Adhyaya 345

Verse 1

इत्य् आग्नेये महापुराणे अलङ्कारे शब्दर्थालङ्कारनिरूपणं नाम चतुश् चत्वारिंशदधिकत्रिशततमो ऽध्यायः अथ पञ्चचत्वारिंशदधिकत्रिशततमो ऽध्यायः काव्यगुणविवेकः अग्निर् उवाच अलंकृतमपि प्रीत्यै न काव्यं निर्गुणं भवेत् वपुष्यललिते स्त्रीणां हारो भारायते परं

Thus, in the Agni Mahāpurāṇa, the three-hundred-and-forty-fourth chapter entitled “Explanation of verbal and semantic figures of speech” concludes. Now begins the three-hundred-and-forty-fifth chapter, “Examination of the qualities of poetry.” Agni said: Even when ornamented, a poem does not become pleasing if it is devoid of poetic qualities; for women whose bodies are naturally graceful, a necklace becomes, rather, a mere burden.

Verse 2

न च वाच्यं गुणो दोषो भाव एव भविष्यति गुणाः श्लेषादयो दोषा गूडार्थाद्याः पृथक्कृताः

And one should not say that what is directly expressed (vācya) is itself either a poetic merit (guṇa) or a fault (doṣa); rather, it becomes bhāva, an aesthetic effect. Merits such as śleṣa (paronomasia/double sense) and the rest, and faults such as gūḍārtha (obscurity of meaning) and the rest, are to be distinguished separately.

Verse 3

यः काव्ये महतीं छायामनुगृह्णात्यसौ गुणैः सम्भवत्येष सामान्यो वैशेषिक इति द्विधा

That poet whose composition is graced with a great chāyā (a refined poetic aura) through the presence of poetic excellences (guṇas)—such chāyā is understood to be of two kinds: the general (sāmānya) and the particular (vaiśeṣika).

Verse 4

सर्वसाधारणीभूतः सामन्य इति मन्यते शब्दमर्थमुभौ प्राप्तः सामान्यो भवति त्रिधा

That which has become common to all is considered sāmānya (a universal). When it pertains to the word, to the meaning, or to both together, the universal is of three kinds.

Verse 5

शब्दमाश्रयते काव्यं शरीरं यः स तद्गुणः श्लोषो लालित्यागाम्भीर्यसौकुमार्यमुदारता

Poetry depends upon words; the “body” of poetry is that upon which it rests, and its qualities are: śleṣa (compact, ingenious expression, often with double sense), elegance (lālitya), depth (gāmbhīrya), delicacy (saukumārya), and grandeur (udāratā).

Verse 6

सत्येव यौगिकी चेति गुणाः शब्दस्य सप्तधा सुश्लिष्टसन्निवेशत्वं शब्दानां श्लेष उच्यते

“Truthfulness” and “etymological (derivative) fitness”—thus the qualities of words are sevenfold. The close-knit, well-interlocked arrangement of words is called śleṣa (paronomasia, punning).

Verse 7

गुणादेशादिना पूर्वं पदसम्बद्धमक्षरं यत्रसन्धीयते नैव तल्लालित्यमुदाहृतं

It is not declared to be “lālitya” (poetic euphony/sweetness) where, before applying guṇa, substitution and the like, a syllable already connected with (another) word is made to undergo sandhi.

Verse 8

विशिष्टलक्षणोल्लेखलेख्यमुत्तानशब्दकम् गाम्भीर्यं कथयन्त्यार्यास्तदेवान्येषु शब्दतां

An expression that can be written down/defined by stating its distinctive marks and explicit indications is called “uttāna-śabda” (plain, transparent wording). Cultured authorities describe “gāmbhīrya” (depth) as that very same meaning being worded otherwise—conveyed through other words, with indirectness and layered suggestion.

Verse 9

अनिष्ठुराक्षरप्रायशब्दता सुकुमारता उत्तानपदतौदर्ययुतश्लाघ्यैर् विशेषणैः

The excellence of diction consists in the predominance of non-harsh syllables, in tenderness (softness of expression), and in the beauty of clear, straightforward words—adorned with commendable qualifiers (appropriate epithets).

Verse 10

ओजः समासभूयस्त्वमेतत्पद्यादिजीवितं आब्रह्म स्तम्भपर्यन्तमोजसैकेन पौरुषं

You are Ojas itself—ever-present in full measure; this Ojas is the very life of verses and the like. From Brahmā down to a blade of grass, manly vigor (pauruṣa) stands by that single power called Ojas.

Verse 11

उच्यमानस्य शब्देन येन केनापि वस्तुनः उत्कर्षमावहन्नर्थो गुण इत्य् अभिधीयते

That meaning which, by the very utterance of the word, brings excellence to some object—whatever it may be—is called a guṇa (quality/merit).

Verse 12

माधुर्यं सम्बिधानञ्च कोमलत्वमुदारता प्रौढिः सामयिकत्वञ्च तद्भेदाः षट्चकाशति

Sweetness, well-structured expression, tenderness, nobility, mature grandeur, and timeliness—these six are set forth as the principal varieties of poetic excellence.

Verse 13

क्रोधेर्ष्याकारगाम्भीर्यात्माधुर्यं धैर्यगाहिता सम्बिधानं परिकरः स्यादपेक्षितसिद्धये

Anger and jealousy, a deliberate outward bearing, depth of demeanor, inner sweetness, steadfast firmness, and careful preparation—these form the parikara, the supportive equipment for accomplishing the intended success.

Verse 14

यत्काठिन्यादिनिर्मुक्तसन्निवेशविशिष्टता तिरस्कृत्यैव मृदुता भाति कोमलतेति सा

That style or arrangement in which softness alone shines—having set aside the conspicuously marked structuring, though free from hardness and the like—is called komalatā (tenderness/softness of expression).

Verse 15

लक्ष्यते स्थूललक्षत्वप्रवृत्तेर्यत्र लक्षणम् गुणस्य तदुदारत्वमाशयस्यातिसौष्ठवं

That is called lakṣaṇa (a defining mark) where, in the course of employing broad, general indications, one recognizes the characteristic feature; in such a case it signifies the nobility (udāratva) of the guṇa and the exceptional refinement (ati-sauṣṭhava) of the underlying intention (āśaya).

Verse 16

अभिप्रेतं प्रति यतो निर्वाहस्योपपादिकाः युक्तयो हेतुगर्भिण्यः प्रौढाप्रौढिरुदाहृता

Those reasoned devices (yukti-s) which, with reference to the intended meaning, establish and carry the discourse through to its completion—and which contain the cause (hetu) implicitly within them—are said to be of two kinds: mature (prauḍha) and less mature (aprauḍha).

Verse 17

स्वतन्त्रस्यान्यतन्त्रस्य वाह्यान्तःसमयोगतः तत्र व्युत्पत्तिरर्थस्य या सामयिकतेति सा

When a (word) is independent, or dependent on another (word), its meaning is ascertained from the conjunction of external and internal contextual factors; that ascertainment of meaning is called ‘conventional (sāmayikī)’ signification.

Verse 18

शब्दार्थवुपकुर्वाणो नाम्नोभयगुणः स्मृतः तस्य प्रसादः सौभाग्यं यथासङ्ख्यं प्रशस्तता

A name that is serviceable both in sound (word-form) and in meaning is remembered as possessing the twofold excellence of a name. Its pleasing lucidity (prasāda) is said to bring good fortune; and, in due order, commendability is attained.

Verse 19

पाको राग इति प्राज्ञैः षट्प्रपञ्चविपञ्चिताः सुप्रसिद्धर्थपदता प्रसाद इति गीयते

The learned describe (these) as ‘pāka’ (maturity) and ‘rāga’ (coloring, charm), elaborated through the sixfold typology; and the use of words whose meanings are well-known and readily understood is sung of as ‘prasāda’—lucid clarity.

Verse 20

उत्कर्षवान् गुणः कश्चिद्यस्मिन्नुक्ते प्रतीयते तत्सौभाग्यमुदारत्वं प्रवदन्ति मनीषिणः

That speech or expression in which, when uttered, some excellent virtue becomes evident—wise authorities declare that to be ‘saubhāgya’ (good fortune) and ‘udāratva’ (nobility, magnanimity).

Verse 21

यथासङ्ख्यमनुद्देशः सामन्यमतिदिश्यते समये वर्णनीयस्य दारुणस्यापि वस्तुनः

In due course, an indication in proper sequence is prescribed as a general rule, even when the matter to be described is harsh or dreadful.

Verse 22

अदारुणेन शब्देन प्राशस्त्यमुपवर्णनं उच्चैः परिणतिः कापि पाक इत्य् अभिधीयते

The depiction of excellence by means of a non-harsh (gentle) choice of words—an elevated ripening of expression—is what is termed “pāka” (poetic maturity).

Verse 23

मृद्वीकानारिकेलाम्बुपाकभेदाच्चतुर्विधः आदावन्ते च सौरस्यं मृद्वीकापाक एव सः

Because the preparatory decoction differs—using raisins (mṛdvīkā), coconut-water (nārikelāmbu), and other such liquids—it is of four kinds. At the beginning and at the end, the ‘saurasa’ (fermented sour drink) is to be treated as the raisin-preparation (mṛdvīkā-pāka) itself.

Verse 24

काव्येच्छया विशेषो यः सराग इति गीयते अभ्यासोपहितः कान्तिं सहजामपि वर्तते

That distinctive excellence which arises from a desire for poetry is called “sarāga” (with aesthetic relish). When reinforced by practice, it sustains and brings forth even an inborn brilliance (natural charm).

Verse 25

हारिद्रश् चैव कौसुम्भो नीली रागश् च स त्रिधा वैशेषिकः परिज्ञेयो यः स्वलक्षणगोचरः

Yellow (turmeric-hued), safflower-dyed, and blue—colouring is thus threefold. That which is apprehended as a particular, within the range of its own defining mark (svalakṣaṇa), is to be understood as ‘Vaiśeṣika’ (knowledge of particulars).