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S
ähitya-kaumudé is a
remake of Mammaöa's
Kävya-prakäça, the bible
of Sanskrit poetics.

B a l a d e v a Vi d y ä b h ü ñ a ë a
selected the illustrative
examples from the canon of
Gauòéya Vaiñëava literature.
Sähitya-kaumudé
Sähitya-kaumudé
by
Baladeva Vidyäbhüñaëa

A Complete Treatise
on Sanskrit Poetics

Translator:
Gaurapada Däsa

Editor:
Matsya Avatära Däsa

RBL S
ARI LAL &
BIH
SO
R AS

&
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VRI
N D A VAN
 Table of Contents

Introduction 9
The bible of Sanskrit poetics 15
Baladeva Vidyäbhüñaëa 16
Paëòita-räja Jagannätha 18
Kärikäs, våttis, and numeration 19
Source references 20

Chapter One 23
The purposes of poetry, the cause of poetry,
the definition of poetry, and the categories of poetry

Chapter Two 47
The natures of words (çabda),
of meanings (artha),
and of the rhetorical functions (våtti);
Suggestiveness based on the word
(çäbdé vyaïjanä);
The factors that characterize Denotation

Chapter Three 119

Suggestiveness based on a specialty of a meaning
(ärthé vyaïjanä)

Chapter Four 137

First-rate poetry (dhvani-kävya),
its subdivisions,
and a disquisition on rasa, bhäva, and so on

Chapter Five 283

Second-rate poetry (guëé-bhüta-vyaìgya)
and its subdivisions
Chapter Six 313
Third-rate poetry
(çabda-citra and väcya-citra)
Superexcellent poetry
(paramottama-kävya)

Chapter Seven 327

The literary faults (doña)

Chapter Eight 467

The styles of compounding (réti)
and the literary qualities (guëa)

Chapter Nine 519

The ornaments of sound
(çabda alaìkära)

Chapter Ten 585

The ornaments of meaning
(artha alaìkära)

Chapter Eleven 889

Additional ornaments of sound
and ornaments of meaning

Bibliography 935

Appendix 1
The specific topics in each chapter 941

Appendix 2
The ornaments of meaning
in alphabetical order 959
 Introduction
Baladeva Vidyäbhüñaëa’s Sähitya-kaumudé covers all aspects of
poetical theory except the topic of dramaturgy. All the definitions
of poetical concepts are taken from Mammaöa’s Kävya-prakäça,
the most authoritative work on Sanskrit poetical rhetoric. Baladeva
Vidyäbhüñaëa added the eleventh chapter, where he expounds
additional ornaments from Viçvanätha Kaviräja’s Sähitya-darpaëa
and from Péyüña-varña Jayadeva’s Candräloka.

The title Sähitya-kaumudé literally means “moonlight on literature.”

In usage, a word which means “light” is used in the title of a book to
signify that the book sheds light on the said topic. The word sähitya
means literature and is a synonym of kävya (poetry). Sometimes
poetical rhetoricians use the term alaìkära (lit. ornament) as
a synonym of kävya. Thus Sanskrit poetics is technically called
Alaìkära-çästra (the science of poetry), and a poetical rhetorician
is called an Älaìkärika.

Sanskrit poetical rhetoric is an essential aspect of Vedic culture:

Throughout Vedic texts, philosophy is mixed with poetry. According
to Bharata Muni, dramaturgy arose from an aspect of Vedäìga
(auxiliary Vedic scriptures).1 Räjaçekhara says the knowledge of
poetics forms a seventh Vedäìga. In his opinion, the science of
kävya is necessary to correctly interpret Vedic texts.2 The usage of
words in Vedic texts is reflected in the theory of Sanskrit Poetics,
because Kälidäsa and other writers of masterpieces took inspiration

1 mä vai praëaçyatäm etan näöyaà duùkha-pravartitam | mahäçrayaà mahä-puëyaà

vedäìgopäìga-sambhavam || (Näöya-çästra 36.50). The six Vedäìgas are: çikñä (pronunciation),
chandas (prosody), vyäkaraëa (grammar), nirukta (etymology), jyotiñ (astrology), and kalpa
(rules for fire sacrifices).
2 upakärakatväd alaìkäraù saptamam aìgam iti yäyävaréyaù, åte ca tat-svarüpa-parijïänäd
vedärthänavagateù. yathä, “dvä suparëä sayujä… [Çvetäçvatara Upaniñad 4.6]” (Kävya-mémäàsä
2). Similarly, in his Bäla-Rämäyaëa, Räjaçekhara writes: nigamasyäìgaà yat saptamam (10.74).

9
10 Sähitya-kaumudé

from Rämäyaëa, Mahäbhärata and the Puräëas and because Daëòé

and other poetical rhetoricians classified the literary devices used by
those renowned poets.3 Another foundation of Sanskrit poetics is
Näöya-çästra.

There are two broad varieties of poetry: Poetry based on the

concept that the ego is the self, and poetry based on the notion
that the soul is the self. Sähitya-kaumudé treats of both varieties:
Although devotional poetry is prevalent in this treatise, Baladeva
Vidyäbhüñaëa selected some verses from Kävya-prakäça and from
Sähitya-darpaëa to nicely illustrate the theory. Devotional poetry,
bhakti-kävya, is the highest type of poetry because it is founded
upon the transcendent reality: The soul is real and the Lord is real.
Bhakti is the path of the heart. Learning the poetical theory sheds
light on the subtleties in Bhägavatam.

Thus devotional poetry is founded upon the philosophy in Vedic

scriptures. Vaiñëavas follow the scriptures, whereas Çaìkaräcärya
rejects Vedänta-sütra. Vyäsadeva implies that the soul is real: kartä
çästräthavattvät, “The soul is a doer, because the scriptures have
a purpose” (Vedänta-sütra 2.3.31). Çaìkaräcärya says Vyäsa is
mistaken. In his commentary on: yathä ca takñobhayataù, “[The
soul is a doer] in two ways, like a carpenter (by volition and through
instruments: transcendental senses)” (Vedänta-sütra 2.3.38),
Çaìkaräcärya writes: yat tüktaà çästrärthavattvädibhir hetubhiù
sväbhävikam ätmanaù kartåtvam iti tan na, “It was stated with
several reasons, beginning from çästrärthavattvät (Vedänta-sütra
2.3.31), that the doership of the soul is inherent: That is wrong”
(Çäréraka-bhäñya 2.3.38).4

Similarly, commenting on the sütra beginning: aàço nänä-

vyapadeçäd anyathä cäpi, “The soul is a part of God on account of
various statements, and otherwise as well (a soul is simultaneously

3 pürva-çästräëi saàhåtya prayogän upalakñya ca | yathä-sämarthyam asmäbhiù kriyate

kävya-lakñaëam || (Kävyädarça 1.2)
4 In Çäréraka-bhäñya, the number is 2.3.40 (Brahma-sütra-çäìkara-bhäñyam, Väsudeva Çarmä
(ed.). Varanasi: Caukhamba Vidyabhavan, 1998). That sütra is number 2.3.38 in Baladeva
Vidyäbhüñaëa’s edition of Vedänta-sütra.
 Introduction 11

different and nondifferent from Brahman5)” (Vedänta-sütra 2.3.41),

Çaìkaräcärya writes: jéva éçvarasyäàço bhavitum arhati yathägner
visphuliìgaù. aàça iväàçaù, nahi niravayavasya mukhyo ’àçaù
sambhavati, “A soul must be a part of God, like a spark is a part
from a fire. The word aàça actually means “like an aàça.” A main
part of what is partless cannot possibly exist” (Çäréraka-bhäñya).6
In the jargon of commentaries, this interpretation by Çaìkaräcärya
is the fault called utsütra-vyäkhyäna (digression). Many commenta-
tors do this, but here Çaìkaräcärya goes overboard by whimsically
adding a word to the sütra. P.V. Käëe explains:

To give one glaring example, the sütra ‘aàço nänä-vyapadeçät’

(Vedänta-sütra II.3.43) is explained by Çaìkaräcärya as aàça
iva, while several other commentators take the sütra as it is
without adding any word and criticize Çaìkaräcärya for the
result of his taking such liberties in order to make the meaning
of the sütra square with his philosophy of the Absolute.7

Çaìkaräcärya’s followers find no problem with this denial of Vyäsa’s

authority: They argue that Çiva is superior to Vyäsa. Or else they say
that Bädaräyaëa is not Vyäsa. However, the Bhägavatam says Vyäsa
is called Bädaräyaëa. Moreover, the ideas in Vedänta-sütra are not
Vyäsa’s invention: They are sourced in the scriptures. Vedänta-sütra
is both a summary of and an explanation of the Upaniñads. Vyäsa’s
statement is confirmed therein: vijïänaà yajïaà tanute. karmäëi
tanute ’pi ca. vijïänaà deväù sarve, brahma jyeñöham upäsate.
vijïänaà brahma ced veda, tasmäc cen na pramädyati. tasyaiva eña
çaréra ätmä. yaù pürvasya, tasmäd vä etasmäd vijïäna-mayät, anyo
’ntara ätmänanda-mayaù. tenaiña pürëaù, “Vijïäna (conscious-
ness) (a soul) does a sacrifice and executes the rites as well.8 All the

5 A soul is different from Brahman in quantity—a soul is minute whereas Brahman is

infinite—and a soul is nondifferent from Brahman in quality: Each one has the same nature of
transcendence (sat-cid-änanda).
6 Here Çaìkara goes against the Lord’s statement: mamaiväàço jéva-loke jéva-bhütaù
sanätanaù (Bhagavad-gétä 15.7).
7 Kane , P.V. (1998) History of Sanskrit Poetics, p. 173.
8 This is an explanatory verse: brahmärpaëaà brahma havir brahmägnau brahmaëä hutam,
brahmaiva tena gantavyaà brahma-karma-samädhinä, “The offering is Brahman. The oblation
is Brahman and is offered in the fire, which is Brahman, by Brahman (a soul). Only Brahman
12 Sähitya-kaumudé

demigods worship vijïäna Brahman, the eldest. If one knows that

vijïäna is Brahman, and if one does not deviate from that, then he
casts off the sinful reactions in the body and fulfills all his desires.
This body of vijïäna is the soul of the manomaya-koça (the mental
functions). The änanda-maya (Paramätmä) is the inner soul of the
vijïäna-maya (the soul)” (Taittiréya Upaniñad 2.5). Vyäsa explains:
änanda-mayo ’bhyäsät, “The änanda-maya [is Paramätmä,]
because of a repetition” (Vedänta-sütra 1.1.12). The änanda-maya
is Paramätmä, and not the soul, because the soul is vijïäna-maya,
since vijïäna had just been described as Brahman (transcendental):
A soul is a minute spark of Brahman. The repetition referred to
in the sütra is the fact that the term änanda (bliss) is used: That
is repetitive because änanda is also an aspect of the soul, since
the concept of vijïäna includes the notion of änanda. Brahman
is the one essence of consciousness and bliss: vijïänam änandaà
brahma (Båhad-äraëyaka Upaniñad 3.9.28.7). Commenting on
Laghu-bhägavatämåta, Baladeva Vidyäbhüñaëa writes: cid-rüpo
ya änandaù, “Bliss is the form of consciousness (Säraìga-raìgadä
1.1.3). He describes the soul as follows: cit-sukhaika-raso ’pi puruño
’nädi-karma-väsanayä prakåti-sthaù, “Although a soul is the one
essence of consciousness and bliss, a soul is in the material world
because of beginningless karma and subconscious tendencies of a
material nature” (Gétä-bhüñaëa 13.21).

In regard to Vedänta-sütra 2.3.38, mentioned above, Viçvanätha

Cakravarté says the senses of a devotee’s spiritual body are transcen-
dental.9 This is the sum and substance of the sütra: vihäropadeçät
(Vedänta-sütra 2.3.32). In that regard, Baladeva Vidyäbhüñaëa
cites this passage: evam evaiña samprasädo ’smäc charérät
samutthäya paraà jyotir upasampadya svena rüpeëäbhiniñpady-
ate. sa uttamaù puruñaù. sa tatra paryeti jakñat kréòan ramamäëaù
strébhir vä yänair vä jïätibhir vä nopajanaà smarann idaà çaréram.
sa yathä prayogya äcaraëe yukta evam eväyam asmin çarére präëo
yuktaù, “In the same way, he, being very serene, departs from this

(Viñëu) is to be attained by one who has a complete absorption in the activities of a Brähmaëa”
(Bhagavad-gétä 4.24).
9 yair eva bhaktänäà dehaù siddho bhavati, “…by which [transcendental senses and sensory
objects] the bodies of the devotees is brought about” (Särärtha-darçiné 3.25.33).
 Introduction 13

body, reaches the supreme Light and becomes established in his

own form; he is the topmost soul. He travels there—while laughing
and playing and taking pleasure—either with women, vehicles or
kinsmen (other liberated souls), but he does not remember this
body born from the contact of man and woman. Thus the soul is the
life force yoked to this material body, like a horse or an ox is yoked
to a cart” (Chändogya Upaniñad 8.12.3) (Govinda-bhäñya 2.3.32).
In addition, the Upaniñads say the soul is a doer in a dream.10

The Upaniñads often use the term ätmä to denote the soul: präëavo
dhanuù çaro hy ätmä brahma tal lakñyam ucyate, “It is said that
oàkära is the bow, the soul (ätmä) is the arrow, and Brahman
is the target” (Muëòaka Upaniñad 2.2.4). The purport is that the
soul is not an upädhi of Brahman. Even the followers of Nyäya
philosophy accept that ätmä has two categories: Paramätmä (the
Soul) and jévätmä (the soul): jïänädhikaraëam ätmä. sa dvi-vidhaù,
paramätmä jévätmä ca (Tarka-saìgraha 2.8).

Instead of repeatedly stating that Vyäsa is wrong, Çaìkaräcärya

prefers to repeatedly contradict himself, hoping that his readers will
be ignorant enough to overlook his self-contradictions. For instance,
elsewhere Çaìkaräcärya does not deny that a soul is simultane-
ously different and nondifferent from Brahman, in his commentary
on the sütra, ubhaya-vyapadeçat tv ahi-kuëòala-vat, “However, on
account of both kinds of statements (regarding bheda and abheda),
[the relation between Brahman and the souls is] like the relation
between a snake and its coil” (Vedänta-sütra 3.2.28). Vyäsadeva
also gives the analogy of a ray and its source: prakäçäçraya-vad vä
tejastvät (Vedänta-sütra 3.2.29).

Therefore bhakti is the highest path, and the science of Sanskrit

poetics gives us the key to unlock the meanings of the scriptures.
In addition, poetry is based on a roundabout mode of expression:
Studying poetry gives us the frame of mind to read the signs in

10 sa hi kartä (Båhad-äraëyaka Upaniñad 4.3.10); eña hi drañöä sprañöä çrotä ghrätä rasayitä
mantä boddhä kartä vijïänätmä puruñaù (Praçna Upaniñad 4.9). However, a soul is not a doer of
material activities in the waking state: ahaìkära-vimüòhätmä kartäham iti manyate, “One who
thinks ‘I am doing this’ is bewildered by false ego” (Bhagavad-gétä 3.27).
14 Sähitya-kaumudé

day-to-day life. The Lord communicates indirectly: parokñaà

mama ca priyam, “An indirect mode of expression is dear to Me
also” (Bhägavatam 11.21.35). Over and above that, we obtain a
higher taste by the power of bhakti-kävya, and as a result mundane
passion gradually loses its charm:

reme tayä cätma-rata ätmärämo ’py akhaëòitaù |

käminäà darçayan dainyaà stréëäà caiva durätmatäm ||

“Kåñëa enjoyed with that gopé although He is complete: He, an

ätmäräma, delights in Himself, thus by contrast He showed the
wretchedness of lusty men and the bad nature of materialistic
women” (Bhägavatam 10.30.34).

The self is the soul. Knowing poetical theory is conducive to a higher

relishment of bhakti-rasa. There is a tradition in Sanskrit poetics.
Dr. Sushil Kumar De expounds:

When a new work is published, it is submitted to and approved

by assemblies of experts, as we are told by Maìkhaka,
Räjaçekhara and others. It was obviously expected to answer
all the demands of theory, although it was by no means an easy
test; for style, says an Indian stylist, is like a woman’s virtue
which cannot bear the least reproach. The public likewise
possessed or were expected to possess a certain amount of
theoretical knowledge; for the rasika or sahådaya, the man
of taste, the true appreciator of poetry, must be, according
to the conception of the Sanskrit theorists, not only well
read and wise, and initiated into the intricacies of theoretic
requirements, but also possessed of fine instincts of aesthetic
enjoyment. The poet naturally liked to produce an impression
that he had observed all the rules, traditions and expectations
of such an audience; for the ultimate test of poetry is laid
down as consisting in the appreciation of the sahådaya.11

11 De, S.K. (1988), History of Sanskrit Poetics, Vol. II, p. 44.

 Introduction 15

The Bible of Sanskrit Poetics

Kävya-prakäça is a classic. It is taught in almost all the universi-

ties in India. Its prestige is such that Viçvanätha Kaviräja wrote a
commentary on it even after composing Sähitya-darpaëa. Mammaöa
wrote Kävya-prakäça in Kashmir in the second half of the eleventh
century.12 Caitanya Mahäprabhu studied Kävya-prakäça. For
instance, He recited the famous verse that begins yaù kaumära-haraù
(that person who stole my heart during my youth) (Kävya-prakäça,
verse 1) (Caitanya-caritämåta 3.1.78). In response, Rüpa Gosvämé
composed an outstanding verse, cited by Baladeva Vidyäbhüñaëa
(1.7).

Viçvanätha Kaviräja’s Sähitya-darpaëa and other important

treatises on Sanskrit poetics mostly follow Kävya-prakäça. In
their commentaries on Bhakti-rasämåta-sindhu and on Ujjvala-
nélamaëi, Jéva Gosvämé and Viçvanätha Cakravarté quote from
Kävya-prakäça and Sähitya-darpaëa. The Gosvämés attentively
studied those two books. In addition, several verses in Padyävali
(208, 219, 239, 258, 264, 303) are sourced either in Kävya-prakäça or
in Sähitya-darpaëa.

Kavikarëapüra’s Alaìkära-kaustubha as well follows Mammaöa’s

methodology through and through. Kavikarëapüra paraphrased
Mammaöa’s definitional verses and wrote outstanding illustrative
examples, many of which are not well-suited for Brahmacärés.

Among Gauòéya Vaiñëavas, Kävya-prakäça was highly revered:

sarva-çästre pravéëa, kävya-prakäça-adhyäpaka |

parama-vaiñëava, raghunätha-upäsaka ||

“He (Rämadäsa Viçväsa) was highly learned in all the scriptures. He

was a teacher of Kävya-prakäça. He was a foremost Vaiñëava and a
worshiper of Rämacandra” (Caitanya-caritämåta 3.13.92).

12 Kane, P.V. (1995), The Sähitya-darpaëa, Introduction, p. 7.

16 Sähitya-kaumudé

rämadäsa kailä tabe néläcale väsa |

paööanäyaka-goñöhéke paòäya ‘kävya-prakäça’ ||

“Rämadäsa took up residence in Jagannätha Puré and taught

Kävya-prakäça to the Paööanäyaka family (the descendants of
Bhavänanda Räya)” (Caitanya-caritämåta 3.13.111).

Baladeva Vidyäbhüñaëa

Baladeva Vidyäbhüñaëa was a disciple of Rädhä-Dämodara

Gosvämé. Baladeva Vidyäbhüñaëa’s çikñä-guru was Viçvanätha
Cakravarté (c. 1630–1725), an illustrious rasika who wrote scores
of outstanding books, including an extraordinary commentary on
Çrémad Bhägavatam and another on Kavikarëapüra’s Alaìkära-
kaustubha. Baladeva Vidyäbhüñaëa is famous for his Govinda-
bhäñya (1718),13 an erudite commentary on Vedänta-sütra, and for
Gétä-bhüñaëa, a scholarly commentary on Bhagavad-gétä.

In Sähitya-kaumudé, Baladeva Vidyäbhüñaëa changed nearly all

the illustrative examples in Kävya-prakäça. He often quotes verses
from Rüpa Gosvämé’s works and from Alaìkära-kaustubha. On
occasion, Baladeva Vidyäbhüñaëa himself composed amazing
verses. At the end of the treatise (11.53), he praises his line of gurus.
In his commentary on Bhägavatam, however, he pays tribute to his
mentors:

çrémad-yaçodä-suta-keli-sindhuà
vigäha-mänasya mamälpa-çakteù |
sanätana-çrédhara-viçvanätha-
dayä-lavaù samprati çakti-räçiù ||

“My self-conceit has plunged in the pastime ocean of Yaçodä’s

beautiful son. I had little ability, but now, having become the
recipient of the specks of the mercy of Çrédhara, Sanätana, and
Viçvanätha, I have much ability” (Vaiñëavänandiné 10.1.1, third

13 Vaiñëava-digdarçiné.
 Introduction 17

invocatory verse). Baladeva Vidyäbhüñaëa extols Jéva Gosvämé

ahead, in text 7.122.

Most Sanskrit scholars simply refer to Baladeva Vidyäbhüñaëa’s

Sähitya-kaumudé as his commentary on Kävya-prakäça. Notably,
in writing Sähitya-kaumudé, on occasion Baladeva Vidyäbhüñaëa
took inspiration from Çrévatsa-läïchana Bhaööäcärya’s commentary,
called Sära-bodhiné. According to Dr. Goparäju Rämä, Çrévatsa-
läïchana was a Bengali who lived around 1600; one manuscript
of Sära-bodhiné is dated Saàvat 1665-1680 (c. 1608-1623 CE).
Çrévatsa-läïchana is also the author of Kävya-parékñä.14 Sometimes
he took ideas from Viçvanätha Kaviräja’s commentary, called
Kävya-prakäça-darpaëa, which was uncovered and firstly published
by Dr. Goparäju Rämä. Dr. Sushil Kumar De writes: “Viçvanätha
—Author of the commentary Kävya-prakäça-darpaëa. He is
identical with Viçvanätha (q. v.), author of the Sähitya-darpaëa,
which is referred to in this commentary as his own. First half of the
14th century.”15 Çrévatsa-läïchana was a well-known commentator
in those days, since Paëòita-räja Jagannätha mentions him.16

Other commentaries used in this book are Narahari Sarasvaté

Tértha’s Bäla-cittänuraïjiné (c. 1300),17 Govinda Öhakkura’s
Kävya-pradépa (sixteenth century)18 and Nägeça Bhaööa’s Uddyota
(late seventeenth century).19

14 Kävya-prakäçaù, öékä-traya-saàvalitaù (Bäla-cittänuraïjiné, Sära-bodhiné, Kävya-prakäça-

darpaëa). Rämä, Goparäju, and Päöhaka, Jagannätha (eds.). Prayaga, India: Ganganatha Jha
Kendriya Sanskrit Vidyapeetha, 2006 [1976], Introduction, pp. 1-3.
15 De, S.K. (1988), History of Sanskrit Poetics, Vol. I, p. 161.
16 etena “tyägaù sapta-samudra-mudrita-mahé-nirvyäja-dänävadhiù” iti çrévatsa-läïchanoktam
udäharaëaà (on KP verse 40) parästam, tasya guëébhüta-vyaìgyatvena rasa-dhvani-prasaìge
’nudäharaëéyatvät. (Rasa-gaìgädhara, Bombay: Kävya-mälä edition, 1888, p. 39)
17 “Narahari called Sarasvaté Tértha—His commentary is called Bäla-cittänuraïjiné. […]
His commentary on Mammaöa states that he was born in Saàvat 1298 = 1241-42 A.D., in
Tribhuvanagiri in the Andhra country. When he became an ascetic, he took the name of
Sarasvatétértha and composed his commentary at Benares.” (De, S.K. (1988), History of Sanskrit
Poetics, Vol. I, p. 158). The source for the text of the commentary is Goparäju Rämä’s book
mentioned above.
18 “Govinda is earlier than 1600 A.D.” (Kane, P.V (1995), The Sähitya-darpaëa, Introduction,
p. 8).
19 The source for those two commentaries is: Kävya-prakäçaù. Väsudeva Çästré Abhyaìkar
(ed.). Väräëasé: Caukhambä Vidyäbhavan, 1994 (second edition).
18 Sähitya-kaumudé

Further, Sähitya-kaumudé is one of four Gauòéya Vaiñëava books

on poetical theory. The three others are: Alaìkära-kaustubha, by
Kavikarëapüra; Kävya-kaustubha, by Baladeva Vidyäbhüñaëa;
and Bhakti-rasämåta-çeña, by a disciple of Jéva Gosvämé.
Bhakti-rasämåta-çeña covers the poetical theory which is not found
in Bhakti-rasämåta-sindhu and follows the theory in Viçvanätha
Kaviräja’s Sähitya-darpaëa. For the most part, in Kävya-kaustubha
Baladeva Vidyäbhüñaëa reiterates the literary ornaments
propounded by Péyüña-varña Jayadeva (not the Jayadeva who
wrote Géta-govinda). The best of those ornaments are expounded
in the eleventh chapter of Sähitya-kaumudé.

Paëòita-räja Jagannätha

Excellent examples by Paëòita-räja Jagannätha are shown in the

Commentary. P.V. Käëe, a well-known authority in the field of
Sanskrit poetics, says Jagannätha is one of the top three poetical
theorists: “In the galaxy of Sanskrit rhetoricians Viçvanätha is a star
of the second magnitude only. Beside the brilliance of Änandavard-
hana, Mammaöa and Jagannätha his light appears dim.”20

Nowadays, scholars of Sanskrit poetics swear by Jagannätha. He

was a Vaiñëava and an exalted genius of poetry. His explanations
are sharp. Jagannätha’s Rasa-gaìgädhara stands out also because
he composed all his examples: In this respect, his treatise surpasses
Kävya-prakäça and Sähitya-darpaëa. Jagannätha’s poetry is mature
and thoughtful. He was married. In addition, Jagannätha expresses
his love for the Ganges and for Çré Kåñëa.

Paëòita-räja Jagannätha was born in the province of Andhra

Pradesh (South India). His active career occurred between 1620
and 1660. For the most part, he lived under the patronage of the
renowned Mughal emperor Shäh Jahän, who ruled Delhi and
ordered the construction of the Taj Mahal, in Agra (Uttar Pradesh,
India). Jagannätha tells us that he passed the prime of his life “in the

20 Kane, P.V. (1995), The Sähitya-darpaëa, Introduction, p. 9.

 Introduction 19

hand of the king of Delhi.”21 Paëòita-räja Jagannätha’s poetry is as

amazing as the Taj Mahal.

Definitional Verses (kärikä),

Elaborations (våtti),
and Numeration

In almost all classical works on Sanskrit poetical rhetoric, the

methodology used by the author is to write definitions in verse form.
Such a verse is called a kärikä (definitional verse). In Vedänta
philosophy, however, the word kärikä means an explanatory verse.22
Further, in poetics, the term sütra (poetics) refers to any definition
of a poetical concept: A sütra can take the form of one kärikä, of
two kärikäs, of one portion of a kärikä, and so on.

The term våtti (elaboration) denotes the author’s commentary on a

sütra or on an example. In Sähitya-kaumudé, all the definitions of
ornaments and so on are exactly the same as those in Kävya-prakäça,
but Baladeva Vidyäbhüñaëa rewrote Mammaöa’s våtti. This means
he paraphrased the våtti, by writing in a clear style, and cut lengthy
digressions. Whenever an element of Baladeva Vidyäbhüñaëa’s våtti
differs from Mammaöa’s våtti, it is pointed out in the Commentary. In
the poetical theory itself, however, the term våtti means “function”,
as in lakñaëä-våtti (the function called figurative usage).

