in some, as in &e? through bringing out a contrary or unsuitable •sense, some faults such as «tc, destroy, when they arc known, others such as &c by their very nature. Thus, the most correct definition of a fault is:— that from which proceeds non-production or delayed production or destruction( direct or indirect ) of the apprehension of an undepressed flavour or a pleasing sense (idea ). General divisions of faults. Faults may be divided into two kinds:—Permanent and occasional ‘Permanent faults’ may be defined as those which cannot be justified except on the ground of Imitation. ‘Occasional faults' are those that are other than these i. a. which can be justified on other grounds also; as for instance, may be justified on the ground of Paronomasia Both these faults may be again divided into three kinds:- I. Word-faults, whicli are apprehended previous to the apprehension of the sense of a word or sentence II. Sense-faults which are apprehended after the apprehension of the meaning of a word or sentence and indirectly depress the flavour (3T*T^P?). III. Flavour-faults which are also apprhended after the apprehension of the sense of a sentence and which directly depress the flavour Of these, word-faults may be divided into I of a word Faults • of a part of a word I of a sentence ). It should be noted here, that a word (q^)is different from a part of a word (mV-K^i), since the former is a noun, or a verb, or a base of either; whilst the latter is a termination, case &c. Of these, faults of a word will be described first, inas muchas it is words that enter into the composition of a sentence. But it may be urged that just as words are the constituent parts ul' a sen- tence, su the parts ul' a word are the constituent parts of a word; thus the description ul' the faults of a part of a word should, also, by parity id' reasoning, precede that of the faults of a word. To this, the reply is, that the question of precedence has relevancy to such subjects only, as are distinct, and demand separate instruction. Now, faults of a word and faults of a sentence are distinct subjects, and, therefore, demand separate instruction, lienee a reason has been given why (lie description of the former should precede that of the latter. But faults of a part of a word do not constitute a distinct subject, and do not therefore require separate instruction. They are identical with the faults of a word and the purpose of explaining them will have been served by extending to them the instruction on the faults of a word. If it however be said:—‘Let the faults of a part of a word he made the principal subject of instruction, and then let that instruction he extended to I he faults of a word. ’ • This will not da,’ we reply. ‘For. there arc certain faults among the faults of a word, that arc exclusively the faults of a word, and have no correspondence to the faults of a part of a word. Such being the case, it is impossible to extend the instruction on the faults of a part of a word to these faults of a word which form a new distinct subject altogether and therefore demand separate instruction. If we adopt our objector’s alternative we shall have, in the first place to impart instruction on the faults of a part of a word, secondly, to extend this instruction to such faults of a word as correspond to the faults of a part of a word, and thirdly, to impart new instruction on such faults of a word as have no correspondence to the faults of a part of a word. We therefore reject this alternative on the ground that it is cumbrous. ’ Our author now states particular definitions of faults and first of the faults of a word. PARTICULAR DEFINITIONS AND DIVISIONS OP FAULTS KARIKAS II AND III, The faults of a word are:—1 Cacophony, 2 Solecism, 3 Unemployedness, 4 Powerlessness, 5 Obsoleteness, 6 Improper Signification, 7 Unmeaningness, 8 Inexpressiveness, 9 Threefold Indecency, 10 Ambiguity, II Unintelligibility or Technicality, 12 Vul garity, 13 Irregular Indication, 14 Obscurity, 15 Prominent Non-mention of the Predicate or of the Apodotic or of the Emphatic, and 17 Repugnant Suggestion. Of these 16, tho last three belong to a compound word only, the rest belong to a word simple as well as compound. An objection is here raised:—Logical method consists of two parts:—Division and Definition. Loth are necessary. Divisions must, lie stated inasmuehas by means of them, all the definitums or the things to he defined are knowiij and unless we know what the definitums are, it is impossible to know of what, the definitions are given. Definitions must also he stated, for, without them the definitums remain unexplained. Now, in the Karika above given, are Divisions stated or Definitions'/ If it he said that divisions are stated in it, there would he no definition.*, aiul if it be said that definitions are stated in it? there would be no divisions. Thus, either way, the Karika remains incomplete. The answer to this objection is that, in the Karika, both divisions and definitions are stated. ords in their customary senses are to he considered as expressing the divisions of faults, and the same words in their etymological senses are to he considered as expressing the definitions of faults. As in the Nyaya sutru, : I * the various words £rpi &c give us both divisions and definitions, in their customary and etymological, senses, respectively. If it he further said, that when this Karika is looked upon as statingthe definitions of faults, the word in is useless, lor, it can signify only a division, and thus serves no purpose in a definition. ^ e reply-that the word there shows that the definitions of are three, for the word has no power to convey by derivation, a sense which will include all the three things manifesting srrrftf and spgjrp;. CACOPHONY (*ifagpr) The fault// word called ‘Cacophonic consists of harsh letters i e of such letters as manifist the excellence called Energy (arnTfr) and depress the principal sense. Such letters are faulty only in the case of a flavour that is possessed of the excellence ‘sweetness’ for, in the Heroic, the Disgustful and the Furious, they heighten the flavour and do not depress it, and therefore they are not faulty there. Cacophony is instanced in aw &c. Here is the faulty word, inasmuchas it consists of harsh letters. The fault consists in the choosing of words causing painfulness to the ear, and thus tending to depress the flavour. '['In* fault cannot consist in the production of pain merely; for, in that case, cacophony would lie a fault, which it is not, even in the Case of the Furious &c. If it he said that a harsh word gives pain to the car, only when it is placed in the midst of words manifesting sweetness; we ask you;—does it. give yon pain, by its being known as placed in that situation, or simply by its being in that situation. The first alternative is impossible; for. in that case, harsh words, even though * Vide rn 3{o > \ 1 y 1 ftuffnh sfNrp. 1—Prabha, it i> not known which particular flavour they mainfest, would cea*o to he painful, at the very hearing of them. This is not a desirable result, because it is opposed to experience. As for the second alternative there is no authority other than your own * statement for it. There is, really, no reason why, to men who do not know whether harsh words are placed in the midst of soft words &c, Cacophony should give pain in one place ( as in the Erotic &c), and not in another ( as in the Furious &c | ). f Besides, if we accept the first alternative as the true one, still, it does not hold good when the grammarian is the speaker, for, according to the first alternative, Cacophony ought to be a fault there, but it is not, as Mammata will himself declare afterwards. DISTINCTION BETWEEN ( ) AND ( 5ffaf*5cpJTk ) The following are the various points of difference between the two:— 1 g° Consists of harsh letters only; whilst sr° of both harsh and sweet. 2 g° Gives pain to the ear, and through it, causes depression of flavour; whilst, it® causes depression of flavour only. Soft letters, for instance, do not cause painfulness to the ear, in the Furious. 3. The sphere of g® is limited, that of it® is wide. For instance, go is a fault in those poems only, that contain the Erotic, the Pathetic or the Quietistic flavour; whilst, it® is a fault in all. 4. The presence of a single harsh letter constitutes go; therefore, it is the f fault of a word;’ whilst, for it®, many harsh letters are required; hence, it is the ‘ fault of a sentence’. ( vide ). 5 o is an occasional fault, and is found in flavourless poems also, n® is a permanent fault and is found in * i ‘ srmfgrr ’ wtt stt'U i r>l - t i jt fnriprh i jv. t ?T5 ?[% I Pr, flavourous poems only. ( Vide srfcT^^TcC ). The following are the cases where sr° is no fault:— vil (a) Where a grammarian is the speaker. The word gives him no pain, because, he knows its nature i. e. that it is harsh. (b) When the same is the hearer. The word does not cause pain to such a hearer, on the same ground mentioned in (a). (c) When there is Imitation of another; here, another’s words are to be imitated, and hence, there is no choice left to emplo}T better words. (d) When the flavour is the Furious &c; here, the words are quite consonant with the flavour, and, therefore, do not cause pain. (<?) When the poem is flavourless; here, there is no depression of the principal sense i. e. of flavour. 6. + Althogh the same (i. e. harsh) letter may constitute vf<> and sr°, yet the grounds of their faultiness, in each case, are distinct. InR°, the apprehension of flavour is not produced, owing to the absence of such letters as will bring out the intended flavour. In sr°, the apprehension of flavour is obstructed, owing to the presence of such letters as are not consonant with the intended flavour. 2 SOLECISM ( The faulty word, called ‘ Sole cist ic is that, which is without its grammatical characteristic. That is, according to % Kamfilakara, that, the division of which into a base and (+) ^m^Rurwy i u*irf|, 3T^r —Sar. rT^Hr^Rf ^frr —Kam. a termination, is not intimated by a grammatical sutra, or better (according to which is not correct according to grammar. The fault is instanced in tj-c. Here, the word 3pRP-TT is faulty, inasmuchas it is without its grammatical characteristic. Now, on the authority of Katyayanas Yartika that “ jttst takes Atmanepadi terminations, only when it is used in the sense of ‘ prayiny fod (srrfcrr),” Atmanepadi termination is directed of only when used in the sense of ‘prayiny for’, as in the example ‘he prays Jor glieed This rule is transgressed here in the use of the word to which, Atmanepadi termination is applied, although it is used here in the sense of ‘soliciting It should not be said that the word 3pR7$PT is used here, also, in the sense of ‘'praying for;” for, thenar would not be (as it now is) connected with as its object. It is only the ‘ prayed-for * * thing that becomes the object of epfrrqfr, when used in the sense ot 'praying for;’ we should therefore read apprmRf #c. The statement, of the author of the Pradipa, that Atmanepadi termination is directed on the authority of ‘the Sutra’ instead of that of‘the Yartika,’ is an error. As in Sanskrit, so, in the various Prakrit dilects, such as URTFT &c. is the fault of solecism to be understood, when words want the peculiarities assigned to them by the respective grammars. Local and provincial words are to be looked upon as not opposed to grammar, but as not falling under its province. Proper names such as &c. in Sanskrit, and &c. in Prakrit, are to lie considered as grammatical, by the stitras (#) respectively. An objection :— The word h grammatically quite correct taken by itself but is faulty, only in relation to the meaning of “soliciting.’ The fault is, thus, a sense-fault and not a word-fault. Reply The following are the tests of a word-fault and a sense-fault respectively, (a) If a fault disappears on the alteration of a faulty word, on Panini (1-3-2 L) * Panini (d-d-l). is a word-fault, (b) If a fault (lues not disappear on the alteration of the faulty word, it is a sense-fault. The present is a word-fault, because, it disappears on the change of 4% to 3^1-41% or inw. The fault consists in the non-apprehension of the meaning of the word or sentence. Thus, it is no fault in an Imitation, where it is not intended that the words imitated should convey a meaning. Upon this, Udyota remarks (that it is known) that the knowledge that a word is incorrect, does not necessarily lead to the non-apprehension of the meaning. The incorrect word may put us in mind of the correct word, and, thus, may enable us to understand its meaning. Besides, it is admitted by all, that the incorrectness of a word does not deprive it of its power of denotation; and, even though a word has lost that power, owing to its being incorrectly used, an erroneous supposition, that it has not lost it, may lead us to the apprehension of the meaning. If the knowledge of the incorrectness of the word be regarded as ob- structing the meaning of a sentence, it would be impossible to understand such poems as are written in the various provincial dilects. The fault, therefore, consists in the feeling of dissatisfaction, in the mind of the hearer of a poetic sensibility, who observes the use of an incorrect word in the midst of others, perfectly grammatical, and, therefrom 1 lifers the meagreness of the poet’s powers of composition. 3 UNEMPLOYEDNESS ( ). The faulty word called ‘ Unemployed’ is a ivord used at a form, which, though admitted as correct, is not approved by the poets; as in w etc. Here, the word which is used in the f masculine gender, ’ is not used in that gender by any (poet), even though the . I markhsha di rects the use of (he word, m both the masculine and neuter genders. The fault does not consist in the word’s not possessing the power to express a meaning; for, it lias that power; nor does it consist in one's not recollecting the meaning of that word; for, when once the meaning is apprehended from the dictionary, there is no counteracting cause obstructing its recollection. The § fault cannot even consist, simply in a -delayed apprehension of the meaning of the word for, even though the meaning of the word is sometimes, immediately apprehended still the word is perceived as faulty. The fault really consists in the production of an extreme delay, in the apprehension of the principal meaning, owing to the reader’s mind being perplexed by the unnecessary transgression of the tradition of the poets. For this reason, it is no fault in an Imitation. It is no fault in a Paranornasia ( ), Rhyme ( ) &c. also, owing to an absence of perplexity, in the mind of the hearer, who sees that the word in that form, although not used, otherwise, by poets, is, however, used by them, for those purposes. Distinction between srnfvfrc? and In the first, the prohibition of the use of a word is absolute; in the second, it is conditional. For instance, a word like t^TcT is never used by the poets in the masculine &c; whilst, the use of a word like fr-fT in the sense of "going’ is prohibited, only when the word is not in juxtaposition with some other as 3^, T?; Or, according to S. I)., * words, conveying one meaning, are the subject of the first ; those, bearing more than one, of the second ; or, according to Sankcta, f one sense is not overpowered by another, in the first ; whilst in the second, the desired sense is overpowered by another - but this another sense cannot be connected with the sense of any other word in the sentence* For instance, the sense ‘ killing’ of overpowers the desired sense ‘going,’ but cannot be connected with the sense of ‘ Ganges, ’ because, ‘ Ganges ’ is incapable oi being killed. (Vide Ff^cIT'I'D * 1—S. i>. t ssrpirh ^ it JFT4 w4t V ^ STW, niTPTr Sun. Distinction between and In the first, the form of the word is sanctioned by grammar or the dictionary; in the second, it is not. 4 POWERLESSNESS (aranfe*). 3T*PT*|p=partially powerless; sr here has the sense of 'smallness’. The faulty word called* Powerless’ is that, which, although read (in grammar) in some particular sense, has no power to convey that sense; as in #c. Here, the word fi-cf, although read (in the Dhdtupdthd) in the sense of ‘ going ’, has no power to convey that sense (in the absence of an accompaniment). If it be said that, to talk of powerlessness, in regard to a word, which is admitted as possessed of power, is a contradiction. We reply;-that the the possession of power is conditional; and, therefore, we speak of powerlessness of a word, also conditionally; i. e. when the condition, on which the power is dependent, is absent. For instance, the word fRT has a power to' denote 'going,’ only when it is compounded with, or accompanied by, some other words, as <nr, ^ tfc, or ( to put the same in other words ) compounded with other words ( Ty, ^ etc. ), so as to form new words (^1%, 3:57% tfre. ) conveying the senses of a 'way/ ‘haughtiness’ etc. The fault consists in the non-apprehension of the meaning of the word, and is permanent. Distinction between 3reihfc=r & facemfcr. In the first, the apprehension of the meaning is absent; in the second, the apprehension of the meaning is delayed. Or, according to S. I)., f the first is never used ; the second is employed occasionally, i. e, in a Paronomasia &C; or, according to Sanketa, in the first,§ t sr? flTdT q-qfjTTWRSHtr^, fanwrik 1—S. l>. § falrTPl ^rsfq, i^«n. the overpowering sense cannot be connected with the sense of any other word in the sentence • in the second, it can. For instance, the sense ‘blood’ of can he connected with that of since a kick is likely to draw blood. Distinction between 3T^rr^ & 3T^^. A ‘Powerless’ word can express the intended sense, only when associated with another word. An Inexpressive word cannot express the intended sense, even though associated with another word. Or, according to S. 1)., § in the first, the intended sense, as for instance, the sense ‘ going’, of is found in the dictionary ; in the second , it is not; as for instance, the sense ‘luminous day’ of is not found in the dictionary. Some say that this fault is not permanant; because it is no fault in the case of a man who can understand the meaning of ‘going’ from the word fTlVrT, even though it is not associated with another word, ‘still,’ says Udyota ‘even in this case, there is a fault, and it consists in the delay in the apprehension of the meaning of the word, caused by the hearer’s perplexity as to why the poet should have used such an out-of-the-way word by abandoning many others that are well known.’ The fault, although residing in a part of a word is, still, a because, it resides in the base of a verb, not, in a termination &c. ( Vide supra ). 5 OBSOLETENESS ( ) The faulty word called ‘Obsolete’ is that, which is employed' in a rave meaning, although it has both the senses ( i. e. one that is rare & the other that is well known ); or, in the words of Pradipa, which conveys the intended meaning that is rare, through the intervention of the apprehension of an unintended meaning that is well known; as in &c. Here, the word drFTff is used in the sense of ‘tinged with, red* the apprehension of which is obstructed bt/ that of its more usual sense of ‘blood’. The fault consists in the intended sense being slowly apprehended, owing to the fact, that the ordinary sense, being § 'tfUTT'bd f^wTrsfg jttrpt i wwd frtr: irarwrrjpf u tT ft S. i>. 10 well known, is immediately understood, but that, when it is seen that, that meaning cannot be connected with the meaning of the sentence, the intended sense, then, presents itself to our mind. This, like Unemployedness is no fault m a Paronomasia, Rhyme &c; for, there, a delay in apprehension being approved of, by men of taste,' non-delay is not the point. Distinction between sTSPTffrc^ & The first is never employed, except in a Paionomasia, Rhyme, #c. The second is used, in even the obsolete sense, in some places, i. e. other than a Paronomasia, Rhyme &c. G IMPROPER SIGNIFICATION ( ). A word is said to have an Improper Signification, when it conveys an improper sense i. e, a sense, that suggests a property, derogatory to the intended sense, which is the object under description; as in #c. Here, the word canimals, quite independently of another word, brings out the inconsistent ( notion of) cowardice, with refernce to the heroes, who are, here, the objects under description; because, cowardice is seen to be possessed by animals. The fault consists in the apprehension of a sense derogatory to the intended sense; therefore, it is a permanent fault. Upon this, Udyota remarks that, this fault cannot be called permanent; since, if the idea of cowardice be not apprehended in connection with animals, then the apprehension of the improper sense would not arise. Distinction between arjjfatfpfo & In the first, the word, standing by itself, brings out a derogatory notion; in the second, it requires the assistance of another word, to do the same. wn%fcf<T i I q ur wu ?ru uur h?:—Pr. The faulty xvorA called ‘ Unmeaning is that whose meaning is not intended, and which, is used for the purpose of merely filing up the metre. The word ‘merely’ excludes such particles as ^ &c., when they are used in the sense of ‘'conjunction’ &c. Such particles as ^ &c., are not faulty, when they beautify a sentence, and when they serve the purpose of a Rhyme, Paronomasia &c. Such words as come under this fault, are particles ^ &c, and the terminations of the plural number &e. The fault is instanced in 3cTw5 &c. Hoe, the word ff is unmeaning, because, its meaning is not intended. It cannot mean ‘because;’ for, in the verse, no two things are stated, standing to each other in the relation of cause and effect. Nor can it mean ‘only,’ in connection with for such a restriction is inconsistent with the nature of the object of praise. Nor can it mean ‘certainly,’ for, ‘certainly’ cannot be predicated of the act of fulfilling, which, the Imperative Mood shows, is to take place in the future, g is also unmeaning here. If it be said, however, that its meaning is intended, then it would give rise to the meaning of qfUT|[, which 's not wanted here. It would thus he an example of Inexpressiveness. So fq also is here unmeaning. The fault consists in the dissatisfaction, of the hearer of a poetic sensibility, caused by the (unnecessary) use of an unmeaning word; or, in his perplexity to discover the motive of the poet in using such a word, thus, producing a delay in the apprehhesion of the meaning of the sentence. It cannot consist in the nonapprehension of the meaning; for the whole meaning of the sentence is apprehended from the other words of the sentence. Nor can it consist as in in an opposition to a flavour; for, then the particles ^ &c. inasmuchas their nature is the same, would oppose a flavour, even when they convey a meaning. This is, however, no fault in a Rhyme, Paronomasia, &c. Distinction between and In the first, no purpose is served by the use of the word, although its sense is not intended. In the second, the word serves the purpose of at least filling up the metre, although its sense is not also intended. Distinction between and In the first, the meaning of the (Inexpressive) word can not be supplied by any other word belonging to the sentence, the word being an essential part of it. In the second, the mean in o- of the whole sentence is understood without O the word. 8 INEXPRESSIVENESS The faulty word, called Inexpressive, is that, which is used to express a particular intended object, having a particular intended attribute, which it can never express. It is of three kinds:—The first is, where a word denotes a particular object, but does not connote a particular attribute. The second is, where a word connotes a particular attribute, but does not denote a particular object. And the third is, where it neither denotes the object, nor connotes the attribute, but expresses another object altogether. The first, again, is of two kinds;-the first is, where the denotation of the particular object is dependent upon the derivation of the word. And the second is, where it is not so dependent. A (i) (DENOTATION OF THE PARTICULAR OBJECT, BEING DEPENDENT ON DERIVATION) is instanceed in &c. Heir, the word, tFfj means, ( by derivation, from ^ to be born, ) ‘a man’ only, but con not connote the attribute * ungenerosity, also, which it is intended to connote, by the poet, as appears from the fact, that, in the first line, the opposite attribute of‘generosity* is intended to be expressed by f3TT^t to This verse is an example of Inexpressiveness, only as interpreted by Mannnata and his commentators; but, another interpretation of the verse is possible. In fact, it has been given by # Mallinatha, according to which, Inexpressiveness does not occur in the verse. My opinion is, that Mallinatha’s interpretation of the verse, is better than that of Mannna- ta’s, on the following; grounds: - 1st. The reference, to a generous man, which, Mammata’s interpretation requires, is irrelevant; the subject being to rouse heroism in Dharma. 2nd. The word can not mean an ‘ungenerous man,’ which meaning this interpretation requires. A ( b) DENOTATION OF THE PARTICULAR OBJECT, NOT BEING DEPENDENT ON DERIVATION) is instanced in frrfqR &c. Here, the word denotes ( by usage ) a ‘day’ only, but cannot connote the attribute, ‘luminosity,’ also] which, how ever, it is made to connote here by the poet, as appears from the fact, that a ‘luminous day’ is opposed to a ‘dark night’, expressed by the word cTwdT. B (CONNOTATION OF THE ATTRIBUTE, WITHOUT THE OBJECT) is instanced in jTcs &c. Here, the word connotes the attribute, ‘reservoir of water’, bnt has no power to denote an ‘ocean’. Al- # Mallinath thus interprets the verse:—3FT Vcr 3TTRT fppyr: : I VtR 3RR: l FTWT W *RT VRFR | aTrl^TT ?FTFRT : I c#TCTT^% I R*#R RR?[R3R RTcTC^T RRRT * faf^r R SRI Rrrfr jt : i 3t*rt faLyr *r<rr ^Rrvrtr 5T i rr: fir i rfhtcr**tr «fpt ffcT RR: i—Kirata though the word may express ‘an ‘ocean1, by derivation, yet, custom, that is more powerful than Derivation, has fixed the meaning of the word to be a ‘cloud’. The third variety, mentioned above, is also of two kinds:- where a word, instead of expressing the intended object, expresses quite another, («) through its association with a preposition, and {b) otherwise. The first of them is instanced in shu &c. The second will be exemplified in srisrsrcs §c, an example of Inexpressiveness in a Sentence. The Inexpressive words, there, are ft?r &c, used in the senses of‘ Contraction1 &c. (respectively). C (a) (EXPRESSION OF ANOTHER OBJECT, THROUGH CONNECTION WITH A PREPOSITION) is instanced in &c. Here, the word ft^TrT, has no power to express the sense oj ‘holding, owing to its power being restricted by its connection with the preposition ft. The word thus comes to mean ‘doing’, which it is not here made to mean by the poet. That tliis is an example of Inexpressivencss, ami not of Powerlessness, ns is alleged by some, is clear from the fact, that a similar example is given in sentence-faults? where, it certainly can not be an example of Powerlessness, since the author has himself stated that Powerlessness is never a sentence- fault. Besides, tiie introduction of an example of Powerlessness in the description of Inexpressiveness would be in violation of all context. Thus the distinction, drawn by them, between the two, i. e. “ that, in tlic* word has no power to denote both the object and the attribute, but that, in the word lias no power to denote the attribute only”, is not right. The fault consists in the nonapprehension of the intended meaning, and is permanent. Distinction between and In the first, the word possesses the power of Denotation, at least, in some cases, (as in I'i'c.); in the second, in no case does the word possess that power. 9 INDECENCY (ar^ra) The faulty word, called Indecent, is threefold, owing to its being suggestive of (/) shame, (2) disgust, or (d) inausp ic iousi less. The Wordstars (from 3t+%?t:+<5) literally means that, which is void of elegance. But the word does not include all kinds of inelegance; for, in that case, it would invade the province of Vulgarity; but ,includes those three kinds, which cause the manifestation of shame, disgust, and inauspiciousness. Each of these kinds has, again, many subdivisions; (1) sometimes, the intended sense, of the word itself is the cause of the manifestation of shame &c; (2) sometimes, the unintended sense of the word, but connected with the intended sense of the sentence, is so; and, (3) sometimes, the unintended sense of the word, although not connected with the intended sense of the sentence, causes, simply, the recollection of shame &c. Some of these varieties only are instanced here. THE SECOND VARIETY, WHERE AN UNINTENDED SENSE OF THE WORD, BUT CONNECTED WITH THE SECOND SENSE, WHICH IS ALSO YIELDED BY THE VERSE, IS THE CAUSE OF MANIFESTING SHAME is exemplified in sptjt&c. Here, the word which is used in the sense of an ‘army’, expresses another sense, i. e. The 'male organ of jxenerationk which sense causes the manifestation of shame. THE THIRD VARIETY, WHERE, AN UNINTENDED SENSE OF THE WORD, NOT CONNECTED WITH THE SENSE OF THE SENTENCE, IS SIMPLY, THE CAUSE OF THE RECOLLECTION OF ANOTHER SENSE, WHICH CAUSESTHE MANIFESTATION OF DISGUST,is instanced in cfmmm #c. i y Here, the word 3TJ, which is used in the sense of 'wind*, reminds us of the sense of ‘Ventris Ciepitus’, which causes disgust. This sense, however, is not required to make the sentence intelligible. THE FIRST VARIETY, WHERE THE INTENDED SENSE, ITSELF, OF THE WORD, IS THE CAUSE OF THE MANIFESTATION OF IN AUSPICIOUSNESS, is instanced in JT3WT etc. Here, the intended sense, itself, i. e. 'death’ of the word fsRRT, is inauspicious. According to the Vritti, the words ^TT'^R, tC fairer in these {examples), are suggestive of shame, disgust, & iiiauspi- c lot is) tess, respectively. The fault consists in the apprehension of a sense that depresses flavour, or diminishes pleasure; or, in the dissatisfaction of the hearer caused by the apprehension of such a sense. This is, therefore, no fault in the Quietistic, where the object is ‘renunciation’, which is promoted by the apprehension of such a sense. This is, also, no fault in the Erotic; and also, where a future inauspicious event is to be prognosticated; for, there, dissatisfaction is absent. Words like fsiqfcfrr, flfrRT, iRtT’R &c*, are not indecent, inasmuch as the indecent meanings of these words are concealed by association ( of f&Tf with f?T=f )> usage, and qualitative ( jffqf ) Indication, respectively, in the three cases. Distinction between and jtr’TR. In the first, there is the presence of an unseemly sense; in the second, there is mere loss of elegance. 10 AMBIGUITY (s(^tr). According to Udyota, the faulty word, called ‘Ambiguous, is that, which yields two senses, thus, giving rise to a doubt as to the intention of the writer or speaker; as in eHT&r%rT: Here, the word 3RTW is ambiguous, since it is doubt* fill whether it is the locative of and means “on the queen taken by forcef or the accusative of ^jr, and signifies ‘laudable’. It should be noted that both the meanings suit the context. The fault consists in the non-ascertainment of what is intended to be described. This is, therefore, no fault, where doubt itself is the principal thing; or, where there is ascertainment by means of the context, or, of the prominence of the expressed sense $c. Bhaskar say>. that an 1 ambiguous' word is that, which is formed of letters, the natures of which are (#) not determined. This is not right; for, in gu- ?sqT &c., which is an example of this very, fault, but in a sentence, the natures, of the letters forming the word & ant, are perfectly determined; and yet there is ambiguity. Xor is there, here, any doubt as to the grammatical form of the word, and thus, Pradipa is also not right, when he defines this fault as, “ that where there is a doubt, presented by two grmmatieal forms of a word, one favourable to the bringing out of the intended sense, and the other, to the bringing out of the unintentended sense”. 11 UNINTELLIGIBILITY (anrafow). The faulty word, called ‘ Unintelligible,’ is that, which is well known in 'philosophy only, but is not known in poetry, grammar, and the dictionary, and is not in current use also; as in spR^TR &c. Here, the word 3TT5R is a synonym of T1TR1 (signifying “ impressions of past actions produced by wrong knowledge”) and is known as such only in the I oga Philosophy &r. The fault consists in the non-apprehension of meaning, by the general reader, who is not acquainted with that particular branch of study. This is, therefore, no fault when the reader is acquainted with that philosophy, or when the speaker utters a soliloquy; in these cases, on the Vi ^ ^ ^ ut^r^r i —Sar. contrary, it constitutes an excellence, as indicating thclir proficiency in that subject. Distinction between 3TSPRTTR and srsfffRR. In the first, the word is well-known in the dictionary, or is in current use, also; in the second, it is not. Distinction between 3URRTR and In the first, the meaning is not apprehended by both the classes of men, i. e. those acquainted, and unacquainted with that particular branch of study; in the second, by the second class of men only. The fault consists in the non-apprehension of meaning. # It is said, by the author of the S. B., that, the word, having a technical sense, in the Yoga philosophy, is not often used in literature in that sense. The meaning ol' it does not, therefore readily suggest itself to 11s, but after great reflection. Thus the fault consists in a delayed apprehension of ■leaning. This is not right, § says Sudlmsagara. For, even a delayed apprehensian is possible, only in the case of a man, who is proficient in all the sciences, not of one, who is not so; and it is impossible te find a reader, who has mastered all the sciences. Put this Sudhasagara, although successful here on this point, has not fared well, while defining this fault. Says he f :— “An Unintelligible word is that, which is well known in any science except Rhetoric; and thus, according to ltavibhatta, it is no fault, if the word is well known in Rhetoric only; or frgD^r, upr^^r i—Sar. § f? *R»35rT«rrf3rir ^ irtfu uiiRT ^ —Slid. jti5: 1 ^ fn ?r i anri^ aw- gR ^5Tr^R^S^rrRft^5JRfrRfsfg I ^KfrURT^R^fr- irrf m gfmURRTR, cr^Jwrf'T amy; ar®^u;iTmw^sfg rfRirt-’j -iR yg yigpfr ir^rr in Rhetoric and in some other science; ancl, therefore, this fault is to be distinguished from Unemployedness, where the the word is well known in the dictionaiy, and in any other science than Rhetoric also. IF Pradipa’s definition be adopted a word, well kuown in the science of Rhetoric only, would also be faulty, which it is not. Hence it is, that the word 1 Moon, ’ employed to denote the * face,’ although not known in any other science, is well known in Rhetoric, and is not faulty.” * This view of Sudha, is not right. That the employment of the word £ Moon,’ to denote the ‘face,’ is based upon the attribution of the properties of the ‘Moon ’ to the ‘face,’ is known, not to the Rhetorician only, but to every other man in the world. The word ‘ Moon,’ in this sense, is not, therefore, faulty, because it is known by the ordinary man also. 12. VULGARITY (*vor*). Some say that, a ‘vulgar* word is that, which is well- known to a village i. c. to ordinary people only, but is not known in ptiilospliy also; and that it is thus distinguished from an ‘Unemployed’ word, which is neither in current use, nor is known in philosophy. Others, however, say that, the fault includes provincial words, and that the instances of the fault are &c, and not &c. Both these views are wrong, because the word has been given by other anthorities as an example of a word that is wall known even in philosophy, & that is perfectly grammatical. The true definition is:— A vulgar word is that which is well known to all men i. e. well known in the circles of both the polite and the vulgar, of a particular province; as in dTdd etc. Here the word drfe is vulgar inasmuch as it is known by tho rustic also. The word is faulty to men of that provinco only, in which the word is used in that sense. Thus, all provincial words * cTrJ d dfdTR I Odra c5T% d) I -VamanHcharya. Page 314 first edition. 4 are included under this fault. The fault consists in the dissatisfaction of the reader, caused by the use of an inelegant word, instead or an elegant of semi-elegant word; thus betokening a want of refinement in the poet. This is, therefore, no fault, when the buffoon or the rustic is the speaker. The distinction between Vulgarity and Indecency has been already given. It should, however, be noted that, although the same word may be vulgar and indecent, yet, the grounds, why it is the one or the other, are distinct. (#) 13 IRREGULAR INDICATION ( htfa). The fault, called Irregular Indication, is, when a word is employed, ( from the poets’ inabiliay to find a better one), to convey an indicated sense, ivhich it is forbidden to do* because of the absence of usage, or a motive, to indication; as is said ( by Kumarilabhattta in his Vartika );- Certain Indications have been established (from times immemorial ) by custom, like the power of Denotation of a word. Certain other Indications are now made ( in vii tue of a motive)', other than these can never be made, on account of the inability of words to convey such senses. An example of the first class of Indications is ‘ A jar is white’. Here the word ‘white’ denotes, really speaking, nothing beyond ‘whiteness’. The word, however, by Indication, means ‘something white’. And the source of the Indicatory power in the word is custom. Another example is ‘A Ivalinga fights’. Here, the word ‘kalinga’ byjlndication, means, ‘a man belonging to the country of An example of the second class of Indications is ‘A herd-station on the Ganges’. Here, the word firry denotes a ‘mass of water’; but, by Indication, it is made to mean the ‘bank of the Ganges’. The source of the Indicatry power is ‘motive’, which consists in this, that it causes one to think of the extreme coolness & purity pertaining to the Ganges itself,, which would not have been thought of, from the exposition of the same matter in the shape of 4i= fa srrc: »—Pr. the expression ‘A herd-station on the bank of the Ganges’. Such an Indication, as is exemplified in ‘A jar is a colour’, can not be made on account of the absencm of either custon or a motive, which are the necessary conditions of an Indication. # literally 'means:—a word used in a sense which is illegetimately supposed by the poet to belong to it. The fault is instanced in #c. Here, the word ( which literally means 'giving a slap by the open hand’), is made to indicate ‘ Vanquishing * * * § ‘excelling\ The word, therefore, is faulty inasmuch as it is neither established by usage, as Indicative of such a sense, nor is there any motive for such an indication. There is no motive here, as there is in the example 4 tftfTT VnT-%’ where the sense of the ‘bank’ is brought out from the word jfjjr, through Indication, instead of from the word through Denotation, because, in the former mode of expression, a third sense of ‘coolness &c’ is suggested, which could not be suggested if the latter mode of expression be employed. Here no other sense than that, which is directly expressed by the word exists; f so that, it can not be suggested, even though the word is employed to convey the sense of ‘conquest,’ through Indication, instead of the word fqfefrf, through Denotation. It should not be urged that, bringing out the idea of ‘complete conguest’ is the motive here, for it is impossible to accomplish this object in the present case. The representation-of an inferior object, such as the ‘face’ is, as giving a slap to a superior-thing, such as the ‘ moon’ is, only succeeds in placing the inferior thing in a ridiculous position, instead of establishing its excellence over the superior thing, (J) Chak- ravarti holds the same view. S. B. § says, however, that this verse is not an example of but &c. (Vide furtheron); for the idea of complete conquest serves here as a motive to Indication. * qfr- Chakra, t I KfsrrTfTFT gfcTTI^fT I si«i «T vT^T gni-44-ll*TJ-|ltd ' ^ '• \ Tret 3t'4ipT cT'4T# cT^+TT^Tf^» I-Chakra. § 3TPT ^ 5 1 PTTsl^Tfd- 5P5T^I jpifsHFf •—Sar. The fault consists in the non-apprehension of meaning, on account of the want of a power (either Denotation, Indication, or Suggestion), and is thus distinguished from Unemployedness, which has a power. The fault is permanent. FAULTS OF A COMPOUND WORD. The words, ‘are (in the 3rd. Mrikd ), are to he connected with the word (in the 2nd. Jcdrikd). Thus the meaning is;-Thatthe three faults, #c, are possible only, when the faulty word is in conjunction with another word. When the two words form a compound, they become one word, and the faults become faults of a word. They are faults of a sentence, however, when the words remain separate. The other thirteen faults, however, are faults of a word only, whether the faulty words are compounded with other words or not; since they are faulty, quite independently of those other words. 14 (1). OBSCURITY ( foeer). The faulty ivord, called ‘Obscure’, is that, owing to which* the particular intended meaning (of the verse) is apprehended after much delay, which is due to the want of juxtaposition, or to the immediate non-apprehension of the particular intended meaning, through absence of the context &c. The first is a sentence-fault only; as in ‘ qfwr- &c. But the last is a word-fault also; as in srfa^r^T&c. Here ( the compound ivord #c ) means:- ‘those which open at the rise of the lustre horn of the eye of Atri; hence ‘lotuses’. Thus, the word is faulty, inasmuchas although its general meaning, i. e. 'born of the eye of Atri/is, easily understood, the particular meaning, i. e. 'moon’, that is here intended, is not immediately apprehended; for from the word another meaning is equally possible i. e. (lustre ) of the eye of Atri. Nor is there any context, restraining us to accept the first meaning, in exclusion of the second. Thus, the sense of the whole compound word, is alse apprehended after great delay, i. e. only when it is perceived, that they ( i. e. !f§^Ts ) are the sbjects which ‘ fame5 is said to resemble ( in point of whiteness). The same is an example of ff§RR as a sentence-fault, when we read 1%T%:, for the first line of the verse. The fault consists in a delayed apprehension of the meaning intended. This + is, however, no fault, when the attributes are peculiar to cartain individuals, as they are peculiar to TRR fy in srttr &c, or in Enigma or Parano- mosia etc, where a delayed apprehension is desirable. In the case of a drunkard &c, it is even an excellence, since it is but proper, that the words uttered by such persons^ should be such, that the hearer should find very great difficulty in undei standing them. Distinction between faf[R§R and f|FSR. In the first, $ the separate meanings of the words are not easily apprehended, in the second, the connected meaning of the verse, is uot easily apprehended. -* eiRFTRTRr I I—Pi . + RR q RWT FFW4TCR cTR *T ^R: I R*Tf f gR- 5nRT'<R5RR:’ fRR ^T*pTR fRRRRR R ^RR^RRRR I -Sudha. R ^IWRN nS i—Pr. 15 (2) PROMINENT NON-MENTION OP THE PREDICATE, OR, OF THE APODOTIC, OR, OF THE EMPHATIC. () The Sanskrit word. ‘ ’ is not restricted to the sense of ‘ predicate,’ but is used also in the signification of a word, that gratifies the expectation raised by a previous word ; so also, it is used in the sense of that} on which a stress is laid. In the absence of any English word conveying the second sense, the adjective ‘ Apodotic’ has been coined from the Greek word^ ‘ Apodosis, ’ which, in Greek} means ‘ the completive part of a sentence, which gratifies the expectation, raised by the ‘ Protasis,’ or the introductory part.” This fault occurs, ivhcre the 'predicate etc., are not expressed prominently. Prominence of the predicate is its capability of being apprehended as the predicate. That capability, it has, when it is expressed after the subject, and is not subordinate to it. Thus, the definition extends to the verses &c., and &c., because, in the former, the required prominence is absent, and in the latter, an express negation is not mentioned. Thus, both the parts of the definition, i, e., the adverb, f prominently,' and the verb ‘ not expressed,’ have got their proprieties. PROMINENT NON-MENTION OE THE PREDICATE is instanced in &c. A sentence consists mainly of two parts, the subject and the predicate. Now the subject* is that which is kuown as established, i. e. understood, independently, of the sentence, in which it is the subject, and, which is mentioned in the sentence, in order to have something established, in connection with it. The predicate is that which is known as non-established, and which is mentioned in order to be established in connection with the subject. The subject and the predicate are the two principal parts of a sentence, and to be known as such, must be stated separately. lu the verse, &c., f vanity’ is intended to be the * srwfi it I i —Pg predicate, since the purport of the verse is :—<e the great ness of my heads is vain, inasmuch as so great an effort is required to defend the city.” ‘ Vanity of greatness’ is thus the predicate, because it is not established, i. e. not known independently of the verse qWhf&c. For this very reason, it is not the subject. For, if it be regarded as such, there would be nothing improper in predicating fruitlessness of it. Thus the question, —“ Is this the fruit of those heads of mine,’* asked with reference to ‘ heads’ would be inconsistent. But this predicate “ vanity,” has lost its prominence in the compound epithet applied to the subject, and therefore looks as if it were meant only to be collaterally attributed. The first member of a Bahuvrihi compound is an attribute of the second, and the whole compound forms an attribute of something else. Thus, the attributive member is always subordinate, and never principal in a Bahuvrihi. Grammar does not sanction a Bahuvrihi, in which the attributive member is the principal word. Again,-* the subject and the predicate are to be stated separately, if they aie to be apprehended in their distinct capacities. In a compound, however, this is impossible. A compound is regarded as but one word, and one word cannot be apprehended, as both the subject and the predicate. Thus the subject and the predicate, not beiug stated by separate words in a campound, are not apprehended as such. TJdyota adds:—The general rule is, that the distinct apprehension of two words, as subject and predicatie takes place, only, when the two words are separately stated. Now, although in some special cases, this distinct appre- * =ET TphWct i—Pr. hension takeg place, even in a compound; (as in \ ‘ ‘ is apprehended as the predicate, and as the subject, although both the words are compounded together), still the general rule, being what has been above stated, violation of it, here, produces dissatisfaction in the mind of the reader of a poetic sensibility, and constitutes a fault. This would be an example of also, but that would be no objection, because, the ground of would be altoghther distinct from that of . PROMINENT NON-MENTION OF THE EMPHATIC (in a qnfoppr compound) is instanced in &c. (#) jfitlRR is notan 3W, for it is only that thing, whichis one’s own, that can be deposited with another; not another similar to it. There is lyjcsrsjT here; the is the secondness of the bowstring, bowstring being in-appropriate for that purpose. Here,in this verse, a stress being evidently laid on fgyfFT, it should not be compounded with 3TRT; but the poetical fancy of qpFfr’s girdle being a second bowstring, should be expressed by the words separated thus:-4Hfa flcfFTTlT; this constitutes the right reading here. 4 The word fgyfpr, being compounded with Jpcff, assumes a subordinate position; for, in a compound, it is the second member that is predominant. Although, it is true that the ‘'girdle’ is compared, here, to the second bowstring, yet it is the seconclness of the bowstring only, that is the 'principal point of comparison. The girdle is looked upon as the bowstring, which is de- t ‘ WT3T-‘ ireifcT 9 scarps- I ‘ STVJffaT ^lcT3T: smfcr |Tcf STTHcWTcT I Vide Kavya-Prakasha Uhasa V Vamanacharya’s gloss there on page 257 first edition. * jt 3 ffcr i ^di- | ci^r i jfKfaFr -S udha, 4 <rw |— Sudha. posited with Parvati by Madana. The girdle, in-as-much as it is considered as a deposit, must be looked upon as a second bowstring; for, it is only when a man has got two things, that he deposits one of these with another man. There is no propriety in making a deposit of the bowstring, especially, if it is only one; any other thing, if there is a couple of it, may serve that purpose. The term, ‘bowstring/ is simply useful in making us acquainted with the nature of the thing deposited. Thus, the attributive in is prominent, and therefore ought to be separately mentioned. It is, for this reason, that Pan ini, * in his Sutra 1-4-1, did not join the words & fjju in a compound, fearing the compound would make the word subordinate, although he intended it as principal. Had it not been for this contingency, he would have been: right, in predicating of a ffjlp such a whole thing as Thus, as Udyota has remarked on page 20 , in although both and jffqpw are mentioned, by the poet, as the predicates, still, really speaking, jfpffg cannot be the predicate, since the resemblance between grff and being well known, is an established thing ( but a predicate ought not to be an established thing ) ; Thus, alone is the proper predicate, in-as-much as it is not an established thing ; but this predicate is not expressed prominently, but as subordinate to jfbfifa. Thus, it is this fact, that produces dissatisfaction in the mind of the reader, and constitutes a fault here. PROMINENT NON-MENTION OF THE PREDICATE in a compound, is instanced in &c. Here the context, i. o. that ‘ all the various excellences * =>TPF;¥Uri?qfn' %I I This Sutra means ;—From this Sutra up to the sutra ^r?RT: I II, -—38, each word which is to receive a designation, will receive, only one designation. Thus, here oneness of the designation is the important thing. to be sought in bridegrooms are observed to be conspicuous in by their absence/ shows, that ‘ Unknowabi- lity’ is intended to be predicated of ‘ birth’. But the word 3jc5^r, being compounded with the predicate assumes a subordinate position, looking as if it were a collateral attribute of the subject. We should', therefore, to avoid the fault, read 3F5%?TT RR:i Or, according to Sanketa#, better, sig: : so that, tlio fault of would also be avoided, since all the subjects and predicates would then be in the neuter gender. Now, although, these improved readings are open to this very fault, when in a sentence, in-as-much as tbe subject and the predicate have their natural positions reversed ; still the object, on the present occasion, has been to point out, how this fault, when in a word, can be removed, and that has been accomplished by the improved readings. § Sara- bodhini however, justifies the improved reading SIR:. on the ground, that the fact of ‘ birth ' is not established in connection with and, that the predicate is, therefore, not simply, but Thus, according to it the position of before which it qualifies, is quite proper. PROMINENT NON-MENTION OF THE EMPHATIC in a ^ compound, is instanced in cj-c. Here, the denial in argvtrr, bearing as it does the character of an Express or Prominent Negation, ought to be emphatically expressed i. e. as ^ gw, for, it has been said;-" When the affirmation is not principal, but the denial is so, the latter is termed an 'Express Negation;’ in the case of which, the negative associates with, i. e. qualifies the verb;’’ as in sjsrsrasrc: &c. * HgRR TF ffihr RRi Rpp—San. appearance of an Emphatic Negation, being reduced to an unprominent condition in the compound apprp and hence, faring like what is called a 'Privation*. To this effect, (#) it has been said, " When the affirmation is chiefly intended, and not the denial, it is to be recognised as that case of denial, which is termed 'Privation5; where the negative is compounded with another word; as in RffiWTR &c. >3 Here, since, it is the protecting of self &c, that are meant to be predicated of the king, having collaterally attributed to him, the qualities of 'undauntedness5 &c, the reduction of the Negative to one of Privation is proper. We cannot, however, take the negative in apjpfrT as Privation; for in that case, srg^rr will have to be taken as (a complement of) the subject. But, by taking argRid as {a complement of )the subject, something else will be required to be taken as the predicate. But no such predicate exists in the verse, as dffipr yc. exist in the verse yffiPTEffRfrsTydT &c. It will thus be seen, that in the example 3Tf^ &e, which is that of an Express Negation, the negative particle sr cannot be compounded with gxrrr, logically connected as it is, with the verb vr^fcf (* W%), since it is a rule of grammar, that a word cannot be compounded with another, with which it has no logical connection. An objection:— Why should not the word imply an Express Negation, like the word The meaning of argpgffiffir is not ‘one eating at a plaee other than a funeral ceremony’ For, this passage cannot have the purpose of establishing ‘eating’ as a vow- for, llie act is already estblishcd by the natural appetite of man. I>ut, that ‘something’ must be * sr-dHrl faqfo shmssr-dRcTT i II Chakra. the object of a vow here, is shown by the termination (d) whicli is always applied- to tbo root, when the object of it is a word signifying ‘an object of avow.’ This 3;^ can be applied to here, only when would be the first member of the compound; for the object of the vow here is ‘not eatnig at a funeral ceremony’ and not ‘eating &e.’ Thus, the meaning of the word is ‘one not eating at a funeral ceremony.’ It is, thus, an example of an Express Negation, and srqrfrr should be considered as an example of the same kind. One reply is:—It is not necessary to take 3?*?T^sTTvfr- as an example of an Express Negation. It would be quite unobjectionable to understand it as a ease of Privation. For, the literal meaning of the word is, ‘one different from an eater at a funeral ceremony’. From this, it follows by implication, that he must not he an eater at a funeral ceremony. The object of the vow, although not expressed is here implied, and the meaning of the Sutra, also is that fiq;y should be employed, when the object of a vow is implied; and the object of a vow is implied, when the negative particle is compounded with a word ending in fpjv A second reply is given by S. 1)., which is as follows;—Even in 3?444r4T and then only would we acknowedge an instance of Express Negation, if, (to take the latter example), the negative be applied to that portion of the meaning of 3?4T;^4Tsn\ "'hieh consists in the act ‘eating;’ but, this is not the case, inasmuch as the negative relates to the portion ‘Agent’ viz.‘eater;’ since it is this which is ‘the qualified,’ and, therefore, the most prominent part of the expression, (jrp? being an affix of agency). In however, the relation of the negative being to the ‘act,’ there is, of course, a fault* A third reply is:—Paniui’s rule, t &c., teaches, that a word may (although rarely) be compounded with another, although it is not logically connected with it; as in 4f?4q54T 445TU ( il princess not seeing even the sun ifcc.), where ay is compounded with although it is logically connected with qrgT- Such a compound is called a ‘ powerless’ compound. In the present case we cannot resort to this compound, for such a compound is * 1 111-2:80 fqpy: I *4F545TFfr I—Bhattoii on Panini. § 3T4TT4 4T4 43?: 444*‘ 44^, 444 44 44*4574444 44 4PFF( I 4 4 44T 1 T45T*545T 44T44 4^T?4T44 445144 44: 444^1 4^45 54* 4 3 1*5444 45 444 ?f4 5T4 44 I—Sahitya. t 3T^444T^fr|ftr4lfr: I MI,2,:5K I ^4W444444r4: I Sfrjyy 43?: 44'4T^ o{ not after all, a good compound, and the use of it produces dissatisfaction in the mind of the reader. In the same way, the word 'qgvf;; cannot be taken as two separate words and grfii; for, even when the word is understood this way, there is a doubt, as to whether sr is compounded or not, and, thus, as to whether there is a case of Privation or not; and besides, there would be a reversion of syntactical arrangement, in-as-unichas aj, which ought to come after jjvfj ( being connected with ), is before grpr. ‘But’, says an objector, ‘why should not ^grp| be looked upon, even as a case of Privation in-as-mueh as, taken either way (the question of prominence apart ) the word yields us the same meaning?’ ‘This, we would allow,’ we reply; ‘ if the expression would thereby, receive a connection in the sentence; but the connection of is with g-ppj- only, the second member of the compound. This connection is impossible, when igjvpf becomes a case of Privation; for, the two words and qypr- as soon as they enter into a compound, lose their independent positions, and their separate meanings, and form a new word with anew meaning. It is only with this new compoumd word, with its new meaning of 4 attributed abandonment,’ ( = abandoned not really but as it were ), that has a connection.’ ‘But,’ says the objector, ‘if the negative particle, by enteringinto composition. loses its meaning, how can this be an example of inasmuch as the Emphatic word is not here apprehended at all, (while it is necessary that it should he apprehended, but not prominently to constitute this fault). It will be an example of Incxprssivencss, inasmuch as the words sj and gvfq, because they enter into composition, cannot express the meanings of 3T and just as can express the meaning of ‘assuming’ because fq is compounded with gvpp. We reply, that, although, the two words lose their meanings still, the fact, that one of them is not mentioned prominently, remains unaffected; on the contrary, because one of them loses its independent meaning, for this very reason, it can not be prominently mentioned; and, therefore, the Yrittikara has solved the compound as ‘that, where, the emphatic is not mentioned prominently’, and not ‘is mentioned not prominently;’ The meaning of snjrfjT, being lost, can not he mentioned, either prominently or otherwise. too, cannot be an instance of this fault* because, its meaning (/. e. assuming), although not mentioned like that of ajrpjg, is not yet Emphatic in the sentence, as that of argppy is. Again, we admit, that will lie an instance of Inexpressiveness, hut, that will produce no harm for, although in the present instance, both the faults occur; yet separate instances also of botli these faults may he found, and, in fact, have been given by the author himself. The fault consists in the nonapprehension of the subject and the predicate as such, and is therefore permanent. Distinction between 3TT%^sf^PTT5rR and 3nT^cRTRTR. In the first, the mutual connection of the words is present, but the necessary prominence, given to one of these, is absent. In the second, the mutual connection itself, of the words,is absent. 16 (3) REPUGNANT SUGGESTION This fault occurs, where, a word, in virtue of a juxtaposition with another, suggests a sense repugnant to the sense intended. It is of various kinds. Sometimes, it occurs, through the solution of the compound in another manner; as in &c. Here, the word is faulty; the icord, here, is intended to be used in the sense o f an ‘unselfish friend; but, when the compound is solved in a different way, another meaning of the word, i. e. a ‘friend in evil', is suggested, which is repugnant to the first sense, which is intended. The meaning, given by the second method of solution, comes more readily to the mind than that given by the first, because, in the first, Indication has to be resorted to, to give 3T'FT^ the meaning ‘not false’. This produces delay in the apprehension of the meaning. In the second, no such thing is required, and hence the apprehension of the meaning is immediate. Sometimes, the fault occurs, when the two nouns are so compounded as to form a third noun, which, by Custom, has got a sense, opposed to that, yielded by the two nouns; as instanced in &c. Here, the word ‘HOTTf’ is intended to mean f grasp of the neck’. This is the etymological meaning of the word. The customary meaning of the word is ‘a particular disease’. This sense overpowers the first, and is repugnant to the intended sense of the verse. We should, therefore read, ^2^5 for Although} the context, here, by overriding tlie force of Custom, may lend to the apprehension of the etymological sense, still the word is faulty, inasmuch ns it suggests an unintended sense5 which brings out a repugnant idea. Hence, this fault is distinguished from Obsoleteness, which is no fault, when the context is prominent. This fault, however, does not vanish even though the context is prominent. Sometimes, the compound word conveys an intended sense; but this gives rise to the fault of Redundancy, to avoid which, the word must be apprehended as conveying a sense that is, however, unintended; as instanced in JTTO &c. This verse has been interpreted in two different ways by and + Of these two interpretations, that of Udyota is indeed very ingenious. The sense of the verse, as interpreted by him, is more in keeping with Parashura- ma s character, than that, given by Chandrika. But that interpretation does not appear to me to be warranted by the construction of the whole verse, and by the presence of the word u, especially, in the third line. In this verse, the word is well known to mean The wife of then, when we apprehend, The lord of HT'TTt/ + fir^foviidi tfsrm to to toto TO TO HR ^ ^ fSTOf RT^r. W.'A fTOrT to: 1 hR to htotor; 1 vtohtohto: 1 TOTOT I HTOfTOTO fTOPW—HTOffc I H: 3R- <toto: ftttotoh hfh HRHr to to 1 h^tto toh^t^to TOftTO WTO Td 3TOT l&c. from ‘vrcRfafit’, the thought immediarly suggests itself, that he is different from Thus the word *R7ffp?r%, brings to our mind the notion of another lord o/'^r;ft’, and thus conveys a repugn ant suggestion. In-as-muchas the expression vr- 3TflTTT%is employed, it appears to be suggested that, the lord of is another than for, if vre were intended to be expressed, a sane man would not employ the expression '*R'TcJfrrr%, when vrq- would have served the purpose. Some, however, say that '•*T4Rr has been established, by custom, as a designation of <rnf, and is synonymous with 3TW, qdrdt &c, and as such, does not come under this fault. Sometimes, the fault occurs through each of the two words ( forming a compound which is but one ) conveying two senses; as instanced in nrcfa &c. Here, the word is faulty, in-as-much as although it is used in the sense of ‘ the husband of Durga, it suggests the meaning of“ 'our mother’s husband,’'’ or still worse ‘ ‘our mother’s ■* paramour,” which is repugnant to the intended sense. The fault consists in the apprehension of a sense repugnant to the intended sense. Therefoie it is no fault where the repugnant sense is intended. Distinction between + and In the first, the unintended connection is apprehended, in the second, the intended connection is not apprehended. Distinctions between ( 1 ) ( 2 ) (.‘1) and (4) In thd first the woid becomes faulty when in juxtaposition with another. In the second, independently of another word. * 3tf^r JTrar ^rnt irrt: f^r *rfcr: —Kam. + ?fcr Kam- Again, in the first, the opposition is between the meanings of two sentences. In the third, between the two suggested flavours. Again, in the first, it is the unintended sense, which is afterwards apprehended, that suggests the repugnant sense; in the fourth, it is the intended sense which is first apprehended, that suggests the repugnant sense. It has been said above that, the last three faults are the faults of a compound word only; from this, it, follows that, the first thirteen faults are the faults of a word compound as well as simple. Examples of these faults, in a word simple, have been, hitherto, mentioned. An example of Cacophony, as the fault of a word compound, is now given by the author. 17 (1) CACOPHONY is instanced in *rr f< ^ Am. Here, the word is faulty, consisting, as it does, of harsh letters. In the same manner, examples of the rest, should he understood (by the reader). The author now declares the faults of a part of a-word and the faults of a sentence, such as are homogeneous to those of a word. KARIKA IV. With the exception of Solecism, Powerlessness, and Unmeaningness (which occur only in a word), (all) these faults occur in a sentence also; and some of them, even in a part of a word. By the words etc. in the Karika, we should understand #c, which lead to the use of such words as yrYfri etc. Mark! Only some occur in a part of a word, not all. C Definition of a sentence-fault. A sentence-fault, say the traditionalists is that, which resides in words, which are faulty, only in association with other words. In Solecism, Powerlessness, and Unmeaning- ness, faultiness does not depend on this association with other words; and therefore they are beyond the province of a sentence-fault. This traditional view, says Pradipa, is not right. For, in the verse &c, which the author has given as an example of ‘Cacophony’ as a sentence- fault, the faultiness of the word is not at all dependent upon its association with another word; it is not in consequence of ‘association’ that harsh words are harsh; they are so by their own independent natures. But even granting that in dfsvAs #c. Cacophony as a fault of a sentence is different from Cacophony as a fault of a word, and as such must depend on association, yet the definition cannot extend to (examples of) Unemployedness &c, where faultiness certainly does not depend on association. The property of Unemployedness resides only in a word, and has nothing to do with the other words of the sentence. Besides, if Powerlessness is to be excluded from sentence- faults, on the ground that it is independent of association, on what principle is Inexpressiveness to be included, which is exactly like Powerlessness; /’. c. which is also independent of association. The true definition of a sentence-fault is, therefore, this:— A sentence-fault is that which resides in words more than one, some of which are capable of conveying the intended I—Pr. object The word "all” t cannot be substituted for "some” in the definition; far, in that case, the definition cannot apply to Inexpressiveness as a fault of a sentence, where only some words, ( for instance such words as fawTFT, STTWa, and FfWH only, in the verse srnrarz t!ce.), are capable of conveying the intended object. The definition doesnot exclude the verse -^PCT 9FUT etc; for, both the words, expressing the subject and the predicate, are there faulty. For, if there the predicate must come after the subject, the subject must also come before the predicate. This explains the propriety of the word in i-’ 01S the word fjfvpj, which literally means a ‘predicate’, conveys by Indication the sense ol what is intended to be understood as the ‘predicate’; as in fiisfir cRFFT. the word -sTfif is not the predicate but is intended by the poet to be under, stood as the predicate. Hence the whole word means ‘ a sentence, in which, a part, which is capable of being understood as the predicate, is not prominently mentioned.’ If the fault sjfqirExo had been intended by iurr>r as a word-fault only, he would have named it sjfqjjCTpppf only. The word Bfij. in that case, would not have been necessary. For, we would then have easily taken the compound as solving it as qpfipq( a predicate which is not mentioned prominently); but, since the word is added to fefijq-, the whole word i^pTt^T means ‘ a part, which is capable of being understood as the predicate.’ But a part of what.’ Of course, of what is expressed by a compound and also of what is expressed by a sentence. Thus the word jfjy shows,that intended by gjjpr to be a sentence- fault also. That this is the propriety of the word ijsj is clear from jjjjpFs ^ on firsfir §*PT <iT3FT<T:i which runs thus:—fiferrMcT FR- fcfRTg, Here JT«pr says that two words are faulty, and notone, thus showing that the fault is a sentence-fault. That two words arc faulty, here, can lie shewn in the following manner:—is faulty, because + STFFTfaSFIT^FT ' 5fTW^ ’ fyiKFravrq: i slfar q^jsrt i R I cTTf5TFf:f%^t5^FT^T^r g ’fall I 3 * cT«n% cT^TT- Inasmuch as it conics immediately after q:, it cannot be the predicate, although it is intended by the poet to be understood as such; so also q: is faulty, because it cannot be the subject. A thing is a subject only with reference to another which is a predicate. Here there is no predicate being already shewn to be no predicate), q: cannot therefore, be the subject. The true definition of a .sentence-fault beiim what is O above stated, it is but right that the three faults. Solecism &c, should be excluded from sentence-faults, because none of them conveys the intended object. But Inexpressiveness, although resembling Powerlessness, cannot be excluded. For, in some cases at least, it conveys an intended object, as SFcT conveys the intended object ‘man’; but in no case are the faulty words, Solecistic &c, capable of conveying the intended object. As regards Solecism, Udyota, however, remarks that, this fault should not be excluded from sentence-faults; for, a word, although orammaticallv incorrect, may retain the power of conveying the intended object; or, if we do want to exclude it, says he, the following words should be added to the definition of a sentence-fault:-" and which do not produce a peculiar dissatisfaction in the mind of the leader/’ A third view about the Karikais given by Maheshchandra. He says:—A sentence-fault is a fault, which depends upbn a sentence, which is nothing but a collection of words. krsrc fqqqibmq'rqqr yryu yy u ^ i % yjf: stit qrqqq^qq^qnyqqfqq trsf? fakPT: I tt&rn iTTFflRr kwt I —Vivarana. expressing a particular thought. Some faults depend upon a sentence, for coining into being; whilst, others, for becoming egregious. Thus, those faults, that belong to a sen- tence, exclusively, and the faults &c, when they occur in a sentence, are possible only in a sentence, and therefore they depend upon a sentence, for coming into being. Such faults again, as &c, which, although word- faults, become heightened by occuring in two or more words of a sentence, depend upon a sentence for becoming egregious. are by themselves egregious faults, and their nature can not be heightened by their occuring in two or more words of a sentence. cannot lie a sentence-fanlt, because, it is impossible that two or more unmeaning words should contribute to the formation of a sentence, which is the expression of a particular thought. 30 (l) CACOPHONY ( ) is instanced in &c. Here the words apre, &c. are faulty. It may be asked § :—All the sentences that compose this verse are independent of each other. Each faulty word is thus faulty by itself, quite independently of another. How can, then, this verse he an example of cacophony as a sentence-fault ? To this the answer, given by some, is that the real example is only, where the two words, that depend on each other, arc faulty; and thus the whole verse, containing this sentence, is secondarily called faulty. Sarabodhini however, says that wc may look upon this whole verse as a compound sentence where many small sentences are joined together by the particle ^. It should be noted that this objection and these refutations of it are according to the traditional view of the definition of a The objection itself does not arise according to Pradipa’s view. § F'l 3T5mWcTT% 1 3PT zt'j.rTF--, • ?3iirg ’ i-mvi At.% r i m- 1 ^3^3 i - Si"‘- Although a grammarian is, here, the writer, and although, therefore, the words, uttered by him, should not be faulty, according to what Mammata will say afterwards, yet the object of writing, in this verse ( as afso in the vrf^r^r from which this verse is taken) has not been a mere display of learning, but imparting instruction on grammar; and what Mammata means is this, that the words of a grammarian are net faulty, only when the object is ‘a mere display of learning’ and not ‘imparting instruction on grammar.’ Thus, Cacophony is here a fault. 31 (2) UNEMPLOYEDNESS (wwzrtf) is instanced in g ^RT&c. •o Here the words and have the meanings of ‘Indra and ‘deaf and, dumb1. Now, although these words are given as having these senses, in the Amara and Medini Koshas, still, they are not used in those senses by the poets in general. 32 (3) OBSOLETENESS (frferme*) is instanced in dc. Here the words tfTzpp, (ar^r, & #=f?) arc used in the senses of sword, {ocean, earth, moon, and fame, respectively)- But, they are {generally) known as haring the senses of arrow, {cupid, forgiveness, lotus, & verse, respectively). These latter senses consequently overpower the former. i Sudha. ns (4) IMPROPER SIGNIFICATION (agprai^w) is instanced in &c. Here the words gsgfa, jit, jut, with ar, and fg^icTT^St^T, bear other senses also, i. e. of ‘weaver, making a piece of cloth, threads, naked, and infamy. Thus, the sentence &c, yielding another sense, (also), conveys a notion derogatory to the king, who is, here, the object of praise, and thus has an Improper Signification. When we consider the suggested sense of the sentence, we see that it cannot have any connection with the expressed sense of the sentence, unless we suppose that comparison has been intended here between the king and a weaver; such a comparision is, however, derogatory to the king, who is the object of praise. Pradipa separates 3urer: for from arfgcB, but that is not good; for, if we do so, there would be nothing improper in the wife of a disreputable husband wandering naked; thus, the whole sentence would become unintelligible. It is true that the word is an example of obsoleteness in-as-much as the customary sense of the word, ‘weaver’, overpowers the etymological sense of the word, i. e. king. But Obsoleteness and Unemployedness are no faults in a Paranomasia &c., so * says Sudhasagara; or according to f S. B., in Improper Signification, both, the usual and the rare, senses are intended. In Obsoleteness, only the rare is intended. 34 (5) INEXPRESSIVENESS (w^r) is instanced in STSTtfr?; &c. Here the wo>and vk,cire used in thesenses of'■excellent cloud f sl y ,lthe sun’‘contraction’ and ‘petal’, respectively, which, however, they can not express. In sTTfrwrfcicTr ustr tor* ’Jrt.MfUrrqr i - Sudha. t g ^T5T BTsgiWgR i m ^fu^rgru^3ivr|;7TR:'k’rm%?T^T^, d ^f^UT^rcT I—Sar. the preposition 5 can notbe connected witlianoun, because, according to grammar, it can be connected with a verb only; thus the idea of excellence can not be obtained; again, the word has the power to express only "the abode of Vishnu’,and not'the sky’; so also, means only ‘odd-horsed’,and thus does not necessarily mean ‘the seven-horsed’,but may also mean ‘one-horsed*, ‘three-horsed’ &c. So in the case of others. Here some, although not all words are expressive of the intended object. For instance, § fsps'SqTJT through derivation (the abode of Vishnu), means ‘sky’, so also, = odd-horsed = seven-horsed = tlie Suiij also = excellent shiner in the sky = excellent cloud. The fault is, therefore a sentence-fault, according to Pradipa. 35 ( 6 ) INDECENCY ( ). (a) Suggestive of shame is instanced in 'f'frTST &c. Here the words STfr^T, and JTffiT arc suggestive of senses, that cause shame. ( h ) Suggestive of disgust. is instanced in tkc. Here the words htfvT, 3FFT and 5FFFT convey, the first two, by Denotation, and the third by Suggestion, senses, that cause disgust. (c) Suggestive of Inauspiciousness is instanced in &c. Heie the words ( and TRTF^R, although, intended to he. used in the senses of‘paternal homeland ‘spotless § [ 3J3 FPfi TRRRR fT'-ff gRTHTF^rt dFR I ?PtT faw^f SR : I—14-. family ) convey, by Suggestion, the senses of a lcemetary\and ‘connection with funeral fire*), that a re inauspicious. Here (*), although, the sense of the word Ti^ is not inauspicious by itself, still, it is so in connection with the sense of fq<jwr%. That qr^ is connected with fqqqqfh, is shown bv the word ^ in the verse. V 3G (7) AMBIGUITY ( ) is instanced in &c. Here, there is a doubt as to whether the words ^ kc., arc- used in the senses of ‘gocls,’ ‘army /arrows’, and ‘prosperity , or of ‘wine §c. According to Pradipa, however, there is a doubt here as to whether the words &c. are used in 'O the senses of a Temple’ &c, or of a ‘tavern* &c. Here, owing to the absence of the context &c., there is a doubt as to whether praise or blame is meant. 37(8) UNINTELLIGIBILITY ( anrefarar) is instanced in ^T^rrfaJTTsfr &c. Here, the words andrn^Ac., being employed in the Yoga Philosophy only,are quite unintelligible to the general reader. 38 (9 ) VULGARITY ( is instanced in &c. Here the words ( vm, *rr$T, and qR ) are vulgar. 39 ( 10 ) IRREGULAR INDICATION ( kra?? ) is instanced in etc. Here, the sentence conveys by Indication ( <wrorr ) the following sense :— The earth is made void of darkness by the rays of the jewel of the sky (i. e. of the sun). Open, (therefore), your two eyes. According to Pradipa, the word is intended to be * ffTTr, 'Ural ufa?.rr ttcsq^RT —Sudha. 7 used in the sense of the ‘jewel of the sky/ Thus the word is intended to express the sense of the ‘sky,’ which it cannot. Thus the word indicates the word ‘stfr’ through the relation of, ‘the being expressive of a sense, expressed by itself , or in other words, ‘ the being a synonymous word.’ Then from the word ‘afJR?,’ the meaning of the ‘ sky ’ is understood; or ( to take it in another way ), the word ^ indicates the sense of the ‘ skv’ through the relation of ‘ the being expressed by a word, expressive of a sense, expressed by itself',’ or in other words, ‘ the being expressed by a synonymous word/ In the first, there is i. e. the word ^ indicates ( c5T%cT ) the word and then the word 3TRT expresses ( ) the sense of the ‘sky.’ In the second, there is simple ?53RTT, i. e. the word indicates the sense of the ‘ sky.’ Similarly, the words ff«£, RR^tr, ipf, and indicate the senses of, a ‘ jem,’ ‘rays,’ ‘ darkness,’ ‘ earth,’ ‘ couple,’ and ‘ open,' respectively. There is, however, neither usage nor any motive for such an Indication here. 40 ( 11 ) OBSCURITY ( ) is instanced in ^ etc. Here, the construction of the two lines is very obscure, the connection being this STt^r ?T FPTT% i The obscurity of the construction obstructs the apprehension of the meaning of the verse. 41 ( 12 ) PROMINFNT NON-MENTION OF (a) THE PREDICATE, THE (/>) APODOTIC, OR (r) THE EMPHATIC ( ) (a) is instanced in RfTRr 3T4JT, we. Here, -wrc ( contempt ) is meant to be the predicate. and should, therefore, be placed after the subject For the rule is that the predicate should not be mentioned be* fore the subject is mentioned. The sentence should, there" fore, stand thus :—3TWT From the reversed order of the two words, however, a reversed apprehension, or a delayed apprehension takes place. The fault is that of a sentence, in-as-mucli as it arises from the reversed collocation of two words. Therefore, it has been reckoned as the fault of a word compound ( not of a word simple). A gain, the word : is also here faulty. Here ‘ 'plump arms', alone, are fit to be the subject, and not ‘vainly plump arms; for, by the word r£jTT$t:, ‘vanity’ itself is predicated of ‘ arms’. To predicate ‘vanity’ of ‘vanity’ would be as good as to say that a jar is a jar. Even -:c- assuming that the ‘vanity* of ‘plumpness’, implied in the plundering of a petty heaven is different from the ‘vanity’ of‘arms’, implied in his own defeat at the hands of Rama, still, to predicate ‘vanity’ by the words of vain plumpness is inconsistent. Vanity + inasmuch as it is appropriate in vain plumpness, is an established fact, and, therefore, does not again require ‘ vanity * to be predicated of it by the words feRfh:. Thus, as remarked by both Prabha and Udyota, is declared here to be open to the fault called ( Improper Attribution ). The declaration is, of course, incidental. —Vivarana. But this part of Mammata’s Vritti, i. e. *T T4Tcqi%hrfcT*f I has been interpreted in various other ways by other commentators ; I shall notice only one interpretation, i. e. that given by the ancient commentators of Mammata. For instance, Jayanta, Sanketa, and others say:— Here, 'vanity’ that is predicated is twofold;— that of 'arms’, and that of ‘ plumpness.’ The one is quite distinct from the other, and, thus, there is no Repetition ( ). But i«TTcf. which is predicated of has assumed a subordinate position in the compound and thus appears to be a collateral attribute of the subject. Thus is an example of as a q<Hrq. Now Pradipa’s interpretation of Mammata’s Vritti, here, appears to me to be better than that of the ancient commentators, for the following two reasons:— First:— The wording of Mammata’s Vritti, etc., shows that Mammata here lays stress on the fact that 'plumpness’, alone, is here the proper subject, and not 'vain plumpness’. He says nothing here about the predicate. This shows that the fault he intends to point out here, is and not whilst, the wording, of his 11% on the verse &c, shows that, there, he lays stress on the fact, that ‘vain greatness’ is the predicate, and not the subject; but that it is not so apprehended. This shows that he is talking there about the predicate, and thus the fault, there, is Second:— The interpretation of the ancient commentators requires that, we should take as the predicate of But we cannot take it as such, because the poet has not intended it as such. That the poet has not intended it as such, is clear from the presence of the word crrafe^T in &e. The word used in reference to FFt, shows that'heaven’ is a little village, and therefore, the plundering of such a little village is a cause of ‘vanity’ and not of'plumpness’. Thus, is an established fact, and is, therefore, the subject, and cannot be taken as the predicate. If we take it as the predicate, loses all its propriety. Other commentators say that T%frfk; o'C. is open to the fault of 3^1% or srf^RTS0. as a I have not noticed their views, because, although they may be right, still, the wording of Mannnata’s Vritti, here, gives us no warrant for the belief, that those faults were intended by him to be pointed out here. If it be said, that in SfC., there is a reversed apprehension of the subject and predicate, and hence it is but a sense-fault; we reply that, here, it is not the intended senses that are faulty; we cannot apprehend the intended senses, because, here, the order of the words is reversed’, hence words are to blame in the matter; and, therefore, it is the fault of a sentence itself, and not of the sense of a sentence. If the words be arranged in a different way, the senses would be correctly apprehended, as in Repugnant Suggestion. The author now gives another example to show that this fault occurs, not only when the predicate is subordinate to the subject, as in fsrr^r: &c, or when it is reversed, as in &c, but even when it is not apprehended at all. (6) is instanced in srchrdflHT &rc. For the explanation of the Vritti on this verse vide page 43. According to the rule, that there is an invariable correlation between the relative ^ (who or which) and the personal pronoun ^ (he or it), the pronominal words, 9^*r, used in the same sense as erg, in order to the fulfilment of the expectation, raised by the relative *Tf[, must properly belong to the Apodosis. But,, here, the personal pronoun ardr, being placed immediately after the relative ^r:, appears as if it belonged to the Protasis; implying that the person or thing, which it qualifies or points to, is well known; whilst, really speaking, 3?dr is, here, intended as fulfilling the expectation, raised by the relative for, what is intended to be said in the verse is He, who causes your eyebrows to dance &c, has arrived.” Such a sense is not, however, apprehended from the verse; what is apprehended is:—“ That wellknown man, who <fcc.” The invariable correlation between ^ and is of two kinds;- expressed or understood. Where both ^ and ^ are mentioned, the correlation is said to be expressed; where one or even both are not stated, the correlation is said to be understood. In both of these latter cases, the expectation is fulfilledthrough Implication, and hence there is no fault. A. CORRELATION EXPRESSED, When the relative and the personal pronouns are both expressed, is instanced in *r ; i, and ^ <rt| (Vide Jayanta for the latter example). B. CORRELATION UNDERSTOOD. («) When the relative pronoun may he understood', as in the following three cases:— (1) When the pronoun p refers to one, that is the subject of discourse, ( WFT), as in &c. Here, refers to king f srfcrfa/ who is the subject of discourse. (2) When "prefers to one that is well known (siRl< ), as in irt &c. Hove, *tt refers to the digit of the Moon, which is well known. (3) W hen refers to a thing, that is known by ones self ( as in do. Here, % refers to the eyes of whose beauty lias already been experienced by Vatsaraja. In these three instances, it is not necessary that ^ should be stated. The required senses are apprehended, even without it, through Implication. (b) When the personal pronoun may be understood, when the relative is used in the latter clause, the personal pronoun ^ need not be expressed but may, from the context, be undeistood in the former; as in tfPT =^ytn% &c. Here ftft occurs in the latter clause jftf&er ft? £c; it is not, therefore, necessary to state <tft„ in the former clause *TPT...?KTg ; since, it may be obtained by Implication. So also, in the verse *uVfh &c., fuftt may be obtained by Implication. If, however, ^ is used, in the former clause, then the expectation, raised by it, will not, be fid filed, unless FffiC is stated (in the latter clause), as in the very verse &c, with the first, two lines reversed. If it, however, be urged that even when ^ is used in a former clause, the sense is complete without the express use of in the next clause, as in die., where we get the required apprehension (rf^^^K^cr ^ f^rgrKcUT.), even without the use of erff. We reply that, it is true that the sense is complete here; but we add that, this completion of the sense is possible only in the case of srft (a particular modification of and not of any other modification of it. But, in the next clause, any other modification of' Frq may be present, and yet the sense will be complete without cTeT. in the former clause; or, we may say that, thin example is irrelevant, since, (and =#?r also) is an ar^, whose nature is quite different from that of ^5, of which alone we are talking here. When both (the relative and the personal pronouns) are expressed, then it is well known that the fulfilment of expectation is present in that case. (c) When the personal pronoun and the relative may both be understood, from the context; as in % ;ttit &c. Here, the following is clearly understood:--" This effort is for him, who will be born &c.” If this is not taken as understood, and if the line be read as it is, it can not be connected with the first half of the verse. As for the explanation,given by some, that when‘s refers to something that is well known &c., it does not require either expressed or understood’; it is not right; for, it is not based upon the reading of such works as die., and also because it is not favoured by our author, who says that f cTcT does not require the express ust* of q^T;’ not that ‘ it does not require Thus, here ( i. e. in the example dtsdr &c.), ( the relative w:) remains expectant, owing to the absence of an express mention of the personal pronoun cTrT, and the impossibility of Implication. If it be said, that the expectation, raised by is fulfilled by ardr, which, here, stands in the place of cTU, we reply that, arfif does not express the sense of trr; for, in the verse amt jts&c., we do not apprehend that ardt has got the meaning of cRT. If be a synonym of <r?T, as you say it is, then, in the example, amt <§*c., amt would ex* press the meaning oftpr, and not of TZJl, and then it would belong to the Apodosis and * would require ^ in the ‘Protasis/ which, however, does not contain it. But if, it be boldly asserted that, ar^r is apprehended (a* having the sense o/’cTfT) here, denoting an object, absent or distant, and that this 3T^t does not require the use of anr in the ‘Protasis/ as cm referring to a well known thing &c., does not; we reply that, then, in the example &c., would he redundant, since its meaning has been conveyed by 3mt. But, it may he said:—It is not denied that has not got any other sense, but it is contended that 3T^ may he used in the sense of cml, just as (is used in the sense of cm;) in the verse &c. Now, the nature of ar^sr is identical with that of ^<pt, therefore, amg may be used like in the sense of cm;. We reply- True what you say. am*T will get the sense of cm; here also (i. e. in cRTm &c. ), (if it occur) in a clause, different ( from that in which *m; occurs, but )not (certainly) in the position in which it, at present, is, (i. e. that of immediate proximity to ^Tcj; ). For, even cm;, much more and ar^r &c., if placed immediately after atcf, not separated from it by any thing, and having the same gender, number, case fyc. with it, brings out the idea of celebrity ( only ), and belongs to the ‘Protasis,’ as in &c. Here ,tlie word cm (refers to the celebrated prowess of *m); and if it would not do so, then the use of the second cm would be purposeless. Therefore, ar^r, if it is to give the sense of cim, must be used apart from, and not close to, am;, as is used apart from, and not close to, ar?T, in &c. The personal pronoun cm; does not convey the idea of celebrity in &c., because it is separated from the relative by a Visarga; but in the case of cmifcT &c., no 8 separation exists between the relative ^r: and arcft, one part of the former having entered into one part of the latter. If it be said:—The correlation of ^ and UR is not constant; for, otherwise, in zpqctrrt &c., how could the poet, after saying W (first), say (only) cFff (afterwards)'1. We see there that, although the second has not got cR corresponding to it, still the apprehension of the sense is complete. It cannot be supposed that cTU maybe obtained there by Implication; for, 3R belongs to the 'Protasis’. Tie reply:-It is not necessary that if fr is repeated, its correlative should also be repeated, for fear of the second zr. remaining expectant without it; for, the repetition of ^ indicates that 3R refers to a thing in all its specific forms, and the personal pronoun fr, (although used' only once ), refers to it in one generic form only; as in &c. Here, the two zrus refer to sin, in all its specific forms, whether conscious or unconscious, small or great, and cR refers to this sin in its generic form, i. e. as sin. Really speaking, the second is a repetitive termination, denoting ‘totality, and is to be applied to one only of the two, either ^ or ^} and to that one, which comes first. If comes first, ^ takes this termination; if comes first, ^ takes it as in &c.; not both5 however. For the ‘totality’ being indicated by the affix tr, qy may refer to that ‘totality,’ indicated by the affix without taking another affix cRto itself. But in those cases, where both are repeated, they •should be looked upon as separate words, each denoting ‘totality.’ This repetition of both jjiy & ug is justifiable, only when the sense of succession is intended in the verse, as in &c; otherwise it is a fault as in &c., where no su ‘cession is intended. (c). is instanced in r% &c. Here, instead of using the compounds aiRbpr. and cBFRR- fr, thus making (the words) and ftr subordinate, we should say separately and cfR^r For, the genitive termination, which is lost in the compounds. is particulaily significant here, as giving an independent position to the words to which it is applied, and thus marking distinctly the relationship of to u*T, and of to syirq-. If it to said, that even though we separate the words as sffifor srjpr:, and still the words, srfihTT and cITU^ do n°t obtain an independent position; for, the genitive affix shows that they are subordinate to 3T^sT and 3^3- respectively; we reply:—True; according to grammar they are no doubt dependent; but in Rhetoric, we recognise them as independent. Udyota remarks that this is a sentence-fault, because it resides in two compound words i. e. arraftgsr and It should be remembered, here, that in each of the faults, that are mentioned, as both word-faults and sentence- faults, the fault invariably resides in two or more words, as here it resides in the two words arraTgsr and crra^RT. But in the case of those faults, that have been declared as sentence-faults, exclusively, the fault does not invariably reside in two or more words. For, some of these faults become sentence-faults, owing1 to the fault residing in one word only in each case; as becomes a sentence-fault owing to one word only in the sentence (i. e. sttficI or being redundant: whilst, others become sentence-faults, owing to the faultiness of two or more words; as becomes a sentence-fault, owing to the presence of many words, whose Visargas are omitted, such as •ficTT, and The fault as a sentence-fault has occurred, here, in two compound words. The compounds here, are tSRTcjpT compounds. But the fault occurs in other kinds * ^mrrhsfq- ^ i *rat i i <jt jtVi'4 uri^umr i- San, of compounds also. For instance, in the verse zr: &c., the faulty compounds are Bahuvrihi. In the verse &c., the faulty compound is a ^dt^RTcV^T. In the verse dtarar &c., the faulty compound is a Dwandwa. In the example &c., the faulty compound is a Dwigu. 42 (13). REPUGNANT SUGGESTION (ftapto*) is instanced in &c. Here, what is intended to be understood is:—“ ( Those Jdngs ), who are possessed of the attributes of forgiveness, etc., enjoy a happy sleep.” (But another sense is also) apprehended (from the verse), i. e “ (Those kings) are killedf which (sense) is repugnant (to the intended sense). The fault consists in the diminution of the pleasure, arising from the intended sense. On another ground, this may be an example of Indecency also. In 3RcTqTT«R^, the repugnant sense is also intended; whilst, here, it is not. In the repugnant notion is suggested by the sense of the sentence; here, it is suggested by the words. FAULTS OF A PART OF A WORD. Our author now gives examples, in order, of those of the above faults, which become possible in apart of a word. m mi,f ?t: i w <nfa- cT^Rnfr: n gfa: ?r; u’-ffh i ^ (m ^rStirdr ftwit qdrftfa: i ^rcrrTwrfvdr m’-zfa i ^npfrffwr 3 j'jfrnr^: fr^: | mi, ‘UT^rr ^r- zdt €1 qrfrJTT^UrA i3nr mm* 15% w, ‘dhiRT sffonrra wiTO’-^r purr srr^i ft^rcr mi, ‘mi 1 ^ 1 S. T. 43 (1). CACOPHONY ( wfcfvs ) is instanced in and $‘c- If in a word two letters occur together, that are harsh, it is the fault of a word, for, there the word itself sounds harsh to the ear. But if only one letter is harsh there, it is the fault of a part of a word. If it be said:—“How is *Trswre&c. an example of Cacophony as a sentence-fault, in-as-much as every word there is not faulty, according to this definition of the fault of a word ? We reply that a sentence-fault is regarded by us as occurring, not when it resides in many words, that are faulty, but when it resides in many words simply. Whether the faultiness resides in the whole word or in a part of the word does not matter. In these verses, two harsh consonants in yu, and three in ^yr, and are combined, that sound harsh ( to the ear ). In the first example the resultant flavour is the Erotic, which, being very sweet, does not admit of even a slight defect, and is thus depressed by harsh letters. The second example contains a solicitation to which sweet words are appropriate, but these are wanting there. The second example is given by the author, because, in the first, may not be admitted by some to be harsh. 44 ( 2 ) OBSOLETENESS ) is instanced in srartflff &c,. Here, a part of the word ^iTfrr i. e. imr, used in the sense of ‘possession,’ has that sense, overpowered by the more common meaning of ‘ intoxicated/ which sense it bears as the feminine of *rfT. I have here transtated the reading which I have found in the manuscript ( ). The readiug adopted in the text means:—JTrTr. being; well-known as having-the sense off Intoxicated,’ is Obsolete here, being used by the poet in the sense of'possession/ which is rare. Although I have adopted the reading sffaT«r in the text, on the ground that it is the general reading, still I must say here that I do not approve of it ; because, if we accept it, the line will not yield a good meaning unless the words ' ffcT ’ are taken as understood after The line will then run thus :—3f3T JTtTT^: &?RT'4 ‘ i 45 (3) UNMEANINGNESS (m’fer) is instanced in 3TT^53r $*c. Here, the plural number ‘^rr^’ is but ‘ Unmeaning,’ and is used simply for the purpose of filling up the metre, inasmuch as only one deereyed maid is mentioned in the verse, and one woman cannot have more than two eyes. Nor can the plural number he accounted for by saying that there is here *plurality of movements', as in arsro &c.; For, we have got the word here, meaning ‘ eyes, ’ and not ^#r:, meaning ‘ glances, ’ consisting of ' movements of the eyes! Nor can it be said that, the word ‘ is used, here, in the sense of ‘movements of the eyes’; for, in that case, the adjective 3f3Rqyr &c, cannot be applied to it, inasmuch as the action of 'anointing with collyrium’ cannot properly be predicated of'movements’. If * it be urged, that the plural number can not be said, here, to serve the purpose of filling up the metre, because it is possible to fill up the metre by the dual number also (^rit:); we reply; true, but the use of in the dual number would necessitate the use of its adjective also in the dual member. But if we put ^rf'TcT in the dual, it violates the metre. i—Chakra. The plural number of SRUTTcT alone cannot be said to be faulty, for, it is dependent upon the plural number of to which ddINcT is an adjective. Therefore, the plural number of alone is, here, said to be faulty; for, when the plural number of the noun is faulty, that of the adjec* tive, of course, becomes so. Again, in this very verse, the word also has its Atmanepadi form ‘Unmeaning.’ This form, according to Pan ini, is used, when it implies that the fruit of the action, denoted by the verb, to which it is applied, accrues to the agent’s self. Here, however, the fruit, i. e./conquest of the Erotic world’, of the (fancied) action of ‘sharpening the edges of Cupid’s arrows,’ doet not accrue to, and has no connection with, the agent (of the action), %. r. the weeping damsel. Therefore the Atmanepadi form ‘ ’ is ‘ Unmeaning.