Dhvanyalokalocana 75
English (machine translation) 75
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- English
75.2
Whether non-contradictory or contradictory, an aesthetic relish should not be brought to full development
when another aesthetic relish is principal; thus there will be non-contradiction.
75.3
When another aesthetic relish, such as the erotic sentiment, is the principal element suggested by the extended literary composition, an aesthetic relish—whether non-contradictory or contradictory—should not be brought to full development. In that regard, the non-contradictory aesthetic relish should not be made excessively prominent in comparison with the principal aesthetic relish: this is the first method of avoiding [excessive] development. For even when they are equal in prominence, a conflict is impossible. As in:
75.4
"On one side, the beloved weeps; on the other, the sound of the war horn.
Between affection and the relish for battle, the warrior's heart swings like a swing."
75.5
Or as in:
75.6
"Snatching the pearl necklace from her neck, rolling it in her hand like a rosary,
assuming the cross-legged posture with the king of serpents as the strand of her girdle,
her lips trembling in the murmur of false mantras revealing a suppressed smile,
may the Goddess, who made Śiva laugh as she showed jealousy toward the twilight ritual, protect you!"—in this passage.
75.7
The second [method] is the non-introduction in abundance of transitory emotions contrary to the principal aesthetic relish, or, if introduced, the immediate recurrence of the transitory emotions of the principal aesthetic relish. The third is the repeated consideration of the aesthetic relish functioning as a subordinate element as being merely subordinate, even when it is brought to development. Other ways too should be inferred along this line. A contradictory aesthetic relish, however, should be made diminished in comparison with the principal aesthetic relish, as in the case of the erotic sentiment when the tranquil sentiment is principal, or the tranquil sentiment when the erotic sentiment is principal. If it is asked: how can an aesthetic relish devoid of full development retain its character as an aesthetic relish? It has been said on this point: "in comparison with the principal aesthetic relish." For whatever degree of development belongs to the principal aesthetic relish should not be produced for the other; but who prevents a development that is possible in its own right? And this relative superiority of one aesthetic relish cannot be rejected even by one who does not accept the relation of principal and subordinate elements among aesthetic relishes in extended literary compositions with multiple aesthetic relishes. Thus, in this manner, there would be non-contradiction in the co-presence of non-contradictory and contradictory aesthetic relishes through the relation of principal and subordinate elements in extended literary compositions. And all this is stated according to the view of those who hold that one aesthetic relish can be a transitory emotion of another aesthetic relish. Even in the alternative view, the permanent emotions of the aesthetic relishes are referred to figuratively by the word 'aesthetic relish'; their subordination is entirely without contradiction.
75.8
Having thus explained the common means of avoiding contradiction when non-contradictory and contradictory [aesthetic relishes] are co-present with the principal aesthetic relish existing in an extended literary composition, this is now said to explain that which applies specifically to contradictory ones: