Kavyalankarasarasamgraha 5: 4

Now begins the fourth section.

The tender (preyasvat), the impassioned (rasavat), the energetic (ūrjasvin), periphrasis, the absorbed (samāhita), / the exalted (udātta) in two varieties, and likewise the paronomastic (śliṣṭa)—these ornaments others recognize. //

The suffix matup is applied to the collection [of words], as in 'preyorasavat' (i.e., preyasvat and rasavat). / As for 'the paronomastic': / the meaning is that the paronomastic is twofold, just like the exalted. / And here, the twofold nature of the paronomastic is stated in order to refute divergent opinions. / For Bhāmaha stated that the paronomastic is threefold: 'as that is threefold through mention of joint assertion (sahokti), simile, and cause.' / Therefore, 'likewise' was said to refute this divergent opinion. / But as for 'in two varieties' regarding the exalted, this is a restatement meant as an illustration. / The meaning is: just as the twofold nature of the exalted is accepted because it is established by valid proof, so too it must be accepted for the paronomastic.

First, the tender (preyasvat):

That poetry which is composed by the virtuous through indications of the ensuants and other [factors] / of emotions such as love, is called the tender. //

Emotions such as love are of three kinds: permanent, transitory, and involuntary. / Among them: 'Love, mirth, sorrow, anger, energy, and fear, / disgust, astonishment, and tranquility are declared as permanent emotions.

Despondency, debility, apprehension, as well as envy, intoxication, and weariness; / indolence, wretchedness, anxiety, delusion, recollection, fortitude;

shame, fickleness, joy, agitation, stupor; / pride, despair, longing, sleep, and epilepsy;

slumber, awakening, indignation, dissimulation, ferocity; / resolve, disease, madness, and death;

terror, and deliberation are to be understood as the transitory; / these emotions are thirty-three.

Paralysis, perspiration, horripilation, change of voice, trembling, / pallor, weeping, and loss of consciousness—these eight are remembered as the involuntary.'

The indicators of these fifty emotions are four: the ensuants and so on. / And they are: ensuant (anubhāva), excitant (vibhāva), transitory emotion (vyabhicārin), and one's own word.

Among them, the ensuant is of four kinds: / bodily, vocal, involuntary, and external. / Bodily is hand gestures and the like. / Vocal is the modulation of the voice and the like. / Involuntary is paralysis and the like. / But external is headgear, mail-coat, and the like. / Thus the ensuant, four in number, conveys the emotions that are causes, because it is an effect.

The excitant (vibhāva), on the other hand, is twofold: / having the nature of foundational and stimulative. / Among these, the foundational excitant is that supported by which love and the rest arise, as Sītā and others in the case of Rāma and others. / The stimulative excitant, on the other hand, is that by virtue of which emotions such as love become excessively inflamed, as the seasons, garlands, unguents, and the like. / Thus this twofold excitant is the cause of love and the rest. / And it, being a cause, [makes known] love and the rest, which are effects—

indicates [the effect], just as the rise of very thick, dark clouds indicates rain. / For just as an effect, when well ascertained, is seen in ordinary experience to have an invariable concomitance with its cause, so too a cause, when well ascertained, is seen largely to have an invariable concomitance with its effect. / Therefore, because it is a cause, the determinant indicates [the emotions] such as love, which are its effects. / The transitory emotion, on the other hand, consists in a particular state of the stable emotions such as love, [namely] self-disparagement and the like; / and because it is an accompaniment, it consists in a particular state of the stable emotions, [namely] self-disparagement and the like; / and because it is an accompaniment, it conveys the stable emotions, just as one wheel of a chariot conveys another wheel. / The word itself [for the emotion] is ‘love’ and the like; / and, by virtue of being denotative, it conveys the emotions. / And although in the words ‘love’ and the like there is not found the status of being the basis for understanding love and the rest in their own unique specific nature, which is accessible solely through consequents, nevertheless, the status of being a basis for understanding love and the rest is indeed present in part, just as with consequents and the like. / For just as consequents and the like do not make known the emotions in their unique specific nature, but rather in a generalized form, so too do their own words; but let that rest.

Thus these are the four causes of the comprehension of emotions, / as Bhaṭṭa Udbhaṭa has said: “emotions have four forms.” / So, when poetry is composed by means of these fourfold [causes]—consequents and the like—taken collectively or individually as appropriate, which are intimations, that is, presentations, of these fifty emotions beginning with love, whose own unique essences have been brought to a generalized state, it is [termed] ‘the impassioned’ (preyasvat). / By the word ‘dearer’ (preyas), denoted by the term [preyasvat], love is indirectly indicated through its determinant as an object of affection; / and by this [love], through co-occurrence, the fifty emotions beginning with love are understood. / And thus a poem possessing emotion is designated as ‘the impassioned’ by figurative transfer. / And here, the emotions are the ornament, and the poem is the object adorned. / An exemplification of it:

“And she, filled with longing that was indistinguishable from maternal affection for a child, / having taken this [fawn] into her lap, began to soothe it with sweet coos.”

The syntax is: “having taken [it] into her lap.” / Here, placing [it] upon her chest is bodily acting; sweet cooing, [namely] consoling, is vocal [acting]. / The fawn, referred to by the word ‘this’ (imam), is the foundational determinant. / And the transitory emotion consisting of longing is awakened by maternal affection; / for, because her longing is indistinguishable from tenderness for a child,

an association of love with a specific kind of longing is perceived. / And the word itself is ‘longing’ (spṛhā). / In this way, this emotion consisting of love, having the nature of parental affection, is here made known by all four [means], beginning with the consequents. / In other emotions as well, exemplifications are to be given in this same manner.