* If it be said:—Let the form be Solecistic ( ) lilce 'fpU’ where also the fruit of the action does not belong to the agentj or let also be ‘L nmeaning’ like since there is no difference between the two words. So also the plural number of the word referring here to two eyes only, is Solecistic. We reply:—By restricting the Atmanepadi form to in the sense of ‘praying for’, lias intimated that the restriction does not exist, when is not used in the sense of ‘praying for’. Therefore its ungrammaticalness is proper, when it is used in the sense of ‘soliciting’. So the Sutra, § ... qArJnfRT restricts the use of the Atmanepadi form to those cases, where the fruit of the action is intended to accrue to the agent. This restriction intimates the prohibition of the form, when the fruit of the action is intended to accrue to another. In such cases only the form would be Solecistic; not, however, in the cases where the intention, that the fruit of the action does not accrue to the agent of the action, simply, is absent. Therefore the question:—“ What is the propriety of q^rfwnzr ~l|as I 3TTTW onPanini I, 3, 72. been answered by saying, that tbe word shows, that this form is not to be used, when “ the fruit of the action accrues to another”, and not ‘when the fruit of the action does not accrue to the agent.’ Here what is suggested is, not that ‘‘ the fruit of the action accrues to another”, but, simply, that ‘‘ the fruit of the action does not accrue to the agent”; and thus, tbe form is not solecistic. So also the Sutra ggg by restricting tbe use of the plural number to a word referring to more than one or two things, prohibits tbe use of it in connection with a word, only when it refers to one or two things, not simply when plurality is not intended. But in ?5[rnT neither unity nor duality is particularly intended, and therefore the plural form is not solecisic. Simply plurality is not intended here; and therefore, the word is nothing but ‘Unmeaning’. Thus, the opinion of^'fercr, that occurs with reference to a part of a word, such + as an affix &c., while occurs with reference to the whole word, should be rejected; since, as we have just now shown, does not occur here at all. Nor should it be said that itself should be a since we have accepted it as a on the ground that tbe ungrammaticalness of the form renders the meaning of the root impossible; whilst, here, the meaning of the base is not sublated, and thus different from Udyota remarks that the Atmanepadi form is not Solecistic, for, it is possible to show that tbe form is grammatical, by-attributing tbe fruit, belonging to Cupid, to the heroine, who is connected with him. But the form is ‘Unmeaning,’ because the attribution serves no purpose. 46(4) INEXPRESSINENESS ( amror) is instanced in =^!<TRUT &c. Here, in the word the suffix ( the sign of the future passive participle ) is ‘Inexpressive of the sense, in which it is used, i. e. that of the suffix tTT, ( the sign of the past participle ). + i rnjrrg: i wurmpt i i sr =3 •n*UT i Ufin*PlRTTg^*r I 3ft 3 I—1’rabha, 4 7(5) INDECENCY ( ). ( a ) Suggestive of shame is instanced in arfcrq^q &c. Here, the first two letters, of the ivord q?5q, are indecent, as they form a Sanskrit word of an indecent import. (6) Suggestive of disgust is instanced in q: qqq etc. Here, the word qq% has its first two letters i. e. qq of a disgusting import. ( c ) Suggestive of inauspiciousness is instanced in fqqqqqqqr &c. Here, a part of the word arfqqq i. e. qq is suggestive of ‘inauspiciousness. 48 ( 6 ) AMBIGUITY ( ) is instanced in qqfqq; &c. Here, it is difficult to determine whether the part =q*, of the word qrqq*:, is an affix according; to the •* Sutra f qqqq q^j, ’ or a derivative formed from the root qy by the addi tion of the affix z ( = ar ), according to the + Sutra f qtq:. Hence.^ere is a doubt as to whether the word means, ‘Having been formerly a virtuous man,’ or, ‘Living amongst the virtuous. ’ 49 (7) IRREGULAR INDICATION ( ) is instanced in &c. Here, the word qqrqTq is intended to be used in the sense of" god, ” but it has no power to express that sense. Custom sanctions the use of the combination of the words *fr: and qpq in that sense, but not the use of the combination of their synonyms. The ivord qq: is, therefore, made to =8= Panini ( V. 3. 53 ) + Panini ( III. 2. 1G ) 9 indicate, (without the warrant, of either usage ora motive,) the synonymous word fir:, and, thus, in composition with to yield the (usual) sense of “ god. ” Thus this is an example of ^TT^T. Bare, not 0nly the first component member i. e. fit:, but the second also, i. e. m^\, does noth ear being exchanged for a synonymous ivord. Thus fit;3TC is also open to this fault. In ( such compound words as §c., only the latter word ( *. e. 1%), and in ( such as ) $*c„ only the former word ( i. e. ), are not exchangeable with their synonyms. This is not an example of for, it is, here, the intention of the poet that «Rp>lT should be resorted to; when this intention is wanting, we get Although it is true, that some of the faults, such as, 3T5T^TrR fyc., are but varieties of (and therefore do not deserve to be separately mentioned), yet we have mentioned them as separate divisions, because other Rhetoricians (who have preceded us) have done the same, (and we do not wish to depart from the piactice which they have initiated), and also because, it is well that although the faults (above-mentioned), do not admit of real distinctions, still they should he divided before they are exemplified. For, such a procedure fulfils the purpose of effecting a clear understanding of pupils regarding them. The following are the three principles according to which ‘faults of a word’ may be classified?— (a) (b) smfq-iWcTf^JR:. (r) The first principle underlies the following faults, and for the following reasons:— 1. 3TW-TR . I 2. . 5R3WRRI 3. . I 4. 3T3TcfTcTc^. I 5. . 3iTRrmt%R I The second principle underlies the following faults:— 6. . S3 7. . 8. fpjSR . The third principle underlies 9. . s3 O 10. ^cRRfrfcTR. 11. . 12. SRSfaR . 13. JTT>RR . 14. 3RRRTRR. 15. 3TT%JJ2fafcRTTCTc^. 16. R^RfcTfR^ . ... I ... I ... arsTc^n^m: stcroirtowtsti the following faults:— ... sfl^trorero. | ... 3T«^re^Tc®rTtr. I ... rrto^rrr i ... w*rt#ir«r: i ... ^FRVTRf^^T^IRFTrfi: i ... i?» fcre^o#rj^w: i ...g^rr^pratt frofqroffr^n^i ... RO RR^RT^RFR: I If STJRrfTR 8fc. are to be made varieties of 3RRTOR, then must be defined as:-Tncapability of producing an apprehension, delayed or undelayed, of the intended sense’. 3RRPR4, thus defined, will include those faults which come under the first two principles, which we have given above. Numbers 1, 2, 3, 10 11, 14, 15, & 16 are T% faults and the rest arf^RT. ( Vide Udyota page 127 ). Thus have the faults of a sentence, homogeneous to those of a word, been declared. Those of a different class are now stated. Faults peculiar to a Sentence. 1. Incongruity of letters; 2. Blunting, and 3. Dropping of the Visarga; 4, Deformity Of ‘Sandhi’; 5. A Metre condemned; 6. Deficiency, 7. Redundancy, and 8- Repetition of a Word; 9. Excellence falling off; 10. Resumption of the Concluded; 11. Isolation of a word in a distinct half; 12. Failure of an Intended Connection; 13. Omission of what must be said; 14. Misplacement of a Word; 15. A Compound out of place; 16. Confusedness; 17. Use of a Parenthesis; 18. Disregard of Usage; 19. Violation of Uniformity; 20. Syntactic Irregularity; and 21. An Unacceptable Second Sense; these are faults residing only in a sentence. Here also we can get both divisions and definitions by taking the various words in the Karika, in their customary and etymological Senses respectively. 50 (1) INCONGRUITY OF LETTERS occurs when letters are inconsonant with the flavour of the piece in which they occur. What letters are consonant with what flavours, ivill l>e mentioned in the 8th Ullasa. The opposite of such Inters are (called) ‘Incongruous letters.’ The fault, occurring when the flavour is the Erotic, is instanced in <bc. Here, the flavour is the Erotic, to which zs are opposed, manifesting the excellence ‘Energy’ (), which is opposed to the Erotic. It ■* should be noted that this is no fault if the letter z occurs only once, twice, thrice, or even four times, inasmuch as this does not so much injure the flavour as when it covers a whole sentence. Therefore it is the fault of a sentence, not of a word, as is, which occurs if but one letter is harsh. The fault consists in the opposition of letters to the manifestation of a flavour. The fault occurring when the flavour is the Furious, is © instanced in ^r: &c. Here, the flavour is the Furious, to which soft letters are opposed; harsh letters and long compounds are appropriate to this flavour, which is possessed of the excellence * Energy’; as in spraTF &c. Here, in the first three lines, harsh letters and long- compounds have been used, because the flavour is the ‘Furious*, an angry man being the object of description. But where there is no anger, onty soft letters &c. should be employed; as in the fourth line of this verse, soft letters &c. alone, are employed; because, here, Parashu- rama’s anger is absent, since it is, for a moment, superseded by the feeling of love, which is engendered by the recollection of his great and revered teacher. Pradipa asks:—Why should not this be a word-fault, inasmuch as the compound, consisting of soft letters, extending to half the verse, constitutes one word. It cannot be said, that the fault of a sentence requires the juxtaposition of another word, but the fault of a word does not; for, in this way, would not be a fault of a word. In fact, this is a fault of a word exactly in the manner in which is a fault of a word. Thus there is a deficiency in the divisions of the faults of a word. 51 (2) BLUNTING OF VISAKGA ( ). This fault occurs, where the Visarga is changed into ^ or eh; as is shown in sffat fh^TcTT &c. To make this a sentence-fault, it is necessary that more, than one Visarga should be blunted. The 3WcT, here referred to, is the change of the Visarga to 3". Other kinds of ^srnrrs come under other faults. The change of one Visarga only does not destroy the flavour; therefore, the definition of is :-“That where many Visarg&s are consecutively changed to 3.” 52 (3) DROPPING OF THE VISARGA ( sHffcricT). This fault occurs where many Visaryds are dropped', as shown in &c. The fault in both and consists in the dissatisfaction of the reader produced by the harshness, i. e. looseness of the composition. Therefore it is permanent. The presence of many Visargas is also faulty; as in ***: &c. Pradipa asks:—Why should not this be the fault of a word, as instanced in &c. ? 53 (4) DEFORMITY OF 'SANDHI’ () is of three kinds:- (A) Disjunction of 'Sandhi, fB) Indecency of‘Sandin', (C) Harshness of ‘Sandhi*. (A) Disjunction of'Sandhi’ (i%%q) occurs when a 'Sandhi’ is not made, although according to grammar, it ought to be made. It, again, is of two kinds:- (1) OPTIONAL and (2) NECESSARY. (2) Necessary Disjunction is, again, of two kinds:— (a) When the final or tt, of the dual terminations, whether of nouns or of verbs, are not subject to the rules of ‘Sandhi’. (5) When the Visarga, or tt, t*, 3rr, & 3ft, although dropped or changed according to rules, are to be considered as not dropped or changed. A (i) is instanced in &c. Here Disjunction is optional. ( 2 ) (a) is instanced iu #c. Here, the dual y is snjsi, and cannot be joined with the following 3t or (2) (b) is instanced in &c. Here, although the Visarga is dropped, it is to be con- sidered as not dropped ( srfai; ), and thus the preceding 3T cannot be joined with When the Visarga is considered to be present between them, it is impossible to join them. ‘Optional Disjunction is faulty, occurring but once. For, although grammar does not give an absolute injunction that such a ‘Sandhi’ must be made, yet the non-making of it clearly shows that the poet is wanting in a perfect command over the laimuao-e, and thus causes dissatisfaction in the mind of the reader. Both the hinds of ‘Necessary Disjunction are faulty, however, only when occurring more than once; for, although, obedience to the rules ofgrammar on the poet’s part does not lead us to infer his feebleness of the powers of composition, yet it certainly makes the composition of the verse loose and thus weak. ( B ) INDECENCY OF ‘SANDHI’ is instanced in %*Tp|ifcr &c. Here, the ‘Sandhis’ are indecent inasmuch as they give rise to the words and T%f, which are suggestive of senses causing disgust and shame respectively. ( C ) HARSHNESS OF ‘ SANDHI’ is instanced in s^r^trr &c. Here, the f Sandhis/ between and str &c., are harsh. Pradipa asks :— Why should not c Deformity of Sandhi5 be the fault of a word, inasmuch as two or more words, being compounded, become one word. Thus the second kind of 3T$ETc5R, and the third kind of and the first subdivision of the first kind of RtrRR ( ^»rH3R^R3R ) come under bt^R, %2R, and =^fi*fn%R respectively, and the second subdivision of the second subvariety of the first kind of RtlfiTR may also be a distinct wordf-ault as in c&c. Pradipa himself answers the question, which he has asked here and also elsewhere:—The word tr in the last line of the Karika has the sense of a restriction. It intimates that, these faults (mentioned in the Karika urd^&c.,) with all their subdivisions, occur only in a sentence in such a manner as not to be confounded with any other faults. But when these faults occur in a word, they become confounded with other faults ; for instance, ykHeRuiR, sometimes, becomes confounded with srfcR'TR or 3nRy$rcwraR; so also ^q^R^UTR and ^yfenfiR become confounded with R; so also the three varieties of ftfifijR, i. e. ^2- and become confounded with 3TJrtf<?5R, ^2R, and strur, respectively. It is true that one variety of i. e. does not become confounded with any other fault, and is, thus, a distinct word-fault; still inasmuch as the remaining varieties of become *R>Fr, we can not say that, rrr, as a whole, is 3m#fr, when occurring in a word. In the same manner, the list of word- faults is not deficient; for, only such faults have been men- 70 tionecl in the Karika &c.. as, with all their subdivisions, occur in a word only, in such a manner as not to be confounded with any other faults. As regards Udyota remarks that it does not come under Solecism; because in the former. Disjunction of ‘Sandhi’ is optional, and cannot, therefore, be said to be ungrammatical. 54 (5) A METKE CONDEMNED () is of three kinds:— (a) When it is harsh. (b) Wh en a verse ends in a short syllable, which has no power to produce the effect of a long syllable. (c) When it is inconsonant with the flavour of a verse. (a) Harshness of Metre ( wx&vm ) is again of three kinds:— (1) When there is a violation of the definition of a metre, (the word 3TN ¥ in Mammata’s Vritti gives us this division). If we would do not take this division, a poem would become faultless even though its metre be violated. This division, being common, is not noticed by Mammata. (2) When there is no violation. This is again of two kinds:— (a) When there is a break in the caesura. (b) When there is a union of particular feet in a particular place. + fre; I ?Tc5l?filT^r$en? I V- ff?T I—Pr. 10 OR We may better look upon a Condemned Metre as nothing but a harsh metre, including under it the five varieties mentioned above. For, a general feature, viz,that of sounding harsh to the ear, is observed to run through all of them. (a) (1) Though not noticed by tfss is instanced (by Pradipa) in &c. Here the fifth letter is long, notwithstanding the rule * which says that it should be short. Thus the definition of the Metre is violated. (a) (2) (a) (In a Metre regulated by the number of letters) is instanced in sT’jSfRR &c. In jrfttft, the first caesura, in every line, is at the end of the sixth letter. Here, however, the letter in the fourth line, at which there is a caesura, is dependent upon another word, i. e. sfss, being joined with it, and thus bleaks the caesura. Thus, sfeeRScFITf tSTct is here harsh. We should, there-fore, read ses JTgt srt tsrs-ss. &c. (A) (2) (b) ( In a Metre measured by the number of Prosodial Instants ) is instanced in qftefts <f-c. Here, there is an 3tr!^tT, which is a i. e. a metre measured only by the time occupied in the pronunciation, without any reference to the number, of the letters which a metre is to contain. The second and the third feet, i. e. which is and which is arrftss, come together (efts, effte) and a.ie regarded as sounding harsh in the science of Prosody. * ‘ q-gr *Hhr <33 ’ eftr I—Pr. l“T C 15 (B) is instanced in fa^Ffarar &c. Here, the word fTK is faulty. ft, the last letter of the first line, is short and has no power to produce the effect of a long letter, although, according to the rule that ‘the ending short letter of a line should be considered as either lono- or O short’, the letter being reckoned long, there is no violation of the definition of a metre. The rule has application only to such metres as &c., where the ending- short letter has a power to produce the effect of a long letter. We should, therefore, read &c. This fault occurs not only in the first and the third lines of a verse, but in the second and fourth lines also. The fault occurring in the 4th line is instanced in &c. Here, in the last line y is short, and although it obeys the rules of Prosody, it has yet no power to produce the effect of a long letter; for, if we assume the letter to have that power, the composition will be rendered loose. When we read qTSTPJqfq, although fq remains short, yet it has the power to produce the effect of a long letter, because the preceding short vowel 3T becomes strengthened by coming after two consonants yr and y. Or, according to Sanketa + just as a short letter coming immediately before another that is a JTfrrTM, (pronounced with hard breathing), becomes long; so a short letter, ( fa in the present example ), coming immediately after another that is a y^T5fT°T, in the present example ), sometimes becomes long. The fault consists in the haishness of the composition causing dissatisfaction in the mind of the readei. Therefore it is a permanent fault. + yfayr qrarfat 3§%tfa q*rr 3s: ^m*TT ir^r- ufayRfafasfa 1—San, (C) is instanced in fr &c. This met re (which is a gftereO suggests tJte Comic jivour, and therefore does not suit its opposite i. e. the Pathetic, which is the flavour here. The fault consists in an Incongruity of letters. The fault does not occur in a flavourless poem, and therefore is a permanent fault. It may be added here that £c. suit the Pathetic; snrcTCT, &c., suit the Erotic; ftraRtfr, &c., suit the Heroic; and suits the Comic. 55 (6) DEFICIENCY OF A WORD ( ) is the omission of a word expressive of a sense that is intended. When the omitted word simply points out that another word has a certain sense, such as a preposition &e., the fault is effRrft^r^Tcsr. The fault is instanced in &c. Here, (the word) in the first two lines, and before T%% in the last line, are wanting. Each of them is wanted, because, without the first, we will not get the subject for the first three sentences; and without the second, there will be no connection between the first three sentences and the fourth. The senses of all these are intended here by the poet, and therefore, the words are to blame; where the senses are not intended, we get a sense-fault, i. e. According to Sanketa + in the sense of the verse can not be made -is- hsRTfasrR- ^ i rRUt% 3 Rr?r q: I—Pr. + TtfqRT ^ ?r w i 1—San. out, without the words that are omitted. In 3TJTPTr|- the omission leads to the apprehension of a contrary sense or the destruction of a desired sense. The fault consists in the non-apprehension of the intended meaning caused by the absence of the apprehension of the necessary words. So if the intended meaning is immediately apprehended through 'Implication/as in *rr <-5'c., and fasrHWf &c., there is no fault. To avoid the fault of Jayanta proposes to read the last two lines of this verse as oiven in the foot-note below. 56 (?) REDUNDANCY OF A WORD (anwr^r). A 'Redundant* word is a word the meaning of which is not intended; as instanced in &c. Here, the object of comparison is served simply by the word FfiTi'fi; and therefore tlte word 5TT^i% (is redundant)m The meaning of 3TT^% is ‘conjunction of parts/ which connot be at all connected with the sense of the sentence; and even though any other sense *f of sTTf^RT, such as 'nature* ( ) &c., be connected with the sense of the sentence somehow or.other, still even that sense is not intended here, the purpose of comparison being served without it. In x 3rqyr4c=r, the meaning is intended, but is obtained by 'Implication/ and, therefore, does not deserve to be expressed by a word. Or, according to *Trf|c^tf®T, in the first, the blemish becomes evident simultaneously with the apprehension of the connection among * r%tr fcT iTT^rrrr mr : i Jayanta. • i—Pr. the meanings of the several words; while, in the second, it comes to be recognised afterwards. A word may be redundant not only in a compound, but also when there is no compound; as in &c. Here the word f^rq; (is redundant), inasmuch as, without it, the sense of the second line can be completety understood; its use on the contrary, in the second line, accompanied by the absence of the use of the corresponding word in the first line, produces another fault Uniformity requires that 'impropriety’ should be attributed to a woman’s passion in old age in the second line, as it has been attributed to a man’s passion in the same period of life in the first line. But we see that ‘impropriety’ is, here, attributed to Bramha’s failing to do a certain thing. Thus the ‘uniformity’ is violated. If we, however, read ^ the apprehension becomes complete. The fault consists in the dissatisfaction of the reader- caused by an unnecessary use of a word in the verse. This is, therfore, no fault, when joy &c., are to be suggested. Maminat&’s Vritti, viz. 3u?r frontier f><r qc^wnrwqiTcr has been construed in two ways.‘- (1) Pradipa construesI fTcT (qfoi) Uc^cT (2) ^RqrhTJfr construes:-^ frufam (q^r^F) (qfsw) i -:c- Sanketa has given three more examples of this fault; 18TW ^nrsrrfe I ^f^TfUr:%crr: l qrjqaqqqrqarfasrsr cntcTTT^q, swrsrcq cT^s#riTi%: i—San. 70 (vide foot-note). In the first, the word *nr, *b and jpr, in the second, the possessive affix jr;, and in the third, the crfgTT affix ^r, are redundant. 57 (8) REPETITION OF A WORD ( ). A word is repeated when it is used again in the same form, and in the same sense, without any reason for so using it; as in etc. Here, the word ester (is repeated), thus intimating a connec. tion, which is not intended, between and We should therefore read &c. Pradipa asks:—Why should not this fault be called a word-fault, since it is possible that the same word may be repeated again at some interval in a compound, and even when there is no Latanuprasa ? To this Sudhasgara # replies:-This can never be a word-fault, for it requires the presence of two words identical in their meanings and forms; but parts of a word can never be called words. If it be said that, the two component parts of a compound^ which are identical in their meanings and forms, are called by us, words, and that the presence of two such words may constitute this fault; our reply is that, in that case, inasmuch as a fault resides in two words, it becomes a sentence- fault as the definition of a sentence-fault applies to it. The fault consists in the dissatisfaction of the reader caused by the inference that the poet is wanting in the powers of composition. Therefore it is no fault in where s'uc-h an inference is absent. 5T wt TT^r?JF’T7 | fTRST'T'iFd qreqfNRroqft' i—Sudha. In , there is no purpose #c.; thus the fault does not extend to cfc., (Vide sraRirn) where there is a purpose. If the word repeated be of a different form, although having the same sense, there would be 58 (9) EXCELLENCE FALLING OFF () occurs where the excellence, of either a figure or a composition, is gradually diminished; as instanced in 3?: w, 1 3T5T &C. Here the excellence of the sense is increasing, inasmuch as the elephant is more terrible than the boar; because he is engaged in the destruction of his enemies ; the buffalo is more terrible than the elephant, because he is the. vehicle of the god of Death; and . the lion more terrible than the buffalo, because he destroys elephants, buffaloes &c., and yet here the excellence of words, ( consisting in alliteration and harsh-sounding letters), is gradually falling off. The fault here is the same as in . If tliQ excellence hills off, however, in consonance with a flavour, as in the fourth line of the verse smiTT, & , then there is no fault. 59 (10) RESUMPTION OF THE CONCLUDED ( The fault (uunr ^ ^ ) occurs when a sentence, that is concluded, i. e. has yielded the intended sense, is again taken up by a word, that may be connected with it. The word may be connected with it as (1) an adjective or an adjectival phrase, or (2) as an adjectival clause. In (2), is no fault, as Mammata will say afterwards The present is an example of the first kind. The second kind is instanced in STRSfrar &c., where the word shows that the clause is adjectival to the first sentence which is principal. The word ‘intended’ in the definition shows that th i^ is no fault in etc., & in spjjjfj &c.; for, in the first, what is referred to by being doubtful, is made clear by the adjectives that follow. Thus these adjectives are connected with the sense of the sentence simultaneously with the noun referred to by In the second,‘the trembling of the breasts’ demands that its cause should he stated. This expectation, raised hy the word as to its cause* cannot be fulfilled, and the intended sense cannot, therefore be fully understood, unless we take the words &c. into the body of the sentence. Some say that ( HdFT dim *r=r ) occurs, when, even though a sentence is concluded, another adjective or adjectival phrase is added on to it, which does not tell us anything particularly useful to the object under description. This definition, we reply, is not right; for, it would not apply to M &c., where no adjectival phrase is added, but a new clause is begun. And thus this would be inconsistent with Mammata’s statement that UUTRHrFCFr >s an occasional fault. Besides, according to this definition, the word qpp in^jjj-jgijjj- would have no propriety, the adjective, i.e. the appositional phrase, &e. being employed for the first time. If it be said that the adjective, that is to be again employed, is a new adjective in addition to those already existing in the sentence; still, we say, the word Jjp. will be useless. Besides, according to this view, the compound will have to be solved as a -a solution which, according to grammarians, is artificial and should be resorted to only as a last remedy. Again, according to the view of the grammarians viz that the action, denoted by a verb, is the predominant thing in a sentence,* srnSftcT ipJBT: is an example of but according to these men, it would not be an example of it; for, here, there is no adjective to qz, already existing in the sentence (which according to the grammarians means :-TO^TTOrg)- and therefore, another adjective, viz. cannot lie said to be added to it. The fault is instanced in &c. Here the sentence is concluded at cRBJ yet it is again taken up by the words fjcredT &c. The fault consists in the absence of expectancy. The fault is, therefore, occasional. For, it does not occur, if a new clause is begun, as in nmnr &c., or as even here by reading dr &c. for JT^dr &c\, in both of which there is expectancy, as shown by the word in each of the two clauses, 11 (GO) (11) ISOLATION OF A WORD IN A DISTINCT HALF ( 'rifataTTO* ) occurs when an unimportant word, signifying a reason &c., is isolated from the half to which it belongs, and is placed in the other half; as instanced in &c. Here, the unimportant word cfo is placed in the second half of the verse, being isolated from the the first half to which it properly belongs. It cannot be regarded as standing for another sentence that precedes, for, serves that purpose. The reason of'slow walking’ in is obtained by Implication or Suggestion, simply by hearing that the ground is rough. The word rf?T is thus not needed and is un- important. This fault is not because the word does not fall in another sentence, but is simply placed in the other half of the sentence. The fault consists in the absence of expectancy. In the verse ^ I USTT : &c.-(Pr.)f although the word rtsTh the subject of the sentence, is placed in the second half of the verse, yet the fault does not occur here; because the word is not unimportant; or, even though by the omission of the words snmiJnr- hi the definition, the fault may be made to occur here, yet it is not a fault, because the absence of expectancy, which constitutes this fault, does not here exist- or, it may lie an example of fjjrcrTq, inasmuch as there is a delay in the apprehension of the meaning, caused by the knowledge of juxtaposition, lint it is a question, says as to how this is regarded as a sentence-fault, or why it should not be STT'TPrFptT or srcrcjpd'TT. According to 8. T. # the fault may also occur when a word, : i grj 11” ( S1% ) 5TR^5mivTl^l% I—S. T. belonging to the second ball, is placed in the lirst hall ; as in &c., where which properly belongs to the second halt' of the verse, is isolated from it and placed in the first half. (61) (12) FAILURE OF AN INTENDED CONNECTION ( This fault occurs where a desired connection is absent. This is not the same as because stray ° + supports ^TAY^AdYFTR, i. e. is the cause why a desired connection is absent;-so say some: but, really speaking, there, the connection of the words is present, but not in the manner in which it is desired, i. e. in an unprominent manner; whilst in STA^TrlYFrR', the connection itself is not apprehended. If it be said that, in this way the word "desirable" (ay) in the definition is useless; we reply that the "desirable connection" here means simply a syntactical connection, and such a connection is present here; in STRAY0, the connection meant is that which is intended to be expressed by the poet. (a) Owing to the difference of cases is instanced in w cTT: &c. Here the relativeA:, in the second line, is intended, by the poet, to be appositionally connected with the noun But such a connection is not apprehended, because the noun STCTYTbtA is in a case (i. e. the genitive) different from that of the relative ( i. e. the instrumental ). If it be said;-Just as the relatives can be appositionally connected with the correlative, difference of cases notwith standing, as in ‘a: sRpnARAARA", so let the relatives Wif, A:, + snnfRArAATrf l srftJlYRAATSTcAFT AA^rATARYAIRYwAATAA: I— Pr. ATA fAA[%cTTA^aAr AAA^AATA: | Af^ArAHAAc^T^fiAArA AArAAl %fcT I—Pr. and be apposition ally connected with each other, difference of cases notwithstanding. Thus, in this manner, when the relative t: becomes appositionally connected with the relative St^t, it will, of course, be connected with the noun thus, another noun is not required for being appositionally connected with the relative sr:. We reply;—No; for all the relatives are directly connected with the correlative, each independently of the other. One relative, however, cannot be connected appositionally with another, coming immediately after it, since, all the relatives being equally dependent upon the correlative, there is no special reason why one of them should be regarded as the correlative(fetr^)and the others as the relative(f%%^). Says Jaimini:—Relative clauses can have no connection with each other, each of them being equally dependent upon the correlative with the others; for instance, in the example &c. ( He buys *TT*T with a cow' red-coloured, one year old, and tawny-eyed ), the words and fa*TT^, are not connected with each other; nor with *T3T also, for the word W also is subordinate to the verb inasmuch as it expresses an object that is a means to the act of buying. But they are connected with jfrwTTcT. If it be said that, if the words are connected with then may be bought by any other object that is red- coloured, one year old, and tawny-eyed. We reply:--No;for, the adjectives btwtt &c., and the substantive *T3T, necessarily imply each other, since they fulfil the exepectation raised by each other; for, it would be cumbrous to suppose that the adjectives &c., are connected with another substantive, and that the substantive fRT is connected with other adjectives, not mentioned in the sentence. 8o If it be said;-Let there be ail implied connection between the relatives and the correlative here, as in &c.