The number on the right side of a sütra denotes the number of that
sütra in Kävya-prakäça. The four lines of a kärikä are represented
by the letters a, b, c, and d respectively. The number above the verse,
however, is the number in this book: Those numbers were added by
the present writer. In all the editions of Sähitya-kaumudé, the kärikä
numbers start from number 1 at the beginning of each chapter,
whereas in modern editions of Kävya-prakäça (from circa 1950

21 çästräny äkalitäni nitya-vidhayaù sarve ’pi sambhävitä, dillé-vallabha-päëi-pallava-tale

nétaà navénaà vayaù | sampraty ujjhita-väsanaà madhupuré-madhye hariù sevyate, sarvaà
paëòita-räja-räji-tilakenäkäri lokädhikam || (Bhäminé-viläsa 4.32).
22 Laghu-bhägavatämåta 1.5.219.
20 Sähitya-kaumudé

CE), the numbers for the kärikäs follow an uninterrupted sequence

from beginning to end. To facilitate the sourcing of references
in Kävya-prakäça, in this edition only the kärikä numbers in
Kävya-prakäça are used. On occasion Baladeva Vidyäbhüñaëa
omitted to number Mammaöa’s kärikä and only mentioned it under
the format of a våtti (4.97); sometimes Baladeva Vidyäbhüñaëa
created a sütra by changing the wording of Mammaöa’s våtti (10.19);
and elsewhere he created a sütra by inserting theory from Viçvanätha
Kaviräja’s Sähitya-darpaëa (10.25). Baladeva Vidyäbhüñaëa is the
author of the kärikäs in the eleventh chapter.

In this book, whenever a number is given in parentheses as a

reference, that number always refers to the number above a verse
of Sähitya-kaumudé, not to the kärikä number.

Source References

The readings of the text of Sähitya-kaumudé are taken from the

Kävya-mälä edition (63) of Sähitya-kaumudé (Paëòit Çivadatta
and Käçénäth Päëòuraìg Parab. (eds.), Bombay: Nirëaya Sägar
Press, 1897). Another reference is: Sähitya-kaumudé by Baladeva
Vidyäbhüñaëa (G.C. Tripati (ed.), Allahabad: Rashtriya Sanskrit
Saàsthan, 1981). An additional publication is the edition of
Sähitya-kaumudé by Haridäsa Çästré (Våndävana, India, 1985).

In the introduction to his Rashtriya Sanskrit Saàsthan edition, Dr.

G.C. Tripati says Baladeva Vidyäbhüñaëa is also the author of the
official commentary on Sähitya-kaumudé, called Kåñëänandiné.
Similarly, several well-known devotees hold this opinion. However,
it is repudiated in the second introductory verse of Kåñëänandiné,
which states: so ’yaà vidyäbhüñaëo ’smän punétäm, “May he,
Vidyäbhüñaëa, purify us.”

Gaurapada Däsa
India
12-22-2014
 Introduction 21

The Translator

Gaurapada Däsa completed the three-year course at Gopé-paräëa

Prabhu’s International ISKCON Sanskrit school in Govardhana
(Uttar Pradesh, India). Gaurapada Däsa’s grammar teacher was
Matsya Avatära Däsa. Both of them collaborated on several transla-
tion projects.
 Chapter One
The Purpose of Poetry,
the Cause of Poetry,
the Definition of Poetry,
and the Categories of Poetry

1.1
käruëyäd gaja-patir äçu yasya bheje
nirdhütäkhila-våjinaù paraà pramodam |
caitanyäkåtim ajitaà jitaà sva-bhaktais
taà vande madhurima-sägaraà murärim ||

käruëyät—because of mercy; gaja-patiù—King Pratäparudra

(“master of elephants”); äçu—quickly; yasya—of whom; bheje—
served (worshiped); nirdhüta-akhila-våjinaù—he all of whose moral
defects were cleansed; param—the highest; pramodam—delight;
caitanya-äkåtim—who has the form of Caitanya; ajitam—who
is undefeated; jitam—who is conquered; sva-bhaktaiù—by His
devotees; tam—Him; vande—I extol; madhurima—of sweetness;
sägaram—who is an ocean; murärim—Muräri.

I extol Muräri, an ocean of sweetness. In the form of Caitanya,

His high rapture was swiftly served, on account of His mercy, by
Pratäparudra, who had no moral shortcoming. The Lord does not
submit to anyone, yet the devotees conquer His heart.

1.2
süträëäà bharata-munéça-varëitänäà
våtténäà mita-vapuñäà kåtau mamäsyäm |
lakñyäëäà hari-guëa-çälinäà ca sattvät
kurvantu praguëa-dhiyo batävadhänam ||

23
24 Sähitya-kaumudé

süträëäm—of aphorisms; bharata—named Bharata; muni-éça—by

the best of sages; varëitänäm—described; våtténäm—f elaborations
(commentary); mita-vapuñäm—short (“whose body is measured”);
kåtau mama asyäm—given the fact that this is my deed; lakñyäëäm—
[the elaborations,] which are what is aimed at; hari-guëa-çälinäm—
which abound in Hari’s qualities; ca—and; sattvät—because of the
existence; kurvantu—should do (i.e. should go about); praguëa—is
excellent (“whose qualities are eminent”); dhiyaù—those whose
intelligence; bata—ah!; avadhänam—attentively.

Even those who are highly intelligent should proceed attentively,

because the sütras were designed by Bharata, the best of sages, and
because the våttis, which are fairly short, are the objective, since
they are my deed: They abound in Hari’s qualities.

COMMENTARY

According to Baladeva Vidyäbhüñaëa, Bharata Muni is the author

of the kärikäs of Kävya-prakäça. Dr. Käëe mentions it:

Several later commentators affirm that the kärikäs are the

work of Bharata and that Mammaöa only commented on
them (i.e. he is only a Våtti-kära). The Sähitya-kaumudé of
Vidyäbhüñaëa says ‘süträëäà bharata-munéça-varëitänäà
våtténäà mita-vapuñäà kåtau mamäsyäm |’ (2nd Intro. verse)
and at the end we have ‘mammaöädy-uktim äçritya mitäà
sähitya-kaumudém | våttià bharata-süträëäà çré-vidyäbhüñaëo
vyadhät ||’.23

However, all evidence shows that Mammaöa is indeed the author of

both the karikäs and the våttis of Kävya-prakäça. Dr. Sushil Kumar
De explains:

A tradition, chiefly obtained in Bengal, as we find it in Baladeva

Vidyäbhüñaëa and Maheçvara Nyäyälaìkära, two very late

23 Kane, P.V. (1998), History of Sanskrit Poetics, p. 269.

 Chapter One 25

Bengal commentators on the Kävya-prakäça,24 imputes the

authorship of the Kärikäs, here called sütras, to Bharata and
the prose Våtti to Mammaöa, while Bharata himself is said to
have drawn upon the Agni-puräëa. While the last assertion
about the Agni-puräëa has no foundation in fact and is
apparently prompted by the amiable but unhistorical imagina-
tion of late writers, which delights in exalting the antiquity
of the Puräëas, the suggestion of Bharata’s authorship of
the Kärikäs is too unauthentic and fanciful to be accepted.
Mammaöa’s authorship of the Kärikäs has been declared by
Hemacandra in the first quarter of the 12th century, as well
as accepted by a succession of authors and commentators
like Jayaratha, Vidyädhara, Mallinätha, Kumärasvämin and
Appayya. Vaidyanätha, commenting on Kävya-pradépa (i.1),
alludes to this tradition and rejects it expressly; and in this view
most of Mammaöa’s other commentators agree. Apart from
this, the evidence of the text itself goes directly against such
a hypothesis. The Kärikäs iv.4-5 are expressly supported in
the Våtti by a dictum of Bharata, and this implies a distinction
between the author of the Kärikä and that of the Näöya-çästra.
The Kärikä x.8b, again, says mälä tu pürvavat, implying from
the context that the figure mälä-rüpaka follows the rule laid
down for the figure mälopamä, which, however, is not taught
in any of the previous Kärikäs, but explained in the Våtti. This
apparently indicates that the Kärikä and the Våtti form one
block which should be attributed to one and the same author.25
The source of this tradition is probably the unquestioned
reverence paid to the sage Bharata, but it may also be due to
the fact that Mammaöa himself has made a considerable use
of Bharata’s Kärikäs.26

Bharata is cited by name in Agni 339. 6, and a large part of its

treatment of näöya, nåtya, abhinaya and rasa follows Bharata’s

24 This view is also endorsed by Jayaräma Païcänana, another Bengali commentator on

Mammaöa.
25 To the same effect Vaidyanätha comments on this passage, etad eva sütram sütra-våtti-kåtor
ekatve jïäpakam, mälopamäyäù süträv anuktäyä våttäv eva kathanät.
26 De, S.K. (1988) History of Sanskrit Poetics, Vol. I, pp. 152-153.
26 Sähitya-kaumudé

exposition, even to the literal borrowing and paraphrase of

some of his well known verses.27

Above, Dr. De gives two reasons againt the authorship of

Bharata Muni. Dr. De refers to the alternative numbering system
of Kävya-prakäça. Thus in his elaboration on kärikäs 4.27-28
(Sähitya-kaumudé 4.7), Mammaöa directly mentions Bharata Muni
before quoting Bharata’s rasa-sütra (Sähitya-kaumudé 4.8). That
is no proof that Bharata Muni is not the author of the kärikäs
of Kävya-prakäça. However, Mammaöa’s kärikä 10.94 (mälä tu
pürva-vat) (Sähitya-kaumudé 10.53) directly refers to this elabora-
tion by Mammaöa: iti bhinne ca tasmin ekasyaiva bahüpamänopädäne
mälopamä (Kävya-prakäça våtti on verse 411) (Sähitya-kaumudé
10.21). Therefore the kärikäs (definitional verses) and the våttis
(elaboration) of Kävya-prakäça must have been written at the same
time.

P.V. Käëe mentions additional reasons:

There is no separate maìgala in the våtti. If the våtti had been

composed by one person and the kärikäs by another, there
should have been a separate maìgala in the våtti as there
is one in the kärikäs. (II) Upon the kärikä “käraëäny atha
käryäëi” etc. (in the fourth ulläsa) the våtti says “tad uktaà
bharatena vibhävänubhäva…”. If Bharata had been the
author of the kärikäs in the Kävya-prakäça, the våtti-kära
would more naturally have said “tad uktam anenaivänyatra”
or “tad uktam kärikä-kåtänyatra etc.”. (III) We have the kärikä
“säìgam etan niraìgaà tu çuddhaà mälä tu pürva-vat.” […]
(IV) None of the early commentators such as Mäëikya-candra,
Jayanta, Sarasvaté Tértha, Someçvara makes any distinction
between the author of the kärikäs and of the våtti.28

Mammaöa’s statement “tad uktaà bharatena” was reworded as

“evam anyaträpy uktaà muninä” by Baladeva Vidyäbhüñaëa (4.8).

27 De, S.K. (1988) History of Sanskrit Poetics, Vol. I, pp. 97-98.

28 Kane, P.V. (1998), History of Sanskrit Poetics, pp. 270-271.
 Chapter One 27

Other proofs that Mammaöa wrote the kärikäs are apparent. For
instance, he mentions the tätparya artha (the meaning which is the
drift of the sentence) (Kävya-prakäça 2.6) (Sähitya-kaumudé 2.3):
This methodology was invented by Mémäàsakas. Moreover, the
Dhvani theory originates from Änandavardhana’s Dhvany-äloka (c.
860 CE), arguably the most authoritative work on poetical rhetoric
between the time of Bharata Muni’s Näöya-çästra (c. 100 BCE)
and Mammaöa’s Kävya-prakäça. In the fourth chapter, Mammaöa
often paraphrases Änandavardhana’s karikäs. Similarly, in text 2.27
(Kävya-prakäça 2.16), Mammaöa defends his concept of three-step
purposeful figurative usage, which involves the Dhvani theory, by
paraphrasing a verse by Änandavardhana. Additionally, in texts
8.7 and 8.12, Mammaöa says there are three guëas, not ten. He is
referring to Vämana’s ten guëas, which have the same names as
Bharata Muni’s ten guëas (Näöya-çästra 16.96-114). Moreover,
Mammaöa’s kärikä 7.58 (Sähitya-kaumudé 7.111 and 7.113) is a verse
quoted by Vämana (c. 800 CE) in his Kävyälaìkära-sütra (2.2.19
våtti).

1.3
niñpratyüha-präripsita-parisamäpti-kämo muniù samucitäà
gér-devéà präk praëamati,

Desiring the completion, intended to be eminently begun, without

obstacle, at first Bharata Muni bows to the goddess of words:

niyati-kåta-niyama-rahitäà
hlädaika-mayém ananya-paratanträm |
nava-rasa-ruciräà nirmitim
ädadhaté bhäraté kaver jayati ||1.1||

niyati-kåta—made by destiny29 (or made by rules) (niyati = niyama);

niyama-rahitäm—devoid of restrictions; hläda-eka-mayém—which
consists in a unique delight; ananya-paratanträm—not dependent

29 The definition of niyati is: daivaà diñöaà bhägadheyaà bhägyaà stré niyatir vidhiù, “The
words daivam, diñöam, bhägadheyam, bhägyam, niyati, and vidhi, the last two in the feminine, are
synonymous” (Amara-koña 1.4.28).
28 Sähitya-kaumudé

on another; nava-rasa— on account of a novel relishment (or on

account of the nine rasas); ruciräm—lovely; nirmitim—a construc-
tion (or a creation); ädadhaté—while assuming; bhäraté—the words
(or Sarasvaté) (Amara-koña 1.6.1); kaveù—related to a scholarly
poet; jayati—is glorious (supereminently exists) (i.e. is superior to
Brahmä’s world30).

The words of a scholarly poet that are lovely on account of a novel

relishment are glorious. Such words assume a construction which
is not the object of restrictions ordained by destiny; which is not
copied from another work; and which gives rise to a unique delight.

Alternatively: Sarasvaté, who relates to scholarly poets, is glorious.

She brings about a creation which is not the object of regulations
ordained by destiny; which does not depend on another; which gives
rise to a unique delight; and which is lovely on account of the nine
rasas.

atra vidhi-kåta-vilakñaëa-viçva-vidhänäj jayatéti natim äkñipya täà

prati praëato ’sméti vyajyate.

What is implied here, after indicating this sort of obeisance: “She is

glorious since she makes a world that is distinct from the one made
by Brahmä,” is: I bow to her.

COMMENTARY

This is Mammaöa’s introductory verse (maìgaläcaraëa). In his

elaboration. he says a poet’s composition is distinct from Brahmä’s
creation, where happiness, unhappiness, and bewilderment exist
by the force of fate and within which the tastes (rasa) are only six
in number,31 in contrast to the nine rasas of poetry: çåìgära (love,
romance), häsya (humor, laughter), karuëa (lamentation), raudra
(anger), véra (heroism), bhayänaka (fear), bébhatsa (disgust),

30 Viçvanätha Kaviräja comments: ata eva jayati utkarñeëa vartate arthät brahmaëaù
(Kävya-prakäça-darpaëa).
31 The six tastes in Äyurveda are: kañäya (astringent), lavaëa (salty), kaöu (pungent), tikta
(bitter), amla (sour), and madhura (sweet).
 Chapter One 29

adbhuta (wonderment), and çänta (peacefulness).32 In other

words, happiness, unhappiness and bewilderment, which severally
represent sattva-guëa, tamo-guëa, and rajo-guëa in the world, occur
in their pure forms in poetry. Alternatively, the three guëas of
poetry (mädhurya, ojas, prasäda) (sweetness, vigor, and clarity) are
superior to the three guëas of Mäyä. The gist is that a poet’s world
is governed by Mammaöa’s rules and is sometimes more relishable
than the material world.

1.4
prekñä-vat-pravåttaye
çästräbhidheya-phalaà tävad äha,

For the sake of a continuation that has a vision, he simply mentions

the benefit derived from the subject matter of this treatise:

kävyaà yaçase ’rtha-kåte

vyavahära-vide çivetara-kñataye |
sadyaù para-nirvåtaye
käntä-sammitatayopadeça-yuje ||1.2||

kävyam—poetry (in verse or in prose); yaçase—for fame; artha-kåte—

for making money; vyavahära-vide—for knowing worldly ways;
çiva-itara—of inauspiciousness (“what is other than auspicious-
ness”); kñataye—for the diminution; sadyaù—at once; para-
nirvåtaye—for high happiness; käntä-sammitatayä—on account of
being like a wife (or like a female paramour); upadeça—with advice;
yuje—which is linked.

The purpose of poetry is the attainment of fame and wealth; the

knowledge of the ways of the world; a diminution of inauspiciousness;

32 niyati-çaktyä niyati-rüpä sukha-duùkha-moha-svabhävä paramäëv-ädy-upädäna-karmädi-

sahakäri-käraëa-paratanträ ñaò-rasä na ca hådyaiva taiù, tädåçé brahmaëo nirmitir nirmäëam.
etad-vilakñaëä tu kavi-väì-nirmitiù, ata eva jayati. jayatéty arthena ca namaskära äkñipyata iti
täà praty asmi praëata iti labhyate (Kävya-prakäça 1.1). Kavikarëapüra’s definition of poetry:
kavi-väì-nirmitiù kävyam, “A poet’s composition of words is poetry” (Alaìkära-kaustubha 1.8),
is an echo of kavi-väì-nirmiti in Mammaöa’s above elaboration.
30 Sähitya-kaumudé

and an immediate and total happiness linked with advice, insofar as

poetry is similar to a wife.

kértir dhana-präptir deva-manuñyädi-vyavahärävagatir devatä-

vandana-kåtaù kleça-näçaù sapady eva rasänubhava-samudbhütaù
paramänandaù dharmädi-rüpa-hitopadeçaç ca kävyäd eva bhavatéti
sarvathä tatra prayatanéyam. vedaù khalu çabda-prädhänyät
prabhu-sammitaù, puräëädiç cärtha-prädhänyät suhåt-sammitaù
çästi, kävyaà tu çabdärthayor guëatayä rasäìga-bhüta-vyäpära-
prävaëyät tad-vilakñaëam ataù käntä-sammitaà tad iti.

A renown; the obtainment of wealth; the understanding of the ways

of the gods, of humans, and so on; the termination, engendered by
praising a deity, of afflictions; instant bliss arisen from the experience
of rasa (rapture) (4.7 våtti); and counsel in the form of moral ethics
and so on occur only from poetry, therefore eminent efforts should
be made in that regard, in every way.

Indeed, owing to the predominance of word, the Veda is similar to

a master and, owing to the predominance of meaning, the canon
of Puranic literature instructs like a well-wisher. Poetry, however,
is distinct from them on account of an inclination toward the
usage of rasa, which is beyond the primary meaning of the words.
Consequently poetry is similar to a beloved wife.

COMMENTARY

In Mammaöa’s opinion, the purpose of writing poetry is the

attainment of fame and wealth. The purpose of studying poetry is
stated afterward. Kavikarëapüra criticizes Mammaöa’s viewpoint.
According to Kavikarëapüra, the highest gain for a poet and the
relishers of poetry is the absorption in deep spiritual bliss that comes
from fixing the mind on Kåñëa’s qualities, beauty, and pastimes.33

33 yaçaù-prabhåty eva phalaà näsya kevalam iñyate | nirmäëa-käle çré-kåñëa-guëa-lävaëya-

keliñu || cittasyäbhiniveçena sändränanda-layas tu yaù | sa eva paramo läbhaù svädakänäà tathaiva
saù || (Alaìkära-kaustubha 1.23)
 Chapter One 31

Baladeva Vidyäbhüñaëa paraphrases Mammaöa, who is referring

to the opinion of Abhinavagupta (c. 950–1020 CE), the commenta-
tor on Änandavardhana’s Dhvany-äloka. Abhinavagupta was the
first to describe the Vedas, the Puräëas and kävya in terms of being
a master, a friend and a wife respectively.34 In this regard, Jéva
Gosvämé referred to Vopadeva (thirteenth century): vedäù puräëaà
kävyaà ca prabhur mitraà priyeva ca, bodhayantéti hi prähus tri-våd
bhägavataà punar iti muktä-phale hemädri-kära-vacanena ca, “The
following verse is in Muktä-phala, also because of the statements of
Hemädri, “They say the Vedas, the Puräëas, and kävya make one
understand like a master, like a friend and like a wife respectively.
However, the Bhägavatam does so like all three”” (Tattva-
sandarbha 26.2).

On account of the Vedic accents, in the Vedas sound is more

important than its meaning. In the Puräëas, the meanings of the
words are more important than the words themselves. In poetry,
relishment is all-important.

The Vedas give this command: satyaà vada dharmaà cara, “Speak
truthfully. Perform your duty” (Taittiréya Upaniñad 1.11.1).
Mammaöa says poetry gives this sort of advice: “Behave like Räma,
not like Rävaëa.”35 In the old days, reading literature was one way
to understand love and how to have success in love. Experiencing
sweetness in reading poetry was the candy with which poets attracted
people in order to teach them morality, such as the necessity to be
good to be happy. Bhämaha wrote:

svädu-kävya-rasonmiçraà çästram apy upayuïjate |

prathamäléòha-madhavaù pibanti kaöu bheñajam ||

34 etac ca prabhu-mitra-sammitebhyaù çästretihäsebhyaù préti-pürvakaà jäyä-sammitatvena

näöya-kävya-gataà vyutpatti-käratvaà pürvam eva nirüpitam asmäbhir iti na punarukta-bhayäd
iha likhitam (Locana 3.30); iha prabhu-sammitebhyaù çruti-småti-prabhåtibhyaù kartavyam idam
ity äjïä-mätra-paramärthebhyaù çästrebhyo ye na vyutpannäù, na cäpy asyedaà våttam amuñmät
karmaëa ity evaà yukti-yukta-karma-phala-sambandha-prakaöana-käribhyo mitra-sammitebhya
itihäsa-çästrebhyo labdha-vyutpattayaù (Locana 3.14).
35 yat kävyaà lokottara-varëanä-nipuëa-kavi-karma tat känteva sarasatäpädanenäbhimukhé-
kåtya rämädi-vad vartitavyaà na rävaëädi-vad ity upadeçaà ca yathä-yogaà kaveù sahådayasya
ca karotéti sarvathä tatra yatanéyam (Kävya-prakäça 1.2).
32 Sähitya-kaumudé

“Even scriptural knowledge mixed with relishable poetry is used.

Those who have first tasted honey are able to swallow bitter
medicine” (Bhämahälaìkära 5.3).

1.5
tasya hetum äha,

He states the cause of poetry:

çaktir nipuëatä loka-çästra-kävyädy-avekñaëät |

kävya-jïa-çikñayäbhyäsa iti hetus tad-udbhave ||1.3||

çaktiù—ability; nipuëatä—expertise; loka—of the world; çästra—

at books; kävya-ädi—at poetry, and so on; avekñaëät—from
looking; kävya-jïa—from one who knows poetry; çikñayä—by
means of learning; abhyäsaù—practice; iti—thus; hetuù—the cause;
tad-udbhave—of the origination of it.

The cause of the origination of poetry is ability; expertise by

examining the world, books, poems, and so on; and practice by
means of learning from those who know poetry.

çakty-ädi-trayaà kävya-käraëam ity arthaù. tatra çaktiù präktana-

saàskära-viçeñaù kävyotpädaka-svädaika-hetuù, yäà vinä kävyaà
nodayati, udito vopahäsäya. lokaù sthävara-jaìgamätmaka-loka-
våttam, çästraà chando-vyäkaraëädi, kävyaà mahä-kavi-kåtam,
ädi-çabdäd itihäsädi ca, teñäà parämarçäd vyutpattiù. kävya-jïäù
kävya-nirmäëa-vicäraëa-caturäs tad-upadeçena yojane ca punaù
punaù pravåttir iti trikaà samuditam eva hetur ity eke, òimbhenäpi
kävyotpädanäc chaktir eva kevalety apare.

The three beginning from ability are the cause of poetry. Among
them, ability, a particular subconscious impression from the past, is
the main cause of relishing that which gives rise to poetry. Without
ability, poetry does not happen. Or else, if it does it becomes an
object of ridicule. “The world” means what takes place in the
external world. “Books” denotes prosody, grammar and so on.
“Poems” are those composed by great poets. The Itihäsas and the
 Chapter One 33

like are indicated by the word ädi (etc.). One becomes cultured by
taking interest in all of the above. “Those who know poetry” are
persons who are clever in writing poetry and in dissecting it. Finally:
constant practice by means of their instructions and also while being
under their guidance. Some say all three conjointly are the cause,
but others say only ability is primordial, since even a dullard can
write poetry.

COMMENTARY

In this context, the term çakti (ability) is a synonym of pratibhä

(creative intelligence; poetical insight).36 Here Mammaöa only
says that ability is a particular subconscious impression from the
past.37 Baladeva Vidyäbhüñaëa adds that ability is the main cause
of relishing that which gives rise to poetry (implied meanings);
Baladeva Vidyäbhüñaëa uses the word pratibhä in that sense later
on (4.62 våtti). Thus there are two types of ability. Räjaçekhara says
pratibhä has two meanings: kärayitré (creative intelligence) and
bhävayitré (the cause of appreciation).38 Mammaöa refers to the first
definition of pratibhä. The first one is in the poet, and the second
one is also in the connoisseur (sahådaya, rasika) (3.2 våtti).

1.6
tasya svarüpam äha,

He states the definition of poetry:

tad adoñau çabdärthau

sa-guëäv analaìkåté punaù kväpi ||1.4ab||

36 Daëòé. Bhämaha and Vämana used the term pratibhä (creative intelligence) instead of
çakti (ability): naisargiké ca pratibhä çrutaà ca bahu nirmalam | amandaç cäbhiyogo ’syäù
käraëaà kävya-sampadaù || (Kävyädarça 1.103); kävyaà tu jäyate jätu kasyacit pratibhävataù
(Bhämahälaìkära 1.5); kavitva-béjaà pratibhänam (Kävyälaìkära-sütra 1.3.16); kavitvasya
béjaà kavitva-béjaà janmäntarägata-saàskära-viçeñaù kaçcit, yasmäd vinä kävyaà na niñpadyate
(Kävyälaìkära-sütra 1.3.16 våtti).
37 çaktiù kavitva-béja-rüpaù saàskära-viçeñaù, yäà vinä kävyaà na prasaret, prasåtaà vä
upahasanéyaà syät. (Kävya-prakäça 1.3)
38 yä çabda-grämam artha-särtham alaìkära-tantram ukti-märgam anyad api tathä-vidham
atihådayaà pratibhäsayati sä pratibhä, […] sä ca dvi-vidhä kärayitré bhävayitré ca. kaver
upakurväëä kärayitré. […] bhävakasyopakurväëä bhävayitré. sä hi kaveù çramam abhipräyaà ca
bhävayati (Kävya-mémäàsä, first adhikaraëa, fourth chapter).
34 Sähitya-kaumudé

tad—that (poetry); adoñau—which are faultless; çabda-arthau—

sounds and meanings (or words and meanings); sa-guëau—which
have a quality; analaìkåté—which do not have an ornament; punaù—
moreover; kva api—sometimes.

Poetry is faultless sounds and meanings which have a literary quality

and an ornament, although sometimes there is no ornament.

The sample ends here.