The relish-possessing (rasavat):

“The relish-possessing [ornament] is that which displays clearly the manifestation of aesthetic relishes such as the erotic, / resting upon their own words, stable [emotions], transitory [emotions], determinants, and dramatic representations.”

“The erotic, comic, pathetic, furious, heroic, terrifying, / odious, marvelous, and peaceful are traditionally known as the nine aesthetic relishes in dramatic performance.”

And these nine, beginning with the erotic, consist in the maturation of the nine stable emotions beginning with love, serving as means to attain the four aims of life or being grounds for abandoning what is other than them, as appropriate. / Hence, because they are to be relished in such a form, they are designated by the technical term ‘aesthetic relish’ (rasa), based on a distinct mode of tasting. / In self-disparagement and the like, however, because such an object of relish is absent, the technical term ‘aesthetic relish’, which is based on a distinct occasion for application, does not apply. / But through the intention to express mere relishability, the application of the word ‘relish’ is uncontradicted even there, as in the case of sweet, sour, and so forth. / As has been said after enumerating the aesthetic relishes beginning with the erotic: “Their relish-nature is stated by teachers to be due to their being tasted, like sweet and other tastes; / since that is fully present in self-disparagement and the like as well, they too are aesthetic relishes.”

Hence they say:

“Because the four aims of life and their opposites are respectively to be attained and avoided, / that which is tasted through a distinction of consciousness is considered such an aesthetic relish.”

So it is said.

‘That’ (saḥ): / the meaning is, a distinction of consciousness. / By ‘such’ (tādṛśaḥ), it is stated that the technical word ‘aesthetic relish’ in the erotic and the rest is based on a specific kind of tasting. / And the comprehension of these nine aesthetic relishes, beginning with the erotic, occurs through five [elements], beginning with their own words, / as Bhaṭṭa Udbhaṭa has said: “aesthetic relishes have five forms.” / There, their ‘own words’ are words such as ‘erotic’ that denote the erotic and the like. / The ‘stable [emotions]’ are the nine emotions beginning with love, which resemble material causes of the aesthetic relishes. / The ‘transitory [emotions]’ are self-disparagement and the like, which consist of specific states of the aesthetic relishes. / The ‘determinants’ are their efficient causes, such as women, seasons, garlands, unguents, and the like. / The four kinds of dramatic representation, beginning with the bodily, are the effects of the aesthetic relishes. / And because it serves as the locus of these five, beginning with their own words, whether collectively or individually, the poem by which the manifestation of an aesthetic relish such as the erotic is displayed clearly is ‘relish-possessing’ (rasavat). / Indeed, the aesthetic relishes are its ornaments. / An exemplification of it:

“As he was thus pondering all the virtues of Pārvatī, / the god of love, conceiving abundant fantasies, grew powerful.”

“Even while his body was perspiring, he bore a thrill of goosebumps, / resembling a mass of filaments on the unopened bud of a kadamba flower.”

“At one moment filled with longing, at another motionless with anxiety, / and at another languid with joy—with such an eye his face was adorned.”

"The calyx of the kadamba bud" means the interior of the kadamba bud.
Here, longing-in-separation erotic relish (ābhilāṣika-vipralambha-śṛṅgāra) belonging to the Lord is depicted.
Its own word is "powerful passion" (kandarpaḥ prabalaḥ).
The dominant state (sthāyibhāva) is illuminated right there by its own word, "passion" (kandarpa).
For erotic relish is by nature the culmination of love (rati);
and love among youths is of the nature of sensual desire (manmatha).
Therefore, being expressive of that particular kind of love, the word 'kandarpa' is here the dominant state's own word.
The transitory states (saṃcāribhāva)—longing, anxiety, and joy—are illuminated by their own words. Perspiration and horripilation, which are bodily manifestations (sāttvikabhāva), are also conveyed by their own words.
These two are also transitory states,
for bodily manifestations, being particular states of the dominant emotion, are transitory states just like despondency (nirveda) and the rest.
The foundational cause (vibhāva) is indicated by the words: "as he was contemplating thus";
for the Lady [Gaurī], being contemplated as possessed of those various qualities, is the foundational cause.
The dramatic enactment (abhinaya) is indicated here as the enactment of glances by the word "with a look" (dṛśā).
Therefore, longing erotic relish is manifested here by the five factors beginning with its own word.
Other aesthetic relishes should be exemplified in this same manner.
Since aesthetic relishes and emotions are the causes of excellence in poetic beauty, whether they constitute poetic ornaments or the very life of poetry is not

examined for the moment, out of fear of swelling the book's bulk.
Nor is the intrinsic nature of aesthetic relish and emotion analyzed here, because it is not the subject at hand and because there is much to say on it.

[Now the energetic ornament (ūrjasvin)]:

The composition of emotions and of aesthetic relishes
that have arisen improperly through causes such as desire and anger
is called the energetic ornament. //

Indeed, in some cases, the composition of aesthetic relishes and emotions is done in a form that does not conflict with the understanding of the treatises, but in other cases, in a form that conflicts with it.
Among these, where their composition is done in a form not conflicting with the understanding of the treatises, the affectionate ornament (preyas) and the relish-possessing ornament (rasavat) have been stated.
Where, however, there is a composition of aesthetic relishes and emotions regarding objects that conflict with that [understanding of the treatises] and conflict with conventional worldly conduct rooted in it, that poetry is energetic (ūrjasvin).
For there, aesthetic relishes and emotions having passion, hatred, and delusion as causes are composed through impropriety (anaucitya