>' we reply that such an implied connection would have been possible here, if the cases of the relatives and the correlative had been identical, as in &c., but they are not. If we read $r<TRTrcft: for sjqRTrcwTJ^, then the word, aPTRrfR;, falling within the correlative clause, marked by cT?iy can he cvppositionally connected with all the foregoing relative clauses, marked by ^, whatever may be the case assumed by each relative, and although all these cases may differ from that of the correlative. (h) Owing to the deficiency of words is instanced in ffr^rr: &c. Here, the intended connection, between ‘the rest being- accomplished’ and ‘the possession of excellences bearing- fruit’, is possible in two ways:-(l) either cR must be taken in the sense of or (2) other words, i. e. cpr after ^ and or before c^hr, must be supplied in the correlative and relative clauses, respectivly, which are not there expressed. If the first alternative be adopted, there would occur the fault ; if the second , there would be It should not be said that is included in this fault, for, in it is possible to obtain the desired connection by means of Implication or Indication ( the connection being apprehended after a great delay, it is a fault ). Not so here. Implication obtains only when the words invariably expect each other, as subjects, objects, verbs etc., in It does not obtain here, owing to the absence of this sort of expectancy among the words. (c) Owing to the want of expectancy is instanced in &c. Here the first half of the verse is intended to be connected with the second half. This connection is not, however, at all possible. For, a connection between them is possible in the following ways:—A word may be connected with another either(l) as a verb; or (2) as a noun in any case such as the nominative, acc., &c.; or (3) as a noun in the possessive case; or (4) as an adjective to a noun in such a case; or (5) as a noun in a case indicative of causation, as in spr;. or as a noun in a case indicative of sign ( i. e. in the direction of ), as in );or (6) as a correlative referring -to a relative in a former clause. Here the 1st 3rd, 4th, 5th and 6th modes of connection are impossible. The only mode of connection that is possible is the second ( ). And in the matter of this alsOj words in the second half may be connected with those in the first half only as subjects or objects of the verb in the first half. Now, if all the words §c. he connected as objects with arFfiOFT as the ve h, must he each in the objective case, because, they must be in apposition with vFf, implied by in the second line, which, being the object of must be in the objective case. If tOe. ( not syntactically connected as subjects, objects, fyc.) be collectively ( and not separately ) taken to be the objects of the verb arppfa, i. e. to be in apposition with efrf, the object of arrwr, then in that case, although it is not necessary that they should each be in the accusative case, still they roust each be in the nominative case, as in JUflT ^1% &c.; since. each of them has got the sense of a simple nominal stem ( ). If and be connected with the verb as subjects and objects, respectively, then must be turned into to suit 5TU:; for, the word 3RTt, in the plural, cannot be connected with a verb in the singular number and neuter gender. If the t wo sentences, etc., and 5TCT: &c., be taken in apposition with cf?r, then there would be two subjects ( Spt and ^tT^irJT ) and two objects ( and ^Rf: )— which is undesirable; and besides, the expectation, raised by would remain unfulfilled. If, however, it be said that, since is used to express objects, that are present in our minds, it may signify which, in the present case, are the objects present in our minds; thus inasmuch as q?r becomes connected with the verb ^RTRTi^r, the connection of &c. with that verb, follows as a matter of course. We reply:-No. For, in that case the repetition of ^fr^3* etc. would be as useless as that of in w?:. But inasmuch as both the words and have been employed, we must admit that although they mean one and the same thing, still they mean one and the same thing in two distinct capacities, i. e. we must admit to mean &c., as objects present in our minds, and to mean as We must thus try to connect these two words which are used in two distinct capacities, with each other . But such an attempt is futile as we shall see just below. Again, just as sjfr^trg- &c. cannot be taken to be the objects, referred to by so, for the same reason, they cannot be taken to bo the objects, referred to by which is implied by in the second line. Again, these words ( &c. and etc. ) cannot stand to one another in the relation of adjectives and asubstantive; fro, &c. cannot be taken as adjectives (i. e. in apposition) to spr, or as adjective to &c.; for, here again, no correlative being mentioned, the expectation raised by will not be fulfilled. Again, such connections as would be unintelligible; and them being many connections of this sort, tlie apprehension that the sentence is one would also be destroyed. J\Tor can the latter two lines he taken as containing answers to the ( detailed ) questions in the form lwhat were obtained by whatl about things that are generally known by for, there is no word expressive of interrogation in the sentence. Nor can it be said that the questions are implied, (not expressed), and that, thus, by accepting this alternative, we would get ; for, here there is no necessity to infer questions, since, without them, the latter sentences may be taken as particularizing the description, which the former sentence has given generally. If it be said that, the verb q'RTqrKq', by change of number &c, may be connected with thus giving rise to a new sentence 3JTT* cTgTOT’ f^r: )i we reply that in this way there would be two unconnected sentences, because the second sentenco-^f^a^^-.. cannot bo connected with the first sentence Such unconnected sentences, in ordinary speeech, are faultless no doubt, bat they are faulty in a poem, where the use of sueh unconnected sentences produces dissatisfaction. We should therefore read TKTF^Nr^fl FTfgygJTr as the second line of the verse. (cl) Owing to the absence of the desired connection with (the expressed, or) even the suggested sense is instanced in &c. Here, the context is that of the reproach of This context shows that reproach is intended to he connected with vrFrsr for his having cut the head of his mother. The axe being inanimate and skilful in its own act, ' repioach can not be apprehended in connection with it. This connection is, however, not apprehended here. For, the instrumental case shows that fr^cIT is syntactically connected with the axe itself, and thus makes reproach apprehended in connection with the are. If it be said that, reproach has been most ingeniously hurled at under the pretext of its being addressed to the axe, still, we reply, this would be an example of ar^TT^rr^^, since, fKpf<r is not expressed as connected with although it ought to be so expressed. The word frcPPT must be connected with himself, not with his axe; for, inasmuch as certain attributes, such as &c., are applied to to show f his fitness to be fought with,’ it is proper to mention other attributes, now, showing hise unfitness to be fought with’, in connection with *TFR himself, and not with his axe. The desired connection is, however, obtained when we read fr^r:. This, says * S. D. is the view of the Ancients. But the Moderns declare that, it is this form of expression that displays wit; for, the reproach against Parashurama is more strongly felt, being reflected through the axe. (e) Owing to subordination in a compound is instanced in #c. Here, the word being reduced, to a subordinate position in the compound, the object denoted by it cannot he connected, with the objects denoted by all the (other) words, of the sentence, viz. etc., which, however, are intended to be connected there-with, as its essential adjuncts. Nor can + &c. be connected with in the prose passage above the verse; for, in that case, gtrmrtfrc would be a useless repetition. sfcTs.^r: 1 T<fM^Tg£R wreftengfifar: 1— S&hitya. + jt =*re sefcT sfa *rer- t-M iTVib I—Sar. 12 ( / ) Owing to violation of the rules of Syntax is instanced in fyc. Here, the word is intended to be connected with Pdrvati; but it is apprehended as connected with according to the rule, that 3TRJR. and ^ should be connected with the subject of the principal verb. The fault consists in the absence of the desired apprehension; thus the fault is a permanent fault. 02 (13) OMISSION OF WHAT MUST BE SAID ( ) occurs when a ivord, that simply + suggests a sense, (i.e. that is other than a word that expresses a sense ) such as a preposition &c., which ought to be necessarily stated, is omitted ; or, according to those t who say that, a preposition &c., such as srfq- &c., express, not simply suggest, a sense, the fault occurs when a word, which cannot be used independently of another, such as a preposition cj-c., is omitted. in means a 'word’, not a 'sense*; otherwise, the fault would be a sense-fault. is of two kinds:— (1) When a word, that ought to be stated in one manner, is stated in a different manner. (2) When a suggestive word, that is, a word which cannot be used independently of another, is omitted. The first kind is instanced in STUrfR’FT etc. Here, aTTfcTR ought to be expressed as the predicate-, (the sentence being made to run thus:—(3Tf) SRfdfsfaT. * ^c5RRfhfh i i-Pr. + i—Pr. t 3pari^n»eawcr g i—Pr. When apTptcsr is made the predicate, two sentences are obtained, and thus the position of errin' becomes grammati" cally right. For, crsTifl (is a conjunction, and) is understood (as such) only when it occurs in the second sentence. If it be said that here, the attempt of removing the unconnectedness of •T'-TTFr results in the prominent mention of the predicate; and that, thus, this is but an example af we reply:—Prominent Non-mention of the Predicate is not the only fault here, but the Unconnectedness of rfi-flFT also. We get sTTf^ as a predicate only in reference to and not independently of it. can be very well connected with jfPf and thus give us an intelligible sentence, independently; but the word qqjfj remains unconnected. It is, thus, the Unconnectedness of T'-TTPT that constitutes the fault here. From this explanation it will appear that, the distinction, which some intend to draw between fqqqnqg$pq and V1Z- that the former does not occur in a subordinate clause, while the latter does, should be rejected; because there is no reason for such a restriction, and besides, fqqrnfqo has been instanced in jprTTgcqrpqq, which is but a subordinate clause; or, let there be 'lx this example. The second division of this fault, as instanced in tprrSjr &c., is not confounded with Thus the recognition of ST^Tfiff^UT3 as a distinct fault is proper. The second kind is instanced in xrifrs^ &c. Here, one arrr after and another after ought to be stated. But they are omitted: without them the sentence would mean 'not of gods and demons, but of others’, and ' not of their desires, but of their external senses.’ But what is intended is-'beyond the reach of even the desires of even o-ods and demons.’ O This fault occurs even when there is no compound; as in c^T &c. Here, the word srfa after ought to be stated, but it is omitted; without it, the sentence would mean;-'not a small but a great fault;’ but what is intended is:— 'what even a slight fault #c.’ In ^prr^r, an expressive (word is omitted; here, a suggestive (?ftcra>) word. As for those who say that in there is simply absence of apprehension, whilst here there is presence of an opposite apprehension, and that in the following example, viz. aunficl^T &o. the fact that a warrior boy should exist for Parashurama, is itself an opposite apprehension, we reply that their view is opposed to experience, which does not show that the alleged fact is apprehended from the verse. The fault consists in the production of an undesirable apprehension in the first division, and of an opposite apprehension in the second division, of this fault, and therefore is permanent. 63 (14) MISPLACEMENT OF A WORD occurs when a word or a compound is put in an improper place. Some say that the fault occurs when a word is employed in a place, other than that in which it is required to be placed, although placed as it is, it docs retain its power of conveying its own intended sense, and that, thus, pttjqopq, jqfSrcPW and are excluded; because, there, from the words placed as they are, the intended sense is not apprehended. The fault is instanced in &c. Here, the position of the negative should properly be immediately before the verb f^T^i. Its position before is not proper. The impropriety of the position of the negative, here, is due, not to its absence of proximity to the verb, with which it is syntactically connected; but to the fact that the negative in that position yields a repugnant sense. In jt w* &c. the proximity, betweci^the negative and the verb, is absent, and yet the position of the word, there, is faultless. We should, therefore, read %3H[T; otherwise, the sentence would mean:—“ not only one, but all gave up &c.;” or, according to not only one did not give up, but all did not give up”-which is opposed to the intended sense. The fault occurs even when a word, being wrongly put, does not serve its intended purpose; as in c5?r: &c. Here, ffess §c. ought to he read before &c. For, what gives rise to a suspicion about &c., is jfes &c.; when, therefore, ffecs &c., is placed first, the relation of cause and effect, existing between it and &c„ is immediately perceived. 64(15) A COMOUPND OUT OF PLACE ( ) is instanced in arsnfqr &c. Here, long compounds are not used in the ( supposed ) speech of the angry ( moon ) ( where they would have been appropriate, as being suggestive of the ardour and vigour of the speaker ), hut are used in the words of the poet. This is not included in for, a compound is not a letter; and JTfcTfcRVrR consists of a sentence in which many letters are inconsonant with a flavour. Nor is this 'RcSRRR, for, in it, execellence, which is first commenced, is afterwards abandoned; here, quite opposite is the case. Again, there, execellence is proper in both the places, here, the compound is proper in one place only. 65(10) CONFUSEDNESS ( ) is the insertion into a sentence, of words belonging to a distinct sentence; as in r%T^f &c. Here (is intended to be connected ivith) 1%R1% &c.} ivith WS rRi^T ivith #T gsxT &c. The fault consists in an undesirable or a delayed apprehension. By in sfT^q'FcR' is to be understood a simple sentence, not a complex or a compound one. Hence, although all these sentences be taken as one compound sentence, the fault would be but %2c*T, however, respects only one (simple) sentence, and is thus distinct from the present fault. 66 (17) USE OF A PARENTHESIS (wfw ) occurs when cc distinct sentence is (wholly) inserted into (1) a principal sentence, or (2) between two clauses of a principal sentence; the first kind is instanced in <rcrrerc etc. Here, the sentence etc., forming the third line, is (wholly) inserted into the principal sentence ’RT'T^IT &c. Here, according to sNfar, the inserted sentence is capable of yielding a meaning ; not so in or, according to *, in some words only of one sentence are inserted into another; here, one whole sentence. The essence of the fault ‘ want of proximity’ is the same in both. The second kind is instanced in *T»TTi:<TFzrr &c. Here, (the sentence) hspj is unnecessarily inserted, between the two clauses, cT^nfft &c. and &c.; of the principal one. This insertion of i%%f &c. on the contrary, is open to another fault also, i. e. inasmuch as the sentence &c. suygests the repugnant notion of ‘Laks/imfs departure from * er^r 5 ^TFrncsr^r: l—San. her husband.’ The fault consists in the destruction of the apprehension. 67 (18) DISREGARD OF USAGE ( ) occurs when there is a violation of such usages as are mentioned in the following verse:— The sound of an anklet or the like, {it is the custom to call) 'Tinkling-’ that of bird's voice, e Warbling’ &c; that in dalliance, ‘Muttering or ‘Murmuring’ &c.; and that of clouds &c., ‘Roaring &c. The fault is instanced in &c. Here ( the word ) 13 is generally used to denote the croaking of frogs, and not such a lion-like roar, as is characterised in the verse by such adjectives as &c. This is not for, the word ^ has the power of denoting both the sound of frogs, and that of warriors; but its use has been restricted by the poets to the latter. N or is this ‘cHii^ThcT, for, there, the prohibition is absolute; here, only in reference to a particular sense. It is for this reason that this is a sentence-fault, inasmuch as the word is faulty, only when uttered along with such particular adjectives as &c. The fault consists in the dissatisfaction of the reader, caused by the disregard of usao’e. © © 68 (19) VIOLATOIN OF UNIFORMITY Otttwm). The fault occurs where uniformity of the subject is violated. here, according to +, Prabha does not mean, ‘commencement’; for, then the use of the word for 3N3T —Pr. in &c., would not be an instance of vtctspprr^. It simply means ‘Uniformity of the subject’; whether the beginning of the subject is violated by its end, or the end by its beginning, does not matter. (1) of Radical is instanced in fjfaTRt &c. Vritti:—“Here, in the commencement, the act of ‘departing’ is expressed by the root but the same act is expressed, subsequently, by the root qr; thus, the uniformity of Radical is violated. We should, therefore, read *RTTf^nsft &c.” Otherwise, the employment of another word to express the same sense would lead us to suspect that another sense is intended. For, it is a general rule that when the words employed are different, the senses also are apprehended as different. Although, the verb has the sense of ‘going’, yet it does not prominently bring out the idea of ‘the wife sharing the fate of her husband (stjjttir)’, which idea is, however, intended by the poet, and which idea is prominently brought out by the use of the verb Vritti:—“An objection;-It has been said elsewhere (by Vamana), that a word should not, generally, be used twice. In this very book (vide page 64), it has been declared that is a fault. How can, then, it be said (as it is said here), that one and the same word should be used again. Answer:—The sphere of the prohibition of the re-employment of the same word is a case other than that where something is mentioned and re-mentioned. * I wr: i—Pr. Here, in the present case, the " clepaiting of the moon ’ and the " following him of the night ’ have respectively the characters of "something that is mentioned*, and "something that is rementioned’ or "referentially mentioned. ’ Repetition, inasmuch as it serves the purpose of denoting- identity of subjects, is thus here an excellence, and not a fault. Vamana too has used the word "generally* and not " universally ( i. e. in all cases except where the word is referentially mentioned ). In (such) a case (as the present one), 'where something is mentioned and the same thing is referred to, unless the same word is used (as in c&c.), or unless a pronoun (standing for it) is used, ( as in &c. ), there arises the fault ( of "Violation of Uniformity’); for, we cannot, otherwise, apprehend the identity of subjects, which is the point here intended. is no fault in such examples as tffacn' &c. Vritti:—Here, if the same meaning of "red’ were to be expressed by another word, i. e. r^r, then, this distinct word, seeming as if it conveyed a distinct sense, would obstruct our apprehension (of "Uniformity’, which is intended in the verse ). Here, it is only the pronoun that is capable of referring to the sun; not § Jrrrsr, as said by Sanketa; for ?nT^r brings out the idea of resemblance only, not of identity; even has not that capability; for brings out the idea of identity of ‘attributes’ and not of ‘subjects’. (2) of Affix is instanced in &c. Here, instead of using the Desiderative affix ( with § Wt TTZ q I—San. 13 a wish to obtain) we should use simple Infinitive, because the same has been used in the other two clauses of the verse. Thus, here (Uniformity) of Affix (is violated ). The right reading is 3T. (3) of Pronoun is instanced in ^ ftrnsR &c. Here, since the pronoun has been first used to refer to the same pronoun, or one of its equivalents or ought to be used, again, to refer to the same ^f?R. This, not being used, a doubt arises as to whether they took leave of ‘Himalaya' or ‘Shulin’. It should not be said that is a synonym of ^ for, 55^ denotes an object present, whilst ^ denotes an obiect absent. Thus ( Uniformity ) of Pronoun is here violated. We should, ( therefore ), read 3Rst (4) of Synonym is instanced in &c. Here, in the simile employed, it is stated that the bees entertained a special attachment for a particular kind of flower, namely, Mango flower, in exclusion of all other kinds of flowers; so, in the subject of the simile, also, it ought to be stated that Himalaya had a deep affection for a particular child, in exclusion of all his other children. The point of agreement, is, here, ‘ Preference of the particular over the general \ This Uniformity is here violated by the use of the word g?r, which denotes a particular kind of children, viz. son, not a child in general. Thus ( Uniformity ) of Synomym is here violated. The right reading is Some, here, maintain that, ( there is no violation of uniformity here; for, ) what the 'poet intends to say is that although Himalaya had many sons, he entertained a deep affection for liis daughter. Thus, there is here a preference of one particular kind over another particular kind. Such an interpretation of the poet’s intention, however, is not right; for, it produces an incompatibility between the simile and the subject of the simile. In the simile, what is stated is ‘that the particular is preferred to the general’. The same thing ought to be stated in the subject of the simile. The possessive termination in 3TTc^Rfrsfq- shows that plurality of children is meant in the subject of the simile, and this corresponds to the plurality of flowers in the simile. Thus there is compatibility in this respect also. The above explanation shows that we should reject the opinion of Chandi- dasa, i. e. “ that the reading 33^: is but right, and that this view is supported by Mammata, being given by him as the view of the traditionalists, ( referred to by the word ) >n the Vritti.” Mammata, here, says that this is an example where Uniformity of the synonymous words 33- and is violated. But a question may be asked:—How can the words jq and be regarded as each other’s synonyms; since the one denotes a ‘ son ’ ( a particular kind of children ) and the other, a child in general ? Some say that 3^ means a child in general, and, therefore it is that 3^ is given as a synonym of arg'T Hi the Amara lvoslin, and therefore it is that the feminine affix £ gives the word the additional meaning of a female child, by taking in the general meaning, (i. e. a child,) of the radical 3^. It should not be urged that, according to this view of the matter, the word^fj=r would, like J?'ive rise to a doubt as to whether it means ‘ possessed of sons,’ or ‘ possessed of daughters’ ; for, the presence of the Visarga and the absence of the feminine affix fr, there, decide the point that the word means the former, not the latter. Therefore, 3^ and 3Tg?g are synonyms. This view is not right; for, if means a ‘child in general', the relation of the general and the particular being apprehended, this would not be an example of the fault under discussion. It cannot also come under the first division of this very fault ( i. c. of Radical ); for, the simile employed shows that what is intended is the apprehension of the relation of the general and the particular; and this is secured even by the alteration of the word 33 for Difference of words is a fault only when identity ( in nature ) of subjects is intended to be apprehended, as in the case where something is mentioned and the same thing is rementioned. Here, identity ( in nature ) of subjects is not intended to be apprehended, but compatibility between the simile and the subject of the simile. 33- and are synonymous only in this sense that they denote one and the same kind of objects i. e, children. Synonymity does not require complete identity of sense, partial identity (i.e. identity in some respects) would do. That this is the view of Mammata is clear from the fact that, otherwise, he would have given as the proper reading, according to the rule that the end should correspond to the beginning. It is as regards such a synonymity, ( synonymity understood in the sense qf partial identity of meaning, ) that Uniformity has been said by Mammata to be violated here. It is for this reason that he has cited ppqtff &«. as an example of this variety, although is referred to, there, by which is not completely identical with it, inasmuch as is a negative word, whilst a positive one. ( 5 ) of Preposition ( & Synonym ) as in #c. Here, first, the prepositien ft has been employed; and yet. afterwards, another preposition arr has been used in connection with the same word to give the same meaning. Thus, (Uniformity ) of Preposition is} here, violated. So also ( Uniformity )of Synonymity ( has been violated ) in the use of for vFjcir. It has been shown above how and cTERir are synonymous. We might, (therefore), adopt the right reading #c. if the metre would not, thereby, be violated. (6 ) of Number ( and Verb ) as in ^TT%cT &c. Here, in the first sentence, the singular number has been used in connection with * women in the next, the plural number. Thus (Uniformity) of Number {is, here violated). We should, therefore, read &c. Again, Uniformity of Verb has also been violated here by the use of a present participle, instead of a verb. A participle is used only when the action, denoted by it, is subordinate to another. But no other action is predominant here; we should, (therefore,) read^nrrg: for ^qJTTfTT:. ( 7 ) of Case-noun. as in &c. Here, the Active Voice, showing that the verb is related to ( or agrees with ) the subject, is employed in the first two and the fourth sentences. In the third, however, Passive Voice has been used showing that the verb is re- lated to ( or governs ) the object. Thus, ( Uniformity ) of Case-noun (is, here, violated). We should, therefore, read &c. Upon this, Udyota remarks that if this reading be adopted, it would contain the word which is vulgar, and the composition would become loose. A better reading would be &c. (vide Udyota). Thus Uniformity would also be secured in the use of the Atmanepadi form of the verb throughout. ( 8) of Order, as in &c. Here, in the first two lines, 1 possession of penance- lustre * () and ' prowess ’ (), the causes, ( accord- ing to Udyota) of ' saluting ’ and ' fighting with5 Bhargava, have been mentioned in order. In the same order, therefore, should the effects, i. e. ‘ saluting-’ and ' fighting with,’ be mentioned. For, there is a rule that things, which correspond to other things, should be mentioned in the same order in which the latter are mentioned ; but this rule is not adopted here. Thus, ( Uniformity ) of Order ( is here violated ). We should (therefore ) read first. The causes are not ' prowess ’ ' and ' anger ’ as is said by Pradipa, but 'lustre of penance’ and 'military valour.’ The fault consists in the complete absence ( ) of the apprehension of ' uniformity ’ or dimunition of pleasure. The fault, is therefore, permanent. Similarly, other exam- pies, of this fault shmdd he understood ( by the reader ). 69 ( 20 ) Syntactic Irregularity ( ). The fault occurs where (the sy ntact ical) order (of words) is absent; or, when a word, that should be used immediately ( before or ) after another word, is not so used. So, this fault occurs iu the case of prepositions and particles • pre- positions are generally used immediately before verbs; the particles py, 37% <fce. after words denoting things that are to be particularised &e.; &c„ after words denoting things that are to be separated from; &c. after words denoting things compared to ; ^ &c, after words denoting things that are to be conjoined or added to. The fault is instanced in jpir etc. Here, the right position of ^ is (immediately after) for, it is the word not that is intended to be conjoined with in point of ' deplorableness ’. ( 1 ) Sudlia. Distinction between 9T*&*Tc3 and and and Some say that in 3TTCt*TT^3> another apprehension is produced, here (i. e. in 3T^7tT^ ), the apprehension is the same, but it is delayed. But this is not right, says Pradipa ; for, in another enample of the apprehension is not different. Really speaking, where the words are capable of producing the intended apprehension, only when they are placed close to each other, we have ; where this is not so, i. e. where the apprehension can be produced (without delay &c.), even though the words are not close to each other, there is aN^PT^. The particles ^ &c. imply conjunction of such objects only as are close to one another. If it be said that &c. would also he an example of this fault, since the negative particle also does not, there, produce the intended apprehension, because it is not close to fqsnft ; we reply—no . for in ^ &c., although there is separation between the negative and the verb, there are no delay &c. in the production of the apprehension. If the (1) order of the sense is improper, there is and if the order of the commencement is violated in the end, there is The fault occurs not only in the case of =<r &c., but in the case of &c. also ; as in 5rf%TRf%5T &c. Here, which refers to a thing that immediately precedes it, should properly be used immediately iin ^i*TT I—Mahesh. affer what it refers to, and not after fito; for, fito is not referred to by but what is said in the first three lines. It is (therefore) proper to read So also, in 55?f *T*TT &c., we should read ffcT (before) TTTr^-, for, also, like refers to a thing that immediately precedes it, i. e. t»r#c. The fault consists in the absence of the intended apprehension. The absence is due to the absence of expectancy, as in 3n%rto3T &c., or to the absence of proximity, as in <£c. 70 ( 21 ) An Unacceptable Second Sense (). Occurs where the second sense is unacceptable, i. e. opposed to the intended sense of the verse; or, according to Pradipa, f Unacceptability 5 means manifestation of a flavour, opposed to the flavour of the piece. The fault is instanced in *UHF*T*I &c. Here, the second sense is suggestive of the Erotic flavour, which is opposed to the flavour of the piece, viz. the Disgustful. Opposition also exists between the Heroic and the Terrible ; the Furious and the Marvellous ; and the Comic and the Pathetic. The fault consists in the depression of the flavour through the apprehension of such an inconsistent sense. The fault is permanent, since it does not occur in a flavourless poem. Some say that is included in in and imd in arRWRar. The faults artery, Tacsrcto, tF*T, and JTfvRTcW, are 3ftor. may be to or a#?2! ( vide Pradipa page 68 ). is also 3rtol according to Jayanta. The lest are tor. After having* defined word-faults, the author now declares sense-fa alts. K&rikas VII, VIII, & IX. 1 Irrelevancy and Superfluity; 2 Obscurity; 3 Contradiction or Inconsistency; 4 Tautology; 5 Impropriety of Order; 6 Rusticity; 7 Ambiguity; 8 Inconsequentially ; 9 Opposition to Usage; 10 Opposition to Science ; 11 Monotony or Want of Variety; 12 Improper Non-Limitation; 13 Improper Limitation; 14 Improper Non-Specification; 15 Improper Specification; 16 Incompleteness; 17 Introduction into a Wrong Place; 18 Dissimilitude of the Associated; 19 Repugnant Intimation ; 20 Impropriety of Predication; 21 Impropriety of Attribution; 22 Resumption of the Concluded; and 23 Indecency ; (in these ways) senses (are faulty). Th'i word ( brought from the second Katika, with its gender changed, ) must be connected (with the word ) here, so that we get such sentences as 3T*i: sv: &c. The author now exemplifies these faults in order:— 71 (1) Irrelevancy and Superfluity () occurs when a sense, even though not expressed by a word, does not harm the intended sense; as in 3Tfhfa<Tcr &c. The fault is of two kinds, (1) where a sense of a word does net serve any purpose, at all, i.e. is irrelevant; (2) where, although relevant, it is obtained by t Implication, even * ytri i ?P%rsn%7i^r foifo?rrter sfhf|:, i—Pr. t i i —Pr. 14 though not expressed by a word. The first kind is called Irrelevancy, the second, Superfluity. Bhojaraja also says that the fault is twofold. Therfore, Mammata, also, thus comments on the verse 3TT%fecT<T#c.:-“ [The senses ) &c. (here), although not expressed by words, do not affect the sense that is intended to be apprehended (from the verse )”; he does not say, here, that the senses &c. are irrelevant. The fault is instanced in anjtfdcr &c. Here, what is intended is the excellence of the sun, due to the fact that he traverses the vast and supportless sky without rest, and that he opens the lotuses, which can not be opened by any body else. The notion, expressed by the word 3Tfcrf%cTcT &c. i. e. expanse of heavens, is implied by that of the word »fr ( heavens ), like that of f fieriness ’ by ‘ fire \ Thus, the sense of aifcif%?Rr, being obtained by Implication from that of jur, dose not harm the intended sense, even though it is not expressad by the word arfafactfT. The notions of and ^fc^are irrelevant, i. e. do not at all contribute towards the principal sense of the sentence. Thus, all these senses are arqy. Similarly, the senses of 3Tl*T^ and 3TPFK are also An objection:—The sense of eri%f%cTcr is being obtained from the word ‘sky’, &c. is an example of inasmuch as the sun’s opening the lotuses, as possessed of fragrance, is opposed to experience which tells us that lotuses cannot have fragrance before they are opened. Thus, this is no distinct fault. Pradipa answers :—( The senses are ) neither tautologous (<prw) nor inconsistent with experience ( 3W*T?r). The word f sky * has no power to denote ‘ expanse *, and if the sense is obtained by Implication, it is not tautologous ( 3*^ ). The same thing is said by Again trc?T, instead of being open to the fault of adds to the beauty of the verse, since the inversion of the relation of cause and effect has been mentioned here, in order that it may give rise to a figure called Hyperbole ; or may be taken to denote any other qualities than *■ fragrance which may have nothing to do with the opening of lotuses by the sun. Distinction between and The difference between the two faults, as given by mTlpW?17!! has been already noted ( vide page 77 ). That is not a very good difference, however; for, in the first place, there is no warrant for such a restriction ; 2ndly, the restriction, even though assumed to be real, will not explain the distinction existing between word-faults and sense-faults, i. e. will not explain why one fault is a word-fault, and another a sense-fault ; for, in &e., the blemish comes to be recognised after the connection among the meanings of the several words is apprehended, and yet, they are word-faults. It cannot be said that 3T<£cr«( # is distinguished from by the fact that, in the former there is a purpose, but that in the latter, there is none. For, this difference is partial. It applies-to the first kind of 3755?^, where, a sense, though serving a purpose, is superfluous, being obtained by Implication. But how is the second kind of to be distinguished from ? Our opinion, says Pradipa, is this:— Where the intended sense itself, even though expressed in a different manner, remains faulty, it is a sense-fault; but where it does not, it is a word-fault. Flavour-faults are, of course, out of consideration, because. * f? -7 JPfrsTJTWrc : 1 3Tf4'FK 5 VW* •* I *T I njfriwmnTOnwfsr *ttwttkt% : i-Pr. they, being incapable of being expressed by words, cannot be expressed in a different manner. In the sense, although not intended, is yet expressed as connected with the sentence, somehow or other; for, the sense of the sentence can be understood without the word. In the sense is, of course, intended; but, being obtained by Implication, or not serving to augment the sense of the sentence, does not deserve to be expressed. For instance, in &c., 3Trfn%'s llot intended as an grfJTffi; f01'> ^ is not possessed of ‘purity.’ So also, in xf &c., the fact that a woman’s passions do not cease with ‘the falling of her breasts’ is intended as improper, not that Brahman has not done any particular thing, as is clear from the first half of the verse. Both the things i. e. the senses of and however, have been expressed as connected with the sense of the sentence somehow or other, to suit the purposes of metre &c., and therefore, the fault is In 3n%ppTcT &c., on the contrary, the sense is in tended, but being obtained by Implication &e„ docs not deserve to be expressed. Again, where the sense is not intended, is a word-fault. But where the sense is intended, is a sense-fault; for -sc- here no word is fauty, but the sense; as being such as can be obtained by Implication, or such as does not add any new thing to the sense of the sentence. Upon this, Udyota remarks that there is no reason why the first kind of i. e. where the word is irrelevant, should not be included under since, in the latter, the sense is not intended; in the former, the sense, although intended, does not add any new thing to the sense of the sentence. The fault consists in the dissatisfaction of the reader caused by the inference that the poet is wanting in the 100 powers of composition. Therefore, this is no fault in a Paronomasia &c., where, a display of srs^l^rc’s being the principal point, such an inference is absent. In &c. also, such an inference is absent, because, the use of a superfluous sense, there, serves the purpose of suggesting an additional idea. So also, this would be no fault, if a substantive be employed in order to have some new adjective attached to it. The word 3T^T<T, in Mammata’s Vritti, is taken by Pra- dipa as meaning ; by Sarabodhini as snkq?; and by San- keta t and Jayanta \ as or 3?kq:gr and cn£FT-faults mentioned by Rudrata ( vide Appendix ). 72(2) OBSCURITY ( ). occurs where the sense of a verse is apprehended with great difficulty ; as instanced in *rqr etc. Here what is meant is briefly this :— How can the productions of such poets, as have studied the finest compositions in their language, as leave clothed their thoughts in words, sweet, forcible, and simple, be easily understood like the compositions of ordinary poets? How can the rays of the sun overrun by the celestial Ganges and overspread by clouds be clearly perceived ? Here, the first is the intended sense which is compared to the second, the unintended sense. The intended sense, % qr i sr Ur% i affiqcrr: ar- faqq: i—Sar. t q fkrfk i q^rewksjg’qr frqhq qq^k^n^’tacT^r i-San. | q <qflqqr i arkq arefat affiqqcq 3q:qf<qykffi' =q qtq^qreq ^ q^rfkfq qm qRrcr- qJTTfk I—Jayanta. even though expressed in othei words than these, is such that it cannot be apprehended without great difficulty. Such is not the case in where the sense can be very easily apprehended, if other words are employed, or the same words arranged in a different manner. The fault consists in the absence of a right apprehension of the meaning of the verse. Therefore, the fault is permanent. 73 ( 3 ) CONTRADICTION ( ). When, after having declared the excellence or inferiority of an object, we speak of it, otherwise, afterwards, it is termed ‘ Contradiction"; as in etc. Here, the very man, ( i. e. imre ) to whom, moonlight, the digit of the moon&c. were insignificant,is represented to have attributed the nature of ‘ moonlight' to (in the second half of the verse). Thus, there is 1 Contradiction This is not for, there, repugnance comes to the mind, at the veiy time when the words are understood, independently of others. Here, after they are understood in reference to other words with which they are connected. The fault consists in the non-apprehension of the sense of the sentence, and is permanent. The fault is also instanced in wFtjg1 &c. Here, in the first line ‘ lotuses ’ have been glorified in virtue of the 4 face ’ being declared to be like one of them. But., in the second line, they have been depreciated, owing to the same ‘ face ’ being described as having vanquished them. The utterances of mad men, children, and the intoxicated are not open to this fault. For, in such cases, no connection is intended. On the contrary, want of con- nection is an excellence, here, inasmuch as it brings insanity &c. into prominent manifestation. 74 (4) TAUTOLOGY occurs where a sense, although expressed by a word, is again expressed by another synonymous word. In this definition, the addition of the words * 1 without any purpose,’ (made for instance by S. JB. * ) for excluding such examples as &c., is unnecessary,. for, otherwise, the fault would not be an occasional fault. In &c. there is a purpose, and thus, the fault itself does not occur there. The fault is of two kinds, through the differences of ( I) the Tautology of the sense of a word, and ( 2 ) that of the sense of a sentence. The first kind is instanced in &c. Here, the individual addressed by the words 3T^pT, is(first) referred to, by and then (by hit, and is) aya>n expressed by the word Thus, the sense of 3t^t is tautologous. It cannot be said that here serves the purpose of giving prominence to 3T^r; for, this object is served by theVocative Some, however, say that this verse is not open to this fault ; for, is here due to forgetfulness, caused by the heat of anger, and thus contributes towards the heightenment of the Furious, which is the flavour, here. The second kind is instanced in &c. Here, the sense of the sentence constituting the fourth line is tautologous; or, according to Prad'ipa, the senses of the sentences, 3F* and *TTOFnsT5T:, are identical. * an ‘ gqfsrq frt ’ J'lrf fAnq an vy JnftsR fan I —>8»r. It cannot be said that the flavour being the Furious, this is no fault; for, a warrior should not be described as doing what is improper. The fault consists in the dissatisfaction of the reader, caused by an unnecessary repetition of a sense. Therefore, when there is a purpose, this is no fault. Thus, the fault is occasional. Jayanta # gives another example, (vide footnote below.) where a substantive is tautologous, its sense being obtained from an adjective attached to it. Distinction between 3rqs<q, qq^xTTcq and qJqqqqcq. When a sense is again known from the sense of another word, i. e. when a sense is implied by another word, it is when a sense is again known from another word i. e. when a sense is again expressed by another word, it is When the same sense is again apprehended from the same word, it is qn'qciqqcq; when, from a synonym, it is qq^FTcq is a sense-fault, inasmuch as it endures exchange with another word. Some say that occurs even when a sense, that is obtained by Implication, is expressed; as in &c.> and that occurs in those places only, where a sense, that does not contribute to the sense of the sentence, is expressed. They, thus, put the second kind of 3^35^ under 3^^^, 75 (5) IMPROPRIETY OF ORDER (q*w) occurs where the order of the senses is opposed to what is found (1) in the world, or (2) in any particular science. The flrst kind is instanced in <S’C. Here, the proper order is to mention the elephant, first, and then the horse; for, an elephant is a more costly gift, ■» w ^ fq%q<JTTqfq qw^qq; i w, ‘ qRrctf £rq?q^iwr w q:’ qr^=qr^ i—Jayanta. and therefore is asked first, and when the donor is unable to grant it, then only a less costly gift is asked for. This is the order men generally follow. This usual order is here reversed. The order mentioned in the verse being intended by the speaker, this is a sense-fault. The second kind is instanced in sprcRRr &c. Here, a man is represented as getting himself shaved first, and then proceeding to learn the auspicious position of the stars. This is, however, opposed to what is found in the books on Religious Law. The fault consists in the non-apprehension of meaning, or dissatisfaction in the mind of the reader produced by such an opposition. 76 (6) RUSTICITY A Rustic sense is a vulgar sense, or such a sense as ftrsr etc. expressed in a vulgar style; as instanced in Fffarh etc. Have, (the speaker ) is a vulgar man, and the whole sense is vulgarly expressed. The Excitants (f^TR) etc., being expressed in this vulgar manner, are unable to produce a flavour, as a burnt seed is unable to produce a sprout. This, however, is no fault in the case of a buffoon. The fault is, therefore, occasional. 77 ( 7 ) DUBIOUSNESS is that which is the object of a doubt, i. e. which causes the production of a doubt; as instanced in *TTc^ etc. Here, owing to the absence of the context etc., there arises a doubt as to what is intended to be suggested by 15 the poet:— ' whether men should betake themselves to the skirts of the mountains’, or f to the hips of women’. Some say that here the doubt is as to whether the speaker is a quietist or a lover. ‘ This is not right,’ says Pradipa ; ‘ for, a doubt about a speaker, who is neither denoted by the sentence nor by any word occuring in it, cannot be a sense-fault, (for which a doubt, about the sense of a word or of a sentence, is required ). Therefore, Mammata has said :— ‘ But when it is stated that the speaker is either a quietist or a lover, there is ascertainment. ’ What means to say is that when it is determined who is the speaker referred to in the verse, it leads to the removal of the doubt arising from the verse. For. when the nature of the speaker is determined, ascertainment of the question, i. e. whether qtcrfofa or should be resorted to, also takes place. Thus the doubt is removed. In efat etc., it is the word ( whether it is the locative of or accusative of ) that is doubtful. Here, there is a doubt, notwithstanding the fact that the words are quite clear. Therefoie, this is a sense-fault. The fault consists in the absence of the ascertainment of what is intended by the poet. Therefore, this is no fault, where a doubt itself is intended. 78 ( 8 ) INCONSEQUENTIALLY (ftftpr) occurs when a reason is not stated ; as in JT^icf etc. Here, the reason for ( Aslnvatthdmans ) laying aside the weapon is not stated. The reason is ‘ the grief caused by his father’s death’, not ‘ the abandonment by his father of his weapon * as some would say; for, the father might abandon his weapon through fatigue etc., and yet the warlike son might take up his own. Distinction between ftfSc* and Here, the reason is not stated; in tfnEtsjc'T, something other than the reason is not stated ; or, here, no apprehension is produced, while, there, a repugnant apprehension is produced. For, there, swt is (imporperly ) apprehended as connected with Mammata lias said that, in the example of the word requires the presence of the word which is, however, not stated there. This shows that those men are wrong who say that there is where a word that is employed is connected with another than that with which it ought to he connected, and that is there, where a word is not employed. The fault consists in the absence of the intended apprehension. This, therefore, is no fault when a reason is well known. 79 ( 9 ) OPPOSITION TO USAGE () occurs when a sense is opposed to (1) a popular usage, or (2) a convention of the poets. The first kind is instanced in % etc. Here, ‘ Madana ’ is spoken of as holding a in his hand ; but the is not generally known by the people as the tvetrpon of Capicl. The second kind is instanced in etc. Here, it is the convention of the poets that ‘flowers' not ‘new shouts’ are produced in the Asholca tree by (a womans) kick. There is, here, consequently, an opposition to a conventional usage of the poets. Some men take this verse to be an example of what is established by poetical convention; ‘ but they are wrong,’ says Pradipa- ‘ for, the verse cannot be an example of since, what is established by poetical usage is that flowers, not shoots, are produced by the stroke of a woman’s foot. Mammata’s Vritti on this verse also shows the same thing.’ When what is generally known by the people is opposed to a poetical convention, the latter supersedes the former. Thus there is no fault; as in <£*c. Here, ‘fame,’ although incorporeal, is said to he as shining as ‘ moon-light ’. This is opposed to ordinary experience, hut is quite in accordance with a poetical convention, and thus, this is no fault. The fault consists in the nonapprehension of meaning owing to opposition to a popular or poetical usage. If, by some unexpected chance, the apprehension would take place, there would be no fault, here. 80 (10 ) OPPOSITION TO SCIENCE ( occurs when there is opposition to some science. It is of various kinds, owing to the great variety of sciences; of these, opposition to the science of Religious Law is instanced in t&c. Here, the act of Bathing at night, unless there is an Eclipse §c.,is opposed to the Religious Law (which forbids it). Opposition to the science of Politics is instanced in &c. Here, ivhat is stated in the verse, i. e. that a mighty man need not adopt the sixfold royal policy, is opposed to Poll- tics, which makes the adoption binding on both the strong and the weak. Opposition to the Erotic science is instanced in faqro ^ &c. Here, wounding of the upper arm, ( on winch a bracelet is worn,) by the nail is not sanctioned. This is thus opposed to the Erotic science, which lays down that that part of the body, called the ' arm-pit/ should be wounded by the nail, thus implying that the other parts should not. Opposition to the science of the Yoga is instanced in etc. Here, the Yoga science teaches that, there is first discriminative knowledge of 5^ ctnd sr^rTcT ; then there is ; after this, there is ; and then there is final emancipation, which does not immediately follow discriminative knowledge. With this teaching, ivhat is stated in the verse is at variance. HfflTT'TCUTTPJ # is the first exercise of contemplation, in which reason still works ; hut the object of which is to destroy the consciousness of one’s individual existence, and to bring the mind to that state, in which it is entirely oblivious of the reality of all external matter, and is convinced that the soul is actually connected and united with the Supreme One. WTsIFUTHTfa is contemplation in which reason is lost sight of; a complete restraint of the action of thought; the last stage of mental abstraction , in which even the reflection of one’s individual existence is lost sight of, and one is mentally one with the Supreme Being. The fault consists in the absence of the desired apprehension. In the same manner examples of oppositon to other sciences shoidd de understood. # Vide Introduction to the philosophy edited by 81 ( 11 ) WANT OF VARIETY ( ) occurs when a sense is not made new, by a different turn being given to it, i. e. where one and the same turn is given to many senses ; as instanced in srrFTife^: etc. Here, 1 uselessness ’ is not made new by different turns being given to it. Even if the repetition of clcT: be removed by the use of equivalents, still the turn of thought would remain the same. This is thus distinguished from ; or according to Kamalakara, here there are many sentences ; there, only one. To convey a clear idea of this fault, its opposite, viz. ‘Diversity,’ is instanced in etc. Here, the ideas conveyed by etc. are made new in cTcT: etc. by different turns being given to them. Monotony occurs, where the turn of thought is the same ; where it is different, we get Variety. The fault consists in the dissatisfaction of the reader caused by monotony, or the poet’s want of the powers of composition. The fault is, therefore, permanent. 82 (12 ) IMPROPER NON-LIMITATION ( ). The word is to be connected with each of the four words arfiHRT, and auwr. Thus, we get the following four faults:— and or * anr i -Kam. Of these, occurs, where a sense is expressed without limitation, although it ought to be expressed with a limitation ; as in 3^rr«T etc. Here, ‘ through the reflection of Chintamani ’ should bo thus limited :— f Only through the reflection of Chindtmani ’ • for, this limitation precludes the possibility of the gems ' possessing lustre from any other cause, and thus heightens their depreciation. Otherwise, the inferiority of the gems to the Chintamani, not being apprehended, there would be inconsistency in calling it a ' stone ’ when found by their side ; for, it is association with the low that makes the high low. But it is not certain that the o’ems O O are here low, since they might be high in virtue of their possessing lustre from some other cause. In although a particular sense is intended by the poet, a word, conveying that sense, is not put in. But, here the particular sense itself (i. e. of ) is not intended by the poet. The sense of the sentence can be understood even without the sense of the word Thus, the sense of the word not being necessary to the sense of the sentence, the fault is not also. An objection :—If the sense of be not intended, the sense of the sentence would not be understood, inasmuch as we could not understand, why Chintamani should be called a stone. The reason is given only by jppf, which is not, however, expressed. L dyota answers :—Chinta- mani’s association with stones, that resemble it through a reflection of its lustre, serves a good reason why Chintamani should be called a stone. Thus, the reason being apprehended, the expectation about it is fulfilled. Thus the sense of the sentence can be understood without KI5T- For this reason, this is not or '^RTVil^ri^r^T^f. The word serves to bring out the idea of entire depreciation which is, however, not intended by the poet. Therefore, inasmuch as the particular sense of ‘ entire depreciation ’ is here not intended by the poet, this is a sense-fault : for, the intended sense is here apprehended form the other words of the sentence even without inq-, and yet the fault of Non-limitation remains as it is. 1 his shows that this is a sense-fault, and cannot he a word-fault. Some say that the word in the Ivarika shows that the faults mentioned in it are sense-faults, and not word-faults. Thus no other distinction is required between them. ‘ This is not right, ’ says Pradipa; ‘for, then these faults would be identical with * and ( according to Udyota ) or ( according to Prabha ) aRnrnRqRq'q- For, HT^JTqRfTpq, where a word expressive of limitation is not put in, is nothing but 3?!%^°, where an addtional word expressive of limitation is put in, is nothing but 3Tt?R7<r;r. In fqgqo something, as possessed of a necessary specification, is not mentioned, and therefore the fault is 3TirnTT?qqr* or the fault is because the word jqrqr, in the example of does not express the attribute of ‘brightness.’ 3TR5R® cannot be identical with any of the faults before mentioned; for, although, there, what is not required, is mentioned, yet what is required is not omitted. Thus this is a new fault altogether. ’ As for what Chandidasa says that when the fault is discovered after the words are uttered, it is a word-faulty and when it is discovered after the meanings of those words are apprehended, it is a sense-fault ; he is not right; for, in many § faults such as aTJRRpfa &c„ the fault is not discovered until there is apprehension of the meanings of the words, and yet they are word-faults. The fault consists in the dissatisfaction of the reader, caused by the poet’s want of a command over the language. i ft ipitrer dR: i TstdrepufaRlR i iqi tIt uprqirqRfd i i fRmrc?% i wnrqqRRndRr i it %s^-t<1T<i% d* I qqRqf^T^ fttWT i—Pr. $ i sift* 83 ( 13 ) IMPROPER LIMITATION ( STFRTJTTft'TrTN ) occurs where a sense is expressed with a limitation, although it ought to be expressed without a limitation; as in &c. Here, the limitation ‘ the Shona itself ’ should not he put; for, it is useless ; on the contrary, other reservoirs of water are prevented by it from forming the " lower lip ’ ; thus, ‘ the extreme impropriety of the thirst of the king ’, which the poet intends to point out, is not clearly brought out. Here, the sense of yy is intended by the poet to be connected with the sense of the sentence. In the redundant sense is not intended to be connected with the sense of the sentence. If ysf be construed with *ryr #T:, it would be an example of 84 ( 14 ) IMPROPER NONSPECIFICATION () is instanced in &c. Here, ‘ night ’ should be particularly specified as ‘Moonlit night’; otherwise, the word would mean ‘ dark night ’ also, and then it would not require "blackening’ to be predicated of it. The fault thus consists in the dissatisfaction of the reader. Sometimes, it consists in opposition to the intended sense of the sentence &c.; as in * #c. # ‘ ssrf: i—Pr. 16 The word not being specified, would mean ‘a had progeny’ also, the possession of which would be opposed to the obtainment of ‘fame’; when the context &c. are present to determine the specification required, this is no fault. In the poet intends to use the word in that qualified sense which it has no power to express ; here, only in the general sense which the word can express ; as in the present example, the poet intends to use the word 3*TTJTT in the general sense of ‘ night which it has got by Custom. Etymology, no doubt, restricts the sense of ^rr*rr to ‘ dark night ’, but the etymological sense is not here intended. Nor is this ^q^T, because the sense of 3%§fr, (which may be regarded as deficient on account of its not being expressed by such a different word as ), is here included in the sense of ^rmT. 85 (15) IMPROPER SPECIFICATION ( ) is instanced in q#c5 &c. Here, Non-Specification, is e. ‘one gem' instead of ‘the gem ’) is required; for, what is intended by the poet is:— If one of the gems can raise you to such a dignity, it is not proper for you to show contempt for the others. The specification, however, does not bring out this sense; for, even granting that ( a superior kind of gem ) has done such yeoman’s service to him, it is no reason why he should have a regard for ordinary gems also. There would thus be no meaning in telling him not to disrespect ordinary gems, which he might justly consider to be thoroughly useless. For, the usefulness of ordinary gems does not necessarily follow from the usefulness of a particular kind of gem. We should ( therefore ) read f% *T &c. When we accept this reading, qfcjpr is not apprehended as different from other gems, but as belonging to their class. Thus, the request made to the ocean, not to disregaid other gems, becomes appropriate. The fault consists in the fact that the apprehension of what is intended ( for instance, of ‘ the disregard of other gems, ’ here ) cannot be accounted for. The fault is permanent. 86 (16) INCOMPLETENESS <*rctaw) occurs when a sense requires the presence of another, in order to connect itself properly with the senses expressed by the other words of the sentence; as instanced in c&c. Here, the sense of requires the 'presence of the sense of In its absence, the sense of WTtcJT cannot be connected with the sense of ; for, a fair woman is not a fit object of non-endurance, but ‘overlooking her.’ Nor can the sense of be properly connected ivith the sense of the word ; for being already connected with is not in need of any other sense to be connected therewith. Nor can be brought from the second line, in order to be construed with for is far separated from it by the words fqsrcR &c. Distinction between anrq^^qfrTcq, and ^Rq<^. This is not because the connection of with am is here intended by the poet. But this intended connection is faulty, inasmuch as it is incomplete, requiring, as it does, the presence of And it is thus different from also, where the word, conveying the intended sense, is not expressed; as in granrat &c., the words &c. are not employed, although their senses are intended. The fault consists in the fact that the apprehension cannot be accounted for. The fault is, therefore, permanent. Some say :—Here, the word is in need of being connected with $sgg; tut that connection is possible only when g^gg is connected with But g^qpg has been already connected with in the first line, and thus is not in need of being connected with any .other word. It is this that constitutes the fault here. The fault may be said to occur where a word, although apprehended as having a form ( here, the accusative case of sfuTg) that renders it capable of being connected with the sentence, does not, however, succeed in getting that connection ( here without g^^g ), and may be thus distinguished from ''’bere a word is not apprehended as having such a form. In UTTTRS'HfvT'W *s an adjective that does not succeed in getting a connection; here a noun. ‘ All this,’ says Pradipa, ‘ is at variance with Mammata’s Vritti on this verse.’ 87 (17) INTRODUCTION INTO A WRONG PLACE ( ) occurs when a word is employed in a wrong place, i. e. in a place where it leads to the apprehension of a sense repugnant to the intended sense; as in en^T &c. Here, the introduction of w> 3 etc. after tt^t: is wrong ; for, in the verse the fact, that is fit to be rejected, is intended by the poet, which is brought out by the passage ending with //ere, therefore, i. e. at ^ the sense of the verse ought to he concluded. But the introduction of the next sentence ^ 5 jpr: etc., attempting to prove that it is improper to reject conceals the principal sense intended by the poet, viz. Ravana’s fitness for rejection. If the words w 3 R-r: etc. be read after spn%|i?r<JTT etc., then the intended sense i. e. would indeed bo brought out, but then in this case, another fault would occur, i. e. arr^FTT^r, since the words n 3 &c., which ought to be placed after ^, are placed after * F^r:. Some read for 3rq^g^f;, and explain it as a sense which is not concluded at its proper place. In arriTT &c. the sense ought to be concluded at ^ when the sense is concluded here, it yields a particular charm, as the sense of &c- when concluded at Now this sense is not coneludedhere, but expanded by it «J g«T:. By this however, the sense, receiving an unprominent position, does not attract attention ; and thus does not produce the charm which it, otherwise, would have produced. This is not where faultiness does not depend on the particular place of the sentence yielding a repugnant sense. In arf^T^T, the sense 'of the faulty word can be connected with that of the sentence, somehow or other; here, it cannot. The fault consists in the apprehension of a contrary sense, and is, therefore, permanent. 88 (18) DISSIMILARITY OF THE ASSOCIATED (oc'nftnH) occurs where dissimilar things are stated together; as instanced in 3%: etc. Here, there is dissimilarity bet ween ‘ intellect, adorned by learning etc.,’ and 1 folly, gracedby bad habits and 'pursuits. ’ The first are good things, the second is bad, and they are stated together. This association leads us to wrongly suppose that either folly is a good thing, or intellect, woman &c. are bad things. The fault consists in the production of the apprehension that either both should be accepted or both should be rejected. The fault is permanent. 89 ( 19 ) REPUGNANT INTIMATION occurs where a sense of a sentence suggests another sense, o O ' opposed to that intended by the poet; as in snr TFTT &c. Here, the sense of the sentence—‘ Let it be known to you '—suggests the sense of ‘Lakshmi's leaving her husband,' which is inconsistent with ‘the complimenting of the king,' which is the intended sense. Distinction between and In the former, the repugnant sense is suggested by the sense of the sentence. In the latter, it is suggested by the senses of the words themselves. The fault consists in the apprehension of an inconsistent sense. The fault is permanent. 90 ( 20 ) IMPROPER PREDICATION ( ) is of two kinds :—( 1) where that which is not the predicate is made the predicate, or (2) where the order of the predicates is improper. The first kind is instanced in 5PRJrTR«fif^RT: etc. Here, what is intended to he be predicated is that, ‘sleeping with a free heart, you will he roused with great difficulty by the bards.’ The predicate ‘ shall sleep * is improper, for, a man is not awakened first, and then sleeps, but sleeps first, and is awakened afterwards. The fault consists in the non-apprehesion of the intended sense of the sentence. Some say that there is no fault here, and take the line as etc. But this construction is also open to the fault of inasmuch as the word is still wanting. Here, the predicate is improper. In it is proper, but not prominently mentioned. The second kind is instanced in ^rrfrfRcf^rT etc. Here, the vows, expressed by jprerhreR etc., are each severer than the other; therefore, the three 'predicates, mentioned in the lines etc., ought, to he stated in the reverse order. To avoid this fault, * Jayanta proposes to read the first three lines of this verse as given in the foot-note below. The fault consists in the dissatisfaction, in the heart of the reader, caused by the violation of the general order. The fault is thus permanent. 91 (21) IMPROPRIETY OF ATTRIBUTION () occurs when an attribute of the subject is incompatible with the predicate; as instanced in or etc. Here, in the speech of a lover separated from his beloved, the fact denoted by etc., i. e. of its taking the lives of separated lovers, should not he attributed to the subject, (the lotus ), which is here propitiatorily addressed. I fpfa 3T*rf§;>dTFT ?pm; i —Jayanta. Such an attribution is inconsistent with the predicate, i. e. ‘ the king’s asking the lotus to give him information about his beloved The fault consists in the production of an inconsistent apprehension, and is thus permanent. 92 ( 22 ) RESUMPTION OF THE CONCLUDED is instanced in *ftt &c. Here, ( the description of the offence of the king, ) though concluded by the ivords ‘ be it known to you’, is again continued in the 'words dry him I am given #c.’ This recontinuation is, however, unnecessary ; for, the purpose ot is fulfilled by the description that is concluded. The words are,however,faultless. For,they are necessary to show that the preceding clause is subordinate to the next sentence, which is principal. The fault consists in the unnecessary taking up of the sentence, or the production of dissatisfaction. The fault is permanent. Distinction between and In *rth° the sentence that is concluded is again taken up by an adjective, or an adjectival phrase, or an adjectival clause; here, by an independent clause. Thus, this fault does not occur in zrrjt &c., where, although the sentence concluded is again taken up hy the clause ?r[Jr &c„ still that clause is subordinate to the sentence concluded, as is shown hy the relative ipj- in Irr«T &c. Nor does niTTH'0 occur in the present example, for, the clause hriir 3RT, being connected with jr JgTRqRp^ &c., is independent of the sentence concluded. { 93 ) 23 INDECENCY ( arcter ) is instanced in etc. Here, another sense also, i. e. * the male-organ of gene- ration, ’ is apprehended. Because this sense is suggested by the principal meaning of the sentence, and not by the mere words, Indecency is a sense-fault, and is therefore distinguished from the same fault, occurring in a word, a sentence, or a Sandhi. Although in the examples hitherto mentioned, where one fault is ‘pointed out, other faults do exist, yet they are not pointed out, owing to their being irrelevant in those places. The author now declares that the said faults are sometimes no faults ; he takes up, first, sense-faults, which have, just now, been described. orjSc'l or no fault. Karika X. The employment of such words as ‘ ^ &c., * in such expressions as &c.,’ is for the purpose of (conveying ) the notion of ‘ Proximity &c. ’ Tlie words <&c. denote * ( a particular sort of ear-ornament &c., or simple) f ear-ornament &c. * In the first case, the meaning of simple fear-ring’ is obtained by Implication from the meaning of thus, the word 3T=rcT3r prefixed to is superfluous. In the second case, the word is tautologous, because again expresses a sense expressed by These two faults are, however, here, no faults, because the ivords &c., prefixed to &c., serve the * I t aUT^TT W*TC<JT- i 1 —Pr. 17 'purpose of pointing out the additional fact that (earrings ) &c., reside on aRiff fyc., through the solution of the compound, as etc. in some cases, and through Indication in others, as in etc. Thus, inasmuch as there is here a purpose, there is no 3*T^frfT; as instanced in 3TW: &c. Here, although the words and can convey the senses of f ear-rings, ’ still the ivords ww, and : ( are employed to ) suggest the additional sense that &c. are placed on the ear &c. This has the effect of heightening the glory of the object described. The conquest of all the other ornaments is not due to the ear-ring by itself, but to its position on the ear. Other words also than and serve the same purpose ; as instanced in etc. Here, the idea of f possession of the head-ornament ’ is obtained from the woid simply ( without fsn::), but that off adornment, ’ from 1%^::; therefore, is no fault here. Also in etc. Here, 1 sqr ’ conveys the sense of a bowstring, still the word is put in, to indicate that the bowstring is mounted on the bow. This indicates that the scars are due to the discharge of arrows. Where the apprehension of ^ftt: or the purpose of such an apprehension i. e. the apprehension of is not present, vrj: need not be employed ; as in #c., where the word alone ( is employed ). Also in etc. Here, fTT has the meaning of f a garland of pearls, ’ yet the word gw is put in, to show that no other gems as emeralds etc, have been mixed with pearls, and thus heightens the propriety of the simile. Also in sWuvsc. etc. Here, the word means f a garland of flowers,’ yet the use of the word indicates ‘ the excellence of those flowers, ’ according to the principle involved in ( excellent roaring of the elephant). Although JIM means a garland in general, in such expressions as TcJRTasr ( a garland of gems ), still ?nw has that meaning, only in association with such another word as ^ in ; when is not associated with another word, it denotes ‘a garland of flowers ’ only. Karika X continued. This justification applies to such words only as have been (established * from times immemorial, or) employed by great poets. We cannot, however, use, at our will, such words as ^Mt etc, like etc, or etc, like etc. Vritti:—“As for what is said ( by Vamana ) that in such sentences as etc., the use of the substantive is proper, although its sense has been conveyed by the verb mWK, for, it serves the purpose of enabling us to add an adjective to it; it is not right, for, in the example he has cited, the intended sense may be apprehended from the attributive f f^T^T ’, being used in an adverbial form ; as etc.” Therefore, the employment of is unnecessary. Or il the use (of the substantive) is proper at all, it is proper in those * f^T^ncf | i—Sar. examples only, where the adjective cannot be turned into an adverb ; such as, for instance, in etc. Here, is an attributive of ' feet, ’ and cannot be expressed in an adverbial form. Therefore, the noun must be used, to have this attributive added to it. Upon this, Pradipa observes :—The example given by Mammata is also not proper; for, the word can be expressed in the form of an attributive of the subject, ( although not in the form of an adverb modifying the verb ); therefore, the following verse of mine may serve as a good illustration of the point in question :— etc. Here, although FTditfTJJK'C etc. can be connected with the subject as its adjective, yet it can be so connected only by taking the word 3tt%; simple dfdRd cannot be made an adjective to any other word in the sentence, as in sniTd etc. and etc., and =dT'Jur'Tf^r'ir*fCcrcd can be made an adjective and an . adverb to the subject and the verb, respectively. Upon this, # Sudhasagara retorts :— Here, the point is not whether a word can lie connected with the subject as an adjective, but whether it can he connected with a verb as an adverb. Therefore, in the example &e. the word is superfluous, because, its sense is conveyed by and the attribute can be directly con. nected with the verb ns il11 adverb. But, in &e., cannot be directly connected with the verb but through only ; therefore, the word ,s not superflous. sifTfr:, I fd^RT dTd^ J’ ^TRT fcdrfddHRRdd fd- Again, even though we admit that is connected with the verb through the subject, still, inasmuch as is an attribute of the ‘ feet, ’ the implication of q-f^ is necessary. Agaiiij by making an adjective of the subject, the idea of ‘ great capacity of walking,’ ( which, however, is here intended to be expressed by the poet, ) is not brought out ; for, Nq IRFTUfR would then mean A man who never wears shoes’; this being the case, there would be no propriety in saying that he is not fatigued even by walking ; for, there are sueli men as Bhils &c., who never wear shoes, and are yet never fatigued by walking. But, when is taken as an adjective to the sentence means:—‘ A man who, although wearing shoes always, walks with bare feet at the present time, and is yet not fatigued Absence of fatigue under these circumstances would show the man’s great capacity of walking. Again, Pradipa is wrong in saying that cannot be connected, as an adjective, with any other word in the verse, change it as you will; for, it can be connected with by reading the verse thus:—fqqjq &c. (vide footnote below). Maramata’s example &c. is, therefore, quite right. (2) faljJR no fault. 4rr% ’ 4TR*r qiq.q^Vil'TT^R I «FvdT4 W-^TTflTc^^rT^R I cR4 RT4flR4T 4RRm'TRR3R4r sfcPTRR, 4 ^ RRTRR: 4djr4*mR RhgRIcT, cf«rrf|, =SRR- fnr?Tf7 4 r%?R fffw BRf^iRcr d- VTT^4cf I cR =4 %^rvrr4TR^^4 4 f%^R ^f% 1 4W4ft- RRRffRRR 4T4TV4T 4 jTvpfrRR 4cRRf4RT4df^fR 5Rt4% I 4TT5T5RRR %^r55RcT4T 4 %3R ffcT 43RR4''Rgc?RR ffcf I RR vk %M^r^4r 4 4 ^^ttrctr'-tr $4!%, 4 =4 4iFcr: 44R4 =4**1^: 4^?4WTc4 SRftfcB ^4R I fRfafa I 4RT 4RR4- 4R JTpqfqiiq>rfr*TR5Bt;drRT?RT'-4R4rR^44 f ^ msrrWTRt4rnTiT44rfr^ ftsrWrR i—Sudha. Karik'a XI. When a thing is well known, Inconsequentially is no fault. as in *TcTT etc. Here, contraction of lotuses is the cause of Lakshmfs not obtaining their qualities of * fragrance etc.’ at night; and the ' paling of the moon ’ is the cause of her not obtaining the lunar qualities of ' beauty etc. ’ by day. But these causes are well known, and may be obtained by Implication ; therefore, ( the fact of ) non-obtainment does not require that ( these, its ) causes should be stated. Thus, although the causes are not expressed, there is no fault, here; on the contrary, the mention of these would constitute the fault 3T3Sc*r. s5» The author now declares that some of the word-faults also are sometimes no faults :— Karika XI continued. All faults cease to be faults when there is an Imitation. “ All ” means, the faults etc. These are no faults in an Imitation, because, although the nature of the words remains the same in an Imitation, still there is no choice, there, to employ better words, and thus dissatisfaction is not produced in the mind of the hearer; as in giresTT etc. Here, f * is the flavour being the Erotic. fiTf a radical is though read in the Ama- rakSsha in the sense of f Indra,’ is not so employed by the poets, and is thus But inasmuch as this is an Imitation of what another man says, these are no faults. Karika XI continued. In virtue of the fitness of the speaker etc. even a fault is sometimes a merit, and sometimes is not both. Vritti:-“Owing to the particular nature of the speaker, or the hearer, or the Suggested sense, or the Expressed sense, or the context etc., even a fault is sometimes a positive excellence, and sometimes neither a fault nor a merit. ” or a merit. >o 'O' Vritti:—“When a grammarian etc. (a) is the speaker, or (b) the hearer, or (c) when the Suggested flavour is the Furious (or the Disgustful or the Heroic ), or is a merit. Examples follow in order." ( a ) is instanced in etc. Here, or is a merit; for, although the apprehension of the meaning is delayed, yet the speaker's profound knowledge of Grammar is brought out. ( b) is instanced in &c. Here, the adjective shows that the hearer is a grammarian, in whom, the hearing of harsh words awakens tender recollections of his beloved science. (c ) is instanced in c&c. Here, the flavour suggested is the Disgustful, ministered to by the harsh words manifesting Vigour ( )• (d) Owing to the 'particular nature of the Expressed sense (i.e. of the object under description ); as instanced in JTT^Fir: &c. Here, ‘a mighty lion’ being the particular object described, harsh ivords and long compounds are quite appropriate, as manifesting the quality of Vigour, possessed by the lion. If soft words were employed, the mighty lion would appear delicate. (e) Owing to the particular nature of the context; as instanced in etc. Here, in the words of the King, who is enraged by the (pretended, ) nodding of the head (on the part of the A sh oka ), harsh words are a merit. If it be saicl that this example falls under ( c ), since here also anger is suggested ; we reply:—-No ; for by the suggested sense we are to understand that suggested sense, which does not come under any of the remaining divisions mentioned above, as by jjf in we are to understand simply cows (although the word neans ‘bulls’ also), because meaning ‘bulls’ is mentioned after jff. w&ft or neither a fault nor a merit. Sometimes, in a poem where there is neither a flavour nor fitness of the speaker etc., or is neither a fault nor a merit. It is not a fault, because there is no flavour ; it is not a merit, because there is no fitness cf the speaker etc. If it be said:—‘‘ If is 110 fault in a flavourless poem, then# other faults also, such as etc, would be no faults in a flavourless poem, because, there, they could depress no flavour. This would, however, be inconsistent with the citing of IJjt &c. and drtq'g etc. as examples of these faults, because these verses contain no flavour”. —*r$r$:i— Pr. We reply that these examples of faults serve the purpose of simply acquainting us with the nature of faults. They are not cited because they are faulty. as instanced in etc. Here, there is no flavour in this verse. The Heroic in Compassion is not the flavour, for the notice of the sun’s great compassion in the verse is but incidental; it ministers to the Alliterative excellence only, and is not intended by the poet to be made prominent. Simply ministering to Alliteration does not constitute a merit; otherwise, there would be a merit in sfatte etc. also. Nor are harsh letters invariably necessary to Alliteration; they, therefore, cannot constitute a merit on that ground. and r^cTTSfc^T, no faults in a %<sr (^UT^) etc. as instanced zr etc. Here, when the verse is taken as describing ‘ Vishnu ’ the word is in the sense of 1 Rdhu\ also the words and sfsrei are in idle senses of ‘a house* and ‘ Yddavds ’. But these are not faulty, because they, here, serve the purpose of displaying the figure called These words are not, however, merits here, because they are not absolutely necessary to this figure. sometimes a merit. ( a) In an Erotic conversation &c.\ as in &c. Here, in the amatory colloquy, there is followed a ride of the Erotic science:- One should send away one’s beloved by giving her a Tdmbdla, and should intimate to her a secret purpose by equivocal words. ( b) Also in a discourse on Quietism ; as in 3tTRT etc. 18 Here, ‘ Disgust * is a merit, because it produces aversion that leads one to become indifferent to the world. ( c ) When it intimates a coming inauspicious event; as in ftdVr etc. Here, the words wu and are inauspicious, inasmuch as they, each, convey the idea of ‘ death ; ’ yet they are merits here, because they intimate a coming inauspicious event. also a merit. When hy leading to the ascertainment of the intended sense in virtue of the greatness of the object described, it terminates ( in the figure named) ‘ Artful Praise ’ (oq-psrsdfct); as instanced in ’TffiTd’ etc. Here, it is doubtful whether means, * having abundant golden vessels, ’ or "the abode of the cries of distress of children.’ Here, * although, at first sight, it seems doubtful whether a king is intended to be described or a poet, on account of the ambiguous nature of the words JJg-^T'TOOTTd' &c., yet when we consider that a king is a great man and besides lie is a remover of poverty, whilst a poet is an insignificant man and is incapable of removing poverty, we conclude that the king must be intended to be described here. Thus, the second sense results in the praise of the king by bringing out his magnificence, 13, therefore, a merit here. v aredfcRd, a merit. (a) When the speaker and the person spoken to are acquaint- # TOTOrsudHnr amrerd: eTTMT=r dfcM H^rr, d g TO, anTOcTOdRT, HTOfrfFT ^TnHgfd'Td-d^m%cdr?'TRTf 5f[FT I—Sudllfl. ed with that subject, (technical terms belonging to which, leave been used in the verse ); as in affitTT etc. Here, and know the Yoga philosophy. (b) Or token one speaks to liimself\ as in trefaq; etc. Here, speaks to herself. JTl^Tc^, a merit. in the words of low characters such as buffoons etc.; as in etc. Here, the words to, ^rffTT, and although Vulgar, are uttered by a buffoon (a comical character ). J^rcq^r, sometimes a merit. in the speech of one immersed in joy or any other emotion; as in ttt<oT etc. Here, there is a deficiency of the words tftgR and after *rr *rr and RT-Sfcr, respectively. The deficient words suddenly coming to mind through Implication, the sense of the verse is clearly understood. Thus this deficiency is no fault. On the contrary, it is a merit, because it suggests that the speaker is under the influence of great joy. Sometimes, s^Rq^q is neither a fault nor a merit; as instanced in etc. Here, the words ‘ it cannot be so, because ’ are deficient after the uords, * may she have concealed herself by her superhuman power, and also after ' may she have flown up to heaven ’ The deficiency of these words is no excellence, because it does not add any thing new to our apprehension (of the verse), since it does not heighten the Accessory Mood designated ‘ Debate,’ which the verse suggests. On the other hand, the words, ‘ she does not remain long’ etc,, clearly bring out the erroneousness of the guesses, made in the words,f may she have concealed herself, * etc., even in the absence of the words, ‘ it cannot be SO, because/ Thus die apprehension of each succeeding sense sub- lates the apprehension of each preceding sense, and hence there is here no blemish (also ). srfwRR, sometimes a merit. (a) When something particular is to be apprehended; as in etc. Here, the second clause, ‘ they know,' prominently brings out the particular fact that they know but do not tell it to others ; and thus excludes the possession ( of that knowledge ) on the part of others. (b) When the speaker is under the influence of joy, fear &c.; as in ^ &c. Here, the speaker is under the influence of joy, fear, wonder, and sorrow, respectively. sometimes a merit. (a) In the Ldtdnuprdsa, * which is a repetition of words and senses, when there is a difference in the mere purport; as in rrtr: etc. Here, W5r, 'JRW are identical words and have the same meanings, yet the purport is different. The purpose of repetition, here, is Alliteration only, for, a comparison can be brought out by the use of the word even. (b) When a word, ( although repeated), is used in a different sense, in order to suggest something particular; as in ?TTc5[ etc. * 5r^T*fcfr: i i Sfihitya. X. Pariccheda. Here, the second word is used in another sense, that is, in the sense of ' a lotus possessed of fragrance, ’ not ‘ a lotus * only; thus the peculiar excellence of lotuses is suggested, which could not have been done otherwise, i. e. by saying simply. ( c) When something predicated is referred to again ; as in fethfkQ etc. Here, f^T, which is the predicate in the first line, is referred to in the second as the subject, in older to have *pi5P£<t predicated of it. In a the same words must be used again; otherwise, the successive relations of cause and effect described in the verse will not be clearly and easily understood. is thus a merit, because it ministers to the figure which the verse contains. sometimes a merit; as in srmPT etc. Here, in the fourth line, the avoidance of harsh language on account of the absence of anger, caused by the recollection of Parashurama’s master, is a merit. The merit consists in the display of Bhargava s great respect for his master. fl^TTH^rTT^, sometimes neither a mcrh nor a fault. When the sentence that is concluded is again taken up in order to have another ( subordinate ) sentence, not simply a noun phrase, added to it; as in the same verse simTH etc. Here, another sentence zfJTffJT etc. is added to the first sentence. The word ^ in it shows that it is subordinate to the preceding sentence; no such word, however, exists in etc. arT^lHJTrcTc^ a merit; as instanced r^fTRTRJ etc. Here, according to Bhaskara, although in the Erotic, the use of long compounds is improper, still it is here a merit, because, it ministers to ' Love in Separation * by heightening the anger of the Hero towards the Excitant ‘ Ashbka. ’ On this says Pradipa :—The fault itself does not occur here, for, in the second half also, the speaker is the angry Hero, and thus, the compound there is proper. If it is improper, how can it be said to be a merit, which it can only be by ministering to the madness of anger ? On this, *Sudhasagara :—It was said before that the use of long compounds, although opposed to the Erotic, is a merit, because the speaker is angry. Now the ground on which a long compound is declared to be a merit is different. It is this :—A long compound ought to be used exactly where words uttered under the influence of anger are begun that is, in the second line after the word ^gr, and not after the insertion of some separate words, as of the remaining part of the same line. It is thus a fault. But now it is a merit, not because the speaker is angry, but because he is mad, and is thus incapable of exercising his discriminative faculty, in the matter of discovering the right place of the use of a compound. *THTcRcT, sometimes a merit; as in gfa splf etc. Here, the clause ‘ Rest assuredis inserted, in the middle of the sentence etc., parenthetically, to produce a confirmed belief in the mind of the hearer. ef^r era: i —Sudha. According to Jayanta,* is a merit sometimes, i. e. in a verse containing questions and answers; as in sqnj &c. According to Sanketa, t is also a merit in the fourth variety of arih^FUirh. Similarly, it should be determined from (other) examples, that other faults also ( are sometimes no faults, and sometimes positive merits). Among sentence-faults, -yRRR, qj*R<RR, v<r- cWTR, 3TcR?qWtfR, and RRctR are erRR. er^fT==cT%- 'tRM+R may be ffTR or (vide srr page 68). #FTFTRis also 3T^T 1dm& to The rest are rr. Among sense- faults, 3RSR, RRxfRp RJRR, tfl^TSTR, R^R, RRRI%^TR, RRRrft'- TrRb and QRefRR are 3TRR. |RRR is also 3TRR according to R^RcL The rest are rr. The author noiv states the faults of a flavour. Flavour-faults : Karikas XII, XIII, and XIV. 1 The Expression of an Accessory, or a Flavour, or a Permanent Mood, by its own Term; 2 A Far-fetched Ensuant, or Excitant; 3 Admission of a Conflicting Ensuant, or Excitant; 4 A Repeated Heightening; 5 An Unseasonable Representation; 6 An Unseasonable Interruption ; 7 An Excessive Expansion of even a Sub- 45= u€FWT wfoz ^fRTJRRTr m: | W—R*T FRR JTT/k- "v *o -o si >3 TRFJT^r r% i rrsjru u hsq^FRpr *rr^ sfsqriRT ui^r i trRfv i rjj'ru qj urtrt R^fftRR whi—Jayanta. t srfhwrrffr ^rk^RRRfRRRsfa * Rg:—San. ordinate Element; 8 Overlooking of a Principal Object ; 9 Perversion of Character; & 10 Celebration of an Unimportant Object. Such are the faults of a flavour. 94(1) (a) The Expression, of an Accessory by its own Term. is instanced in crater etc. Here, ( the various Accessories) S/tame, (Pity, Fear, Wonder Jealousy, and Depression), have been expressed by their own terms etc. This renders enjoyment of them impossible, which can be had only when these are suggested through their Ensuants. We should, therefore, read etc. The faulty therefore, consists in the non-prodnction of enjoyment. So say the traditionalists. Upon this Pradipa rcmar/js:—Non-production of enjoyment cannot be the essence of this fault. If it were so, the fault itself would vanish in the air. For, we ask:—'Do you hold this as obstructing the manifestation ot' a Flavour ( I ) in the presence of the Ensuants, or ( 2 ) in their absence. In the first, the flavour is manifested by the Ensuants themselves, which are present ; thus the term, which expresses the flavour, is superfluous. In the second, the causes i. e. &c. being absent, the effect will also be absent; and will have nothing to do with the matter. The obstruction of anything to the production of an effect is possible only when the causes of it are present, not when they are absent. Thus, in this case, there would be or 3T«TPTfCcRUq'«b inasmuch as a word, expressive of an Ensuant, is wanting. We, therefore, maintain that the Expression of an Accessory by its own term is a fault only when the Ensuants are apprehended, and the fault consists in the destruction, not non-production of enjoyment. Expression of 1 Eagerness,’ in the example fPTRpr &c. by its own term i. e. is not, therefore, a fault; because, an appropriate Ensuant to suggest it, is impossible in that case, and therefore it is not seen that enjoyment is destroyed in that case. If it be said:—‘ Why should not this fault be exemplified in a verse in which Ensuants are present ? ’ We reply that In the case of such a verse, the terms expressing the Accessories, would be superfluous. Thus the verse would be an example of also. But we want to give here an instanco purely of this fault, not mixed with any other. In the present example, the terms sfpgr &c. are not superfluous, because they serve the purpose of implying their appropriate Ensuants which suggest the Flavour. If it, again} be urged that inasmuch as in the present verse} no flavour js produced on account of the absence # of its causes, the Ensuants, it is wrong to say that the verse is faulty, owing to the enjoyment being marred here 5 we reply that although the Ensuants are not stated iu the present verse} still they are apprehended here through Implication, as in the verse &c., ( ^de Ullasa IV ). There is again no reason to assume that the Accessories expressed by the words &c.} arc incapable of implying their appropriate Ensuants also, as they are of producing their own enjoyment. (i) <&) The Expression of a Flavour by its own term (). I. By the generic term i Flavour ’. is instanced in 3TWT etc. Here, the genus Flavour is expressed by its own term i. e. The flavour is of course suggested by the Ensuants and Accessories implied by the flavour, which is expressed by the term ‘ Flavour . But the enjoyment of it is marred. II. Or by a specific term ‘ the Erotic flavour. is instanced in etc. 19 I <T*IT =4 -Pr. Here, the species, i. e. the Erotic Flavour, is expressed by its own term i. e. ^piir. (1) ( c ) The Expression of a Permanent Mood by its own term (^i^r^TT ) is instanced in srsnor &c. Here, ( a species of the Permanent Mood ) i. e. * steady impetuosity ’ (is expressed by the specific term ^Tf). If we read ^TTfcorrcTS^r for the last part of the second line, we shall get the genus Permanent Mood expressed by the generic term ^snfSpTT'T. 95 ( 2 ) (A) A Far-fetched Ensuant is instanced in ^ &c. Here, the Enhancing Excitant viz., the Moon and the Substantial Excitant i. e. the Heroine, suitable to the Erotic Flavour, terminate in an Ensuant, i. e. •2:- lead to the apprehension of an Ensuant, after great delay, not immediately. For, before we apprehend the Ensuant, we must take into consideration the fact that, when a young man and a young woman see each other at moon-rise, they fall in love with each other. The Ensuant is thus far-fetched here. The traditionalists say:—It is true that the peculiar position of the headdress is fit to become an Ensuant as regards the manifestation of love entertained by the woman, yet its purpose being the manifestation of breasts, thus exciting love in the young man, it cannot be called an Ensuant of the love of the woman. 1 —Chakra. Pradipa says that, really speaking, here the love enter* tained by the man is intended to be brought out, not that entertained by the woman. m shows that the woman is the cause i. e. the Substantial Excitant of that love. But no Ensuant is stated here to suggest this love on the part of the man. The Ensuant again cannot be implied by any Excitants. It is thus to be conceived by us ■with great difficulty. Pradipa, along with many others, reads ST^vrr^-BT^TOT/^T:, and interprets it thus:—Here the Excitants, Moon and the Heroine ( both Substantial and Enhancing ), are suitable no doubt to the Erotic ; but they do not end in the enjoyment of Flavour owing to the Ensuants not being immediately apprehended. 95 (2) ( B ) A Far-fetched Excitant is instanced in &c. Here, a woman, the Substantial Excitant of ' Love in Separation ’ which is intended by the poet, is apprehe7ided with great difficulty, i. e. only after taking the context #c. into consideration, because this Excitant is not expressed ; nor can it be implied by the Ensuants mentioned in the [verse, such as 1 the shunning of pleasures ’ &c., since these Ensuants are possible in the Pathetic &c. also. 96 ( 3 ) Admission of the Elements of a Conflicting Flavour. () The Elements are three :—( a ) an Excitant; ( b ) an Accessory ; and (c ) an Ensuant. (3 ) (a) fy (b) Admission of a Conflicting Excitant and Accessory is instanced in suit &c. Here, the Erotic is the flavour of the verse and yet ‘ the announcement of the transitoriness ( of time) ’, the (Enhancing) Excitant of the Quietistic, which is opposed to the Erotic and also 1 Disgust ivhich is the Accessory 0f the Erotic though the Permanent Mood of the Quietistic, and which is suggested by this Excitant, are stated} ancl are clearly apprehended. This leads to the apprehension of the Quietistic which is opposed to the Erotic. Here, opposition exists between two flavours, each of which is suggested by the expressed sense of the verse. In it exists between two flavours, one of which is suggested by the expressed sense, and the other, by the suggested sense of the verse. ( 3 ) (c) Admission of a Conflicting Ensuant is instanced in R| sttuw etc. Here, 1 leaving every thing, ’ and ‘ going to the forestwithout any pretext, are Ensuants of the Quietistic, which is opposed to the Erotic; they are thus unfavourable to the Erotic. But when the pretext of bringing fuel is added} her ‘ going to the forest ’ would be understood as having 1 dalliance ’ for its object, and thus, there would be no fault. The words ppjcT, &c. arc not favourable to the Erotic, because they too may bring out the Quietistic, inasmuch as the girl, afraid of detection at the sight of her lover in the vicinity of her ciders, may think of going to the forest to avoid disgrace. 97 (4) A Repeated Heightening (3* yls for instance in the Kumar a Sambhava, the too frequent heightening of Pathos in Rati's lament. This is a fault as regards a minor flavour, not a principal one ; thus, the Quietistic in the Maha Bharata, is not faulty, because it does not produce dissatisfaction, even though repeatedly heightened. This fault is called by Rasagangadhara. 98 (5) An Unseasonable Representation ( 3Rpt 5TSRJT ). As in the second act of the Venisamhdra, the representation of Duryodhana's dalliance ivith his wife Bhanumati at a time ivhen so many heroes were perishing in the war. 99 ( 6 ) An Unseasonable Interruption ( ). As in the Viracharita, the speech of Rama, viz,? ‘ I am going to take of my braceletwhen he and Parashar&ma were engaged in displaying an ever- increasing ardour for fighting. 100 (7) An Excessive Expansion of a Subordinate Element (). As in the Hayagnvavadha ( the detailed description of the diversions ) of ( the Demon) Hayagrfva, throwing into the shade Vishnu, who is the Hero of the Drama. Says *Rasa Gangadhara:-A poet should not describe the deeds or the magnificence of the rival Hero (who is subordinate)} as more brilliant than those of the Hero, who is principal; for, such a description would not bring out the excellence of the Hero, which is, however, intended by the poet. Nor would # WTWTO JIRRI R Kd RlfR'RHt R<RT flT- flflcRpfr spfrffa: i u«rr Rfa fffwfwi r favRR. i rrtot r fur i a r srfcTRTR^TRi’&R crtrrr^- RTRRRRRlfiRrR ^RRRRRfRRl%fR RRRff, I srfRRPRRRRRRRFT cRfjpTR^R IR til R&RtRRRRT^R RrvUhRVcRTR I Rf^UftR TR ftwr RTR. I R R nfcR^FT RtRRTRTSC^I: RTRR^RRRPTRR 3T^cT- RRfRRRTRUTRRR, 3TRT R ^RR5 ?fcf Rr^RR I f| RfHTR TOURRRRr TO URDRR Rf RFT dTRW R ^TScg- rr: Fufcfa i —R. G. page 50. it lead to the heightenment of the flavour, which is based upon that excellence. It should not be said that there is no harm in describing the excellence of the rival Hero, as that excellence is subordinate to the overpowering excellence of the Hero; for, we allow the description of such an excellence of the rival Hero, as is made subordinate to that of the Hero. What we object to, is the description, which runs counter to this subordination. It should not also be said that there is no harm in describing the excellence of the rival Hero as superior to that of the Hero, as the veiy fact, that the Hero is ultimately to kill the rival Hero, brings out his superior excellence; for, no excellence would be due to the Hero simply on the ground of his being the killer of the rival Hero, as no credit is due to a hunter who succeeds in killing a a warlike prince by simply throwing at him a poisoned arrow. 101 ( 8 ) Overlooking of a Principal Object As in the fourth act of the Ratndvali, the forgetting Sag&rikd on the arrival of B&bhravy&. 102 (9 ) Perversion of character (). Vritti:—“ The characters are Divine, Human, and both Human and Divine; ( as God Maheshwara &c., Madhava &c., and Krishna &c., respectively ). ( The Divine include other non-human characters also ). These are subdivided into Firm and Noble; Firm and Haughty; Firm and Gay; and Firm and Mild. In the first, the Heroic is predominant; in the second, the Furious; in the third, the Erotic; and in the fourth, the Quietistic. ( Examples of these are sfaw, and respectively ). Each of these, again, is further subdivided into the Best, Middling, and the Lowest. ” As for* the subdivisions of these four classes of Heroes into (1) the Impartial, (2) the Saiicy, (3) the Faithful, and (4) the Sly ; they arc not mutually Prakflsha II. qtesnrr—S. D. vide D. R. also exclusive; they overlap each other. The ‘ Faithful ’ Hero, for instance, may sometimes be the ‘ Impartial ’ Hero &c. These sub-divisious do not, therefore} deserve to be counted among the divisions of Characters. Vritti:—“ Among these. Love, Laughter, Grief and the Marvellous should be described in connection with the Divine also, as in connection with the Best Human. But Love in the form of ‘ dalliance ’ should not be described regarding the Best Divine, for, such a description, like that of the dalliance of our parents is infinitely improper (as the description of the amorous enjoyments of the Supreme Divinities Shiva and Parvati in the Kumara- sambhava). The representation of ‘ Anger5 without finding an expression in the knitting of the eye-brows &c., and producing an instantaneous effect, as instanced in 5PTI etc., and of ‘ Ardour ’ for traversing Heaven, Hell, Sky, Sea etc. is proper concerning the Divine only. Regarding the Human, only such achievements as are known to have been accomplished in the past, or such as are within their reach should be depicted; other than these, if represented, would give them an appearance of untruth, and thus the object of imparting instruction to the young- in the form ‘ You should behave like the Hero, and not like the rival Hero,5 would not be fulfilled. In regard to (those characters that are both) Divine and Human, only such deeds should be described as are appropriate to both. In the same manner, the representation of ‘the Firm and Noble etc,5, like that of ‘the Divine etc.’, not in accordance with what they are, is the fault termed ‘ Perversion of Character.5 Thus, in addressing men, the titles cTvRFR;, should be employed by the Best, not by the Lowest; in reference to sages &c. and others, not kings and others. The titles <TWiR, should not be employed by the Best in reference to kings but Gods alone; otherwise, there would be 'Perversion of Character.” So also other things such as dresses, words, ( forms )&c., that are appropriate to particular times, places, periods of life, castes ( and classes, families ) #c., should alone be described. For example, ( according to Rasa-gangadhara* ) it is improper to describe ‘ feats of strength ’ and ‘ heroism ’ in connection with a cow ; ‘ docility ’ &e., in connection with a lion • ‘ old acre ’ ‘ diseases ’ &c. in connection with heaven ; 1 the drinking of nectar ’ in connection with the earth ; ‘ sporting in water ’ in connection with the cold season, and ‘ enjoying a fire ’ in connection with the hot season.; ‘ hunting ’ in connection with a Brahman; the ‘ receiving of gifts ’ in connection with a Kshatriya; the study of the Vedas’ in connection with a Sliudra, the ‘ chewing of betel-leaf,’ and marrying a wife ’ in connection with a Brahmacharin and an ascetic; * loving a a woman,’ in connection with a child, and an old man; and ‘ indifference to her,’ in connection with a youth; ‘ poor living,’ iu connection with a rich man, and ‘ rich living, ’ in connection with a poor man. 103 (10) Celebration of an Unimportant Object Vritti:—“ in the Karpuramanjari, the praising by the King of the bard’s description of the Spring, to the negl ect of that by himself and the Heroine.’’ srts* cTT^yi^i i ^prt, bFrt: i 3TT3*rRRvt STT^TRT R I R. G. Page 51. 3TOJT means that which does not contribute to the heigh- tenment of the flavour ( of the piece ). The word ‘ such ’ in the last Karika includes such kinds of unfit description as that of the Anger of the Hero through the striking of him with a foot by the Heroine. As is said by the author of the Dhwani:-- f There is no other cause than f unfitness’ of the destruction of a flavour. Description of what is fit is the highest secret of a flavour/ He now declares that these faidts are sometimes even no faidts. Karikh XV. Sometimes, an Accessory, even though expressed by its own term, is not faulty. Sometimes, that is, when that Accessory cannot be suggested by an Ensuant peculiar to itself. This holds good in the case of an Accessory only, not of a Flavour or a Permanent Mood. The fault is instanced in etc. Here, the Accessory f Eagerness ’ cannot be represented by means of the Ensuant ‘ Haste; ’ for ' Haste ’ may also be occasioned by Fear, Anger, and the like. It is, therefore, not an Ensuant peculiar to the Accessory ‘ Eagerness.’ Thus, the Ensuant, here, cannot 'produce such (a clear and unmistakable ) apprehension of the Accessory as the (expression of it by its own ) term It is, therefore, legitimate that all the Accessories here should be mentioned by their own terms, instead of being suggested by their Ensuants. It is for this reason, that in the verse ^<0^^ &c., composed by Amaru, although the various Accessories, Shame, Love, 20 etc. have been suggested by their respective Ensuants ‘ turning obliquely ’ etc., yet the Accessory ‘ Eagerness ’ has not been so suggested by the Ensuant ‘ Haste;’ but has been expressed by its own term i. e. ; because the Ensuant ‘ Haste ’ or * sudden movement ’ cannot bring out the Accessory in a ( clear and unmistakable ) manner as the Ensuants ‘turning obliquely &c„ do the various Accessories, Shame, Love etc. Thus inasmuch as enjoyment is produced here and is not destroyed, there is no fault. Some say that this enjoyment is produced from the expression of the Accessory ‘ Eagerness ’ by its own term afpgqq, since there is no peculiar Ensuant to suggest it. But this is an # error.:—For, Says Pradipa, although the Ensuant ‘ Haste’ is common to Fear also, still, it can become peculiar to by being qualified by ‘ Eagerness ’ its cause; thus it may suggest ‘ Eagerness ’ and thus the production of enjoyment is possible. This enjoyment is not, however, possible from the expression of the Accessory, ‘ Eagerness ’ by its own terra, because it has been already shown that the Expression of an Accessory by its own term is a fault. Therefore, the word ‘ ’ is not also superfluous. For, it serves the purpose of qualifying the Ensuant ‘ Haste ’ ( in order to make it a peculiar Ensuant ). In the verse &c., the Accessory ‘ Eagerness ’ is suggested by the qualified Ensuant, which, although not present, is supposed to be present, in virtue of the peculiar power of the words employed in the verse. Thus, inasmuch as it has been demonstrated that the production of enjoyment is possible from a qualified Ensuant, the Accessory must be expressed by a word, for, unless it is so expressed, the Ensuant cannot be peculiar to it • unless the Ensuant is made peculiar, the Accessory cannot be suggested ; unless the Accessory is suggested, the production of enjoyment is impossible. Unless that is possible, the Accessory cannot be included under the Moods, and unless it can be included under the Moods, it cannot be de- fafcf SW ftWTTftqiTTf I ^ fcffa I -Pr. dared as one of the Accessories, as * Mauiwata lias done in the TV. L llasa. Thus, the fact also, that is mentioned by Mammata as an Accessory, shows that the mention of such an Accessory by its own term is no fault. Karika XV. Continued. The mention of a Conflicting Accessory etc., in such a manner that they may be sublated, is an excellence. The word 3TTfy means an Ensuant and an Excitant, here. The mention ( of a Conflicting Accessory ) in such a manner that it may he apprehended as neutralized is not only no fault, hut, on the contrary, contributes to the heightenment of the flavour (of the piece). It is thus a merit. The mention of a Conflicting Accessory, a merit, is instanced in t &c. Here, although Debate (feerk) and others i. e. Resolve, (yfcT), Apprehension (to), and Equanimity (•<£%), which are the various Accessories of the Quietistic Flavour, are apprehended, still they are successively sublated by Longing (arrappr), Recollection (wyr), Depression and Painful Reflection (f%crr), which are the various Accessories of the Erotic, and thus ultimately lead to the apprehension of T%rTT alone. * tesqWL =* I ... facLT2* f^T*TT | K. P. Ull&sa IV. KarikaS 9 and 11. Also i vrre: flHrr: i Karikits 12 and 13. t mmk sr ^ ur, sstvpt *r: sfttsPt pur 11% fcffasr: Fresfa sr ^*tt, w,: ^ 337 lustre n The various Accessories of the Quietistic, here, being successively defeated by the various Accessories of the Erotic that are themselves destroyed, one Accessory of the Erotic remains the master of the field ; and thus proclaims the victory of his lord the Erotic. ( This sublation is here a merit ), because it heightens the flavour of the piece, or (according to Pradipa), the mixture of the Accessories mentioned in the verse. As for what the author of the Dhwani has said that in TFo Sjrui &c. the Ensuants ‘ Pallor * etc., of an incurable disease, being suitable to the Pathetic, are no doubt opposed to the Erotic, but that inasmuch as they are mentioned in connection with f Love in Separation ’ etc., and thus become subordinate to the Erotic also, there is no fault; he is wrong ; for the Accessory ‘ Disease,’ and its Ensuants ‘ Pallor etc., are not peculiar to the Pathetic only, but, as Bharata has said, are cOrnmon ( to the Erotic also)', hence, they cannot be said to be opposed to the Erotic. Thus, the opposition itself does not exist here and therefore need not be explained away. The mention of a Conflicting Excitant, a merit, is instanced in etc. Here, in the first half of the verse, an Excitant of the Erotic is mentioned, and in the second half, that of the Quietistic is mentioned. Now, although these two Excitants are opposed to each other, yet inasmuch as the first half is here mentioned only that it may he s ablated by the second, this opposition is no fault; on the contrary, it is a merit, since the first Excitant, being mentioned in order to be sublated by the second, ministers to the Quietistic. For, all objects such as ‘a beautiful woman &c.’ a man tries to possess, because they add to the pleasures of life; but this very life itself is unstable, and therefore the possession of these objects is useless. This thought leads a man to Quietism. It should not be said that, although the first Excitant is sublated by the second, yet the words JffTFRr etc. in the second half, if they are not to become useless, do bring out the Erotic, and thus the opposition still exists. For, the glance of a woman, which is well known for its (extreme) transitoriness, since it is ( well known to he ) more unsteady than life itself ’, has been mentioned here only that ‘ life ' may he compared to it. The mention of it (thus) heightens hut the Quietistic. Thus, the word f glance, ’ serving as it does the purpose of bringing out the extreme transitoriness of life, cannot be looked upon as an Ensuant suggesting the Erotic. Nor is there any other Ensuant here to suggest it. Thus the Erotic is not here apprehended owing to the absence of its ( appropriate ) subsidiaries, such as the Ensuants, the Excitants &c., and therefore, there is no room for opposition between it and the Quietistic. Some, however, interpret the words thus:— The glance is employed here as an s-cpqTJT on account of its well-known hansitoriness. Others # interpret it thus:—The glance is employed hero as the well-known of life, which is transitory. The author of the Dhwani reconciles the conflict between the two flavours in the following two ways:—I. Not that the Erotic is not apprehended; it is apprehended. The introduction of the Erotic, however, serves the purpose of luring the pupils to the Quietistic, by means of the bait of the Erotic, that is, by creating in * ^pfimRcTT cTtTST Pr. them a taste for the Erotic, first, and then leading them on to an appreciation of the Quietistic. Or, II. The Erotic may serve the purpose of imparting beauty to the poem. A poem without the Erotic has no charm. Both these ways of reconciliation are objectionable in the following; manner: — O Tlte first way of reconciliation, i. e. ‘ of tlcc Erotic enticing the pupils,’ does not hold good here, because, even though the Erotic be admitted to be apprehended, the Quietistic, its opposite, would not be apprehended, since the Erotic and the Quietistic ( being opposed to each other) do not follow each other, immediately. The Quietistic and the Erotic are incompatible with each other, as we shall see further on, by reason of ‘ immediacy of succession * between the two. We have shown already that the Erotic is not apprehended here, at all. The second way also would have been possible if the beauty of the verse had not been experienced through the presence of another flavour. But such is not the case here. Besides, it is not a rule that the beauty of a verse invariably depends upon the presence of a flavour, much more of the Erotic; since in poems possessing verbal excellence, apprehension of beauty arises from the prepresence of figures alone. Hence, inasmuch, as, in the sent verse, the, apprehension of beauty is possible through, the presence of the Quietistic or of mere Alliteration, the second way of reconciliation ‘ i. e. of the Erotic imparting beauty to a poem' is also impossible here. The author now declares other means of reconciling the opposition between flavours &c. A conflict between the subsidiaries of two flavours really presupposes a conflict between the two flavours. One way of removing this conflict has been given in the second part of the 15th Karika, i. e. in &c. Other ways now follow. Karika XYI. I. A Flavour, which is incompatible with another by reason of identity of its subjects, should have those subjects made different; and II. a Flavour (which is incompatible with another), by reason of‘immediacy of succession,’ should be separated from that another, by (.inserting between the two ) a third flavour (which is compatible with both). Here, 3TT%R and have got two meanings each:— anw a Subject, i. e. a person who feels the passion or emotion; and 3T[c5t^;t an Exciting Cause, a Substantial Excitant as it is called. Thus, there are two kinds of the first incom patibility of flavours. The incompatibility betiveen the afrc and the due to the identity of their subjects, should be removed by making the reside in the Hero or the Heroine, and the in the rival Hero or the rival Heroine of the composition ; thus making the Subjects of the two flavours different ; as in an?cfrsfcr &c. Here, the king is the Subject of the Heroic, and the army, that of the Terrible. It should not be said that there is here an incompatibility between the Erotic and the Terrible also . for, as will be mentioned afterwards, f both the flavours here are subordinate to a third i. e. the Heroic, and besides, the # ^RR^RRHPTRf i -Mahesha. t Vide second line of the XVII Karika. Subjects * of both are different ; that of the Erotic being the king, and of the Terrible, the army. Although the Heroic and the Terrible are sometimes found to reside in one and the same person also, as when | a man, who has to fight with a Brahmana, is inspired by both fear and anger, they are not so described by the poets in general. Therefore, they should be described as residing in two different persons. •Tagannatha calls this incompatibility by the name defines it as and exemplifies it in J &c., where the Heroic resides in the king, and the Terrible in bis enemies. Pradipa has furnished us with an example of the first kind of I. but not of the second. The author of the Sahitya Darpana has, however, filled up this deficiency. His example is § 3JTT9S &c. Here, there is no incompatibility between the Heroic, and the Erotic, because the Exciting Causes, J;maki and the Demon-army are different. The incongruity between the Erotic and the Quietistic should be removed bi/ in terposing a third f avour compatible with both : as in the Nag&nanda, '•love' for Malayavatl of Jiniutaw&hana, (though) a Subject of Quietism t has been represented through the intervention of the Marvellous in the words “ How she sings ! ” “ How she plays ! ” This opposition between the two flavours can be removed by the intermediate introduction of a third flavou r, not only in a poem, but even in a single sentence ; as in etc. * stfqTCVRRit I VTR: I—P'\ t i i—Pi-. J i nur: i —R. G. page 47. I —Sahitya. Here, all the adjectives to the object ‘ bodies ’ bring out the Disgustful; all the adjectives to the subject ‘ warriors* bring out the Erotic. Between these two, i. e. the Disgustful and the Erotic, is introduced (intermediately) the He) •oic, * brought out by the subject of the sentence possessed of the adjectives f^TT^PT^rcr etc. and etc., which leads to the apprehension of 3c*Tfi[ ( Ardour ), which is the Permanent Mood of the Heroic. Or according to f Rasagangadhara, the ingredients of the Disgustful, which are first heard, lead to the experience of the Disgustful. After this these ingredients imply the ingredients of the Heroic, such as ‘ Fearless sacrifice of lives &c.’; thus the Heroic is experienced and after this the Erotic. Thus there is no immediacy of succession, and consequently no opposition between the Disgustful and the Erotic. (Incidentally ) J there is here no opposition between the Heroic and the Erotic also, because the Exciting Cause of the first is a rival warrior ; that of the second, a celestial damsel. The opposition may be removed on another ground also i. e. that the context shows that the Heroic is the principal flavour and the other two are subordinate, and thus the subordinate flavours are not opposed to each other, as will be mentioned § immediately. Jagannatha calls this incompatibility by the name fTRpjffd' ftnd defines ^ foimjSlfcr i —R. G. Page 47. j 5rr^n?fr, $ H4t*rcr ^ : i—Mahesha. § Vide Karika XVII. 21 Karika XVII. A flavour (is not faulty which ) though conflicting (1) is recalled; or (2) which is intended to serve the purpose of a Comparison; nor (3) are those two flavours faulty as regards each other, which are subordinate to a (third ) principal flavour. For examples in their order:— (1 ) era F &c. This verse is uttered by the wife of on seeing his arm fallen on the battle-field. Here, the principal flavour is the Pathetic, not the Erotic; for, the husband is dead. The acts of'drawing the girdle etc., ’ done by the husband when he was alive, are subsidiaries of the Erotic, being its Ensuants. The recollection o f these acts belonging to ( her ) former condition, although subsidiary to the Erotic, here heightens sorrow by becoming its Enhancing Excitant, and therefore harmonizes with the Pathetic. (2) etc. Here, the intended comparison is ■.—‘•Just as the wounds of teeth, ( made by a woman ) on the body of her lover, give him * great delight, so also the wounds of nails, ( made by the lioness ) on ( the body of fa Jain mendicant ( afford him great pleasure ); or, just as the sight of the ( condition of the teeth-wounded ) lover produces in ( the minds of) other lovers a desire ( to be placed in a similar condition ), so also the sight of the ( condition of the nail-wounded mendicant ) creates in ( the minds of) the sages a longing ( for a similar condition ). Thus, the Ensuant of the Erotic, inasmuch as it serves the purpose of a comparison, is * w sptsfa ra qtpfwR rai*- ^ ^fctl— San. subordinate to the Ensuant of the Heroic in Compassion, viz. ‘ the holding of the nail-marks on the body etc. ’ Thus, the Erotic is subordinate to the Heroic in Compassion. In the first part of the Vritti, resemblance has been, shown to exist between the Ensuants of the Erotic and of the Heroic in Compassion, residing in the and the fcR, respectively. In the second part, resemblance has been shown to exist between the Enhancing Excitants of the Erotic and of the Heroic in Compassion, residing in the <r:- 5T*TRT and the gjR.-, respectively. Pradipa notices only the first resemblance i. e. that existing between the Ensuants. He omits the other. And looking- to the fact that in the verse, the compassionate nature of the Jain mendicant is the chief object of description, I think he does rightly. It should not be said that compassion may also give rise to wonder, and thus minister to the Marvellous, which would then be the principal flavour here ; for, the compassion of the Jain mendicants is natural to them, and therefore does not excite wonder. Jagannatha * instances this kind in RcTRct &c., where the Pathetic and the Erotic are manifested in virtue of the common adjectives ur, r*rr &c.. Sahityadarpana instances this kind in *RPRT &e\, \ where the Heroic and the Erotic are compared to each other. The third kind is further subdivided into two ; (a) where * ‘ fiRTRT qTRl^Rrrr RJRtTTT: I WTTlcSnr 3TRT Jtz ii ’—R. G. page 49. TTT: fsRrTJRRR VTI5R II *—Sahitya. two flavours are subordinate to a third, directly and independently of each other ; and (b) where one flavour is subordinate to a second by being subordinate to a third. (3) (a) is instanced in *rr*r-'c*T: &c. Here, in thin panegyric, admiration of the King's Valour is principally apprehended. To this, are subordinated both the Erotic and the Pathetic although opposed to each other, directly and independently of each other. ( Their dependence on a third thing ( rfcT) however), removes their incompatibility; just as in &c' (the contradictory predicates) ‘ going and coming ' lose their contradiction, because they are made ancillary to {a third predicate ) ‘ sporting. Thus only those two conflicting flavours are faulty, which are principally stated, not those which are stated in a subordinate manner. In the present example, there is which shows that the two flavours are directly ancillary to the Valour of the King. For, the apprehension that is produced form the verse is :—Such is the Valour of the King that it makes us fancy that the wives of his enemies are remarried as it were. (3) (b) is instanced in %?fr ^TT^T: &c. Here, Love conceived by the poet towards the Deity predominates. This is developed by * the excessive Valour of Shiva ’ showivin the destruction of Tripura, which is an Enhancing Excitant of that Love. The Pathetic, suggested by * the alarm ’ of the wives of Tripura, which is its Enhancing Excitant ts ancillary to this excessive Valour of Shiva. To this Pathetic, the Erotic, again, is ancillary. The Pathetic is not, however, srffarcnir:|-Pr. the ultimate sentiment in the verse. Although principal with reference to the Erotic, it is hut subordinate to ‘ the Excess of Shivas Valour, ’ since it is only the Excess of Shivas Valour, which is ) the principal sense (of the verse) that is heightened by the Pathetic, which, in its turn,) is nourished by the Erotic, ( by force of the similitude expressed in the form ) ‘ As a lover acted before, so now the fiery arrow.’’ If it be said :—How can a flavour, although subordinate to another, which is itself subordinate to a third flavour, be subordinate to that third flavour ? We reply:- The second flavour becomes prominently helpful to the third flavour, only when it is assisted by the first flavour, and therefore the first flavour is also said to be a helper of the third flavour. As it is said:— When a subordinate flavour, being developed ( by another) goes to a principal flavour, it, being so developed, great ly contributes to the heightening of that principal flavour. Thus the Erotic, by conferring upon the Pathetic, the power of being so prominently helpful to the sentiment of ‘ Love of the Deity/ has entitled itself to the position of being an ancillary to that sentiment. Mamuuita’s Vritti on the verse &c. has been interpreted in various ways. Pradipa takes the whole Vritti as representing only one view, and for that purpose understands the wordsy*^ in it, in the sense of *TcT:. S. T. # even goes so far as to support that meaning by a quotation from Maglia I. 2!t. Other commentators again, understand aysygy in its natural sense, and take the Vritti as representing two views. They, however, differ as to the nature of the views, represented by the two parts of the Vritti. According to Sarabodhini f the first part of the Vritti represents the view that the verse is an example of (3) (a), whilst the second, that it is an example of (3) * “3T^t wh ;p£r” i—1S. T. t 7WTST <T3iP?Pfe: 1—Sari (b). According to Kamalakara, J on the other hand, the first view is that the verse is an example of ( 3 ) (b), whilst the second, that it is an example of (3) (a). He takes iftft'iR' >n the sense of UUFFT- Another interpretation also of this Vrittihas been put forth by Vivarana. # None of these interpretations are, however, free from objection. Even Pradipa's interpretation is not satisfactory. For, in spite of S. T.’s + justification, of the use of mm in the sense of srt:, by a quotation from Magha, we may well ask the question:—why has Mammata used the word 3T*l^T here in such a rare and out-of-the-way sense ? He has used this word before in the second Ullasa. But there the word has got its natural sense of ‘ or.’ The best interpretation of this Vritti in my opinion is that offered by the ancient commentators i. e. j Sanketa and § Jayanta. According to them, the first part of the * aroqfa I TR'TTPFR I qURbTRTlTT% I 3?T^ 57T tfJTqvTFTJRqPTfafa WK- !—Kam. t mm ^ m w w- 5^T5Tfir ^TRr HT%S?F%fcr *TreTfjcHTT CT5T 5FTRFT q^TRRgq^R^-amtfcr i mm ^f{: * =^- faqriw: *r mm %^r^: ^fcT fh^TRf:i—Mahesha. t 3T«T%fir I 5TITR: WR%?TFI<Tt UrTT ?T RRNTft I 5r«nf| i^^f>rR?TTrcr: ssicr fsR^crcr ?rr$T^ra- 5rt srffst ^Rfrfh spTfar qp-qh q^rercg ^qRqrfq- h»T qj^RRT XTcT SHTRlfteRT: I —San. § arnfhi wtiRft'q faffarvnwc-fwtqrfqt^i'rr i ^Ruqntqf^r%qr- wh ^r^f%»rr^rcTt n^err qffarr Vritti represents the view that the verse is an example of (3) ( b ), and the second, that it is an example of In fact, the first part of the Vritti states that the Erotic is not opposed to the Pathetic, because, both of them are subordinate (afu) to arvrr^ll^R ( 3rfrr), the first indirectly, the second directly. The second part of the Vritti, however, states that the Erotic is not opposed to the Pathetic, because the former is subordinate (sj^t) to the latter (3ff?r) according to etc. When, now, this Pathetic, after it is thus nourished by the Erotic, becomes subordinate () to the gw*! i. e. swrcikttN, it greatly contributes to its heightenment. The verse *ft: etc. also shows not what Pradlpa has said i. e. that the Erotic, by nourishing the Pathetic, has entitled itself to the position of being an ancillary to but that when the Pathetic, being so nourished by the Erotic, becomes an of it greatly contributes to the heightenment of that The nature of a favour has been before set forth as “ that state of mind,” in which the consciousness of everything else is lost. Thus, no two favours coming (into consciousness at one and the same time), no opposit ion is possible between them; nor in the relation of the Principal and the Subordinate aha possible. The term ^ must, therefore, by regular derivation from to taste, be taken to mean here 1 that which is tasted,’ a Permanent Mood ’ (); and although in m ^ *5T:Tfc*Pff &c. Love (tfrf) is not even a Permanent Mood, but is an i mi ' m ’ cr^rs^rfr i mi rr^ir 'Tt 5lt*R5R I ^ l—Jayanta. * Vide Vritti on Karika V. Ullasa IV. Accessory only of the Pathetic, yet the designation of a Permanent Mood has been bestowed upon it in order to mark its predominance over the other Accessories of the Pathetic mentioned in the verse. The word snTT in in the first Karika, includes, as Mammata ha9 distinctly said in his Vritti on that Karika, got and From this, it appears that he restricts the sense of to qq and qiqq. The ground on which he must have made this restriction, has been indicated by Pradipa ( vide text page 2 line 9 ). According to Mammata, therefore, a fault resides in a qq, and a ^prr also, as if resides in a qq, a qpqq, &c. But he has, nowhere in the seventh Ullasa, separately treated of these two kinds of faults. He has, however, separately treated q^^^TTPTT* which are not mentioned in this Karika. From this, Pradipa appears to think that these q^4i<'td<iTrs, which are treated by Mammata, are nothing but which are referred to in this Karika, but which are not treated by him. He, therefore, includes under ^^rqps ( Vide text page 4 line 9 ). From this, it appears that he is not satisfied with the ground which he himself has suggested for restricting the sense of to qq and qpqq. It is again doubtful whether this ground of restriction was ever present to Mammata’s mind. For, in his comments on the examples of he says apq 3T=T Here he applies the word to jpqp qq, and qq. Now if he means to restrict the sense of to qq and qyqq, he ought not to apply the word to jpqp ijq and ifa, which are q^q^qs. The fact, however, that he does apply it to jpqp &c. shows that the above ground of restriction was not present to his mind. Nor does it seem possible to suggest any other ground for this restriction. It is, perhaps, for this reason that Pradipa puts under ^^FTT-'- Pradipa omits from his classification, because an arrangement of letters, words &c. is not different from letters, words &c., and therefore the faults of the former are of course included under those of the latter. There now remains one more question to be considered in connection with this It has been already noted that, according to Pradipa, ‘faultlessness’ is the most important characteristic of a poem; so much so that a poem, however excellent, is declared to be devoid of charm, if vitiated by a single fault. Now if we accept this view, there will remain nothing or very little that will deserve the name of poetry. We must, therefore, put some limitation upon this view. The limitation is given by the Prabha,* which says:— A fault is defined to be that which obstructs the desired apprehension. The desired apprehension is the apprehension of the beauty of a suggested ( sense ), or an expressed sense that may be intended by the poet in a particular verse. The abovementioned faults vitiate a poem, only when they obstruct this apprehension. In ;q^TTT ^j-qj^ &c., although there is a fault, yet there is also apprehension of the beauty of the suggested sense intended by the poet. Hence, the verse deserves to be called poetry. As for the criterion to decide when these faults obstruct the desired apprehension and when they do not, we say that it is a man’s own ( cultivated) consciousness. If a man of a poetic sensibility does not perceive the beauty of a verse owing to the presence of a fault there, to him that verse is faulty, to others it is not. The verse ^q^rfr &c. is given as an example to him, who does not perceive the beauty of the suggested sense of the verse, on account of the presence of the fault Pr. - • r - • ■. T « ■ -< * 52. qf%r. 35* 52. v 35* *a *f: 1 U sra^s: 3{'4r 3 U ftRft, 5 a 22Rf It ** sa5*i *r a fTS-t * fTRR | M 2Ir*t S W qr^r^ir i 3V 3 snStam H M jgc^, ?« n trrt 5 *a ^T’f^^RT *w*cr fr vs a^HclR 1 3S vs 3^: ) I 3 vs S*. srr. i (^rrt^f^tfl- S xs f 3R: ) 1 3ff* \° ^rr. i ^vs *3 2R: 1 ^gr u a TfST^: n 3S *.o 2T 2T 1 RSRlBr u M vT^T 3S IT^r^T^ 1 eTRfpT u i r a° sr^nm u "Ko STnT^Tq: 1 a° 2RRR2R; , ^RTWR 1 'iX u x\ 1 * 1 a* s ^rr^r^^r: i V* \vs ^5^: | a'l ^x 1 2TcflT cR *a \°-\\ W, 3TSRNR0# g^ «$ 1 3 ^rgprr Xa M S5R°*m | av» *% *2TR<m 9 X'S u Rxfi 5f ac a rv *\T $rrar*r 1C *S sprvfr: aa fimr i (37^1%^- u *3 sF3*uf| ^ ) 1 ^5T n *1 *rir: i m a* R.VS ^FR: 1 BTI^T n ^a 1 cmrq- i a<^ 3o x ^f. ^im. n 3T5nf^t as IS R.1 «rBret So *S f^rarr: i Bn* vs gwr-’ So \%-\o V* BTcT qsRft So =2 snwRfr,^^ <^R ?TTc5T R. 3 ?i^T*?^r ^a I^c5[^T ^ Rft i *a RR^:} 3 HB n ^t^cfr ( * ) TO. qr^fr. TO- ARATPT <^\s is TOTtgi i* ’E^Tr^^crr a^a i ^i% I %% \* ^aa KDO <r Ita^at VStf JTT^TtJ^T \9^ vs s^rrar <;vs Vl° aataat ^ + ■U H araa \0 ^T 1 ATART AT +5T. ARAA M. u ST^TR: \\S T%AAT 5rr^^Fi AT^r ss a^ataaa XV9 TTT^T \o o ll-^S AT-cATA | ROTA \*\ ATW f% \*\ \v-\<r AAA AR A \o\ AAc5AAAaA T°3 IS ATATAA* ^vs Am: ar ATATA TAAT TO. ARfT. TO- d t,°V9 « **nw m IS AJWTTTA u* O R:tlA ■us U A^AMRT m u JTRRTT iss s Rt^i write V*\s V9 ^TtATxf ISS l Reft APPENDIX. ISS sfrST©—STHTT^H <!$« \S qATAAicRmr ®\ ^ l^S 1v# gmo- (RT%R) art T\s° “ ^RTSr^JTJ^-A^- ’ZfTTA AAR ATRT- Ai TA^AA: qf[ | V~\ s*j AKAT ^TRATT: <£- SARKRT: 5ERAT- ra: ” II ^RTAA- AA%A^ ^^nn^JTOTt. l SRAAgTrAR..VJ\# 1 V&ftgTlt “afcRR- T§t:.”%- <ataarat$ra ADDENDA AND CORRIGENDA. aoQQOQQQWs Page. 24 Line. 6 for read 30 3 11 1) 47 5 33 and infamy 31 infamy and naked. 47 30 11 'SlIKI^I^t 11 47-8 29-1 » In HW^T?.-.obtained; „ jfpjvrr? has the power 48 5 after not add to express only “an excellent shiner in the sky”, and thus does not necessarily mean “ an excellent cloud”, necessarily. 48 28 — omit 3T3mflrr...Sudha. 57 10 after that add in *TTS?rK 57 13 after therefore add in cTrfn% qrs^. 57 15 for True what you say read Then in this very ex- 57 16 Omit ample ( 3^ ). here also (i. e. cr=frf^T 69 30 11 other kinds 11 &c.). the other kind >> 31 » 31 11 11 33 come 13 comes 11 13 31 other faults 11 another fault i. e. 84 fc 17-18 for Uf^tT read 5.1*1 *^ir. 85 5 ii 11 11 129 3-4 Read the lines in Italics. 133 18 — Omit (2). 137 18 for am read * 3PFK. 137 30 — — read *3T*P£...SP*d 138 5 for Here, the words read sft l_s- T* Here, the words 2 intimate a coming inauspicious event. to produce a confirmed belief, sages. Character, described. ” or rather we may suppose that both Mam- mata and Pradipa regard cft^^NTS as distinct from qof^rqis. That Mam- mata regards q^qj^js as distinct from qcqys appears from Ullasa IV, where he says q<q^yKqq|qV|rqj?j He thus appears to include under here,since he restricts the word aqq to qq and only. Hence we may account for Mammata’s application of the word ^ to qq, &c. Hence also we may account for q-^tq’s inclusion of qq^qg- under ( vide page 4 line 9 ). The definition of gsq, however, which Prdipa has given on page 2 line 9 does not apply to qqqjq^TH, since such qiyfiq^rr5 as have got no meaning. If, therefore, we are. to suppose Mammata to include qqq^;- 5fjs under we must reject this definition of The fact that Mammata distinguishes from qq and yqqr may be accounted for by supposing that under the former he means to include the principal divisions and under the latter, the minor divisions of qfsq. qqqpqs ( faults of letters ) and <-qqi^[qTS ( faults of style ) qjqq does not mention separately, because they are included under such faults as gfq^tqq &c. Page. Line. 138 7-8 for intimate a coming inauspicious event read 140 27 for read 142 23-24 for to produce a con-,' firmed belief 1 read 152 3 for sages &c. read 152 6 for Character ”. read 152 10 for described. read 168 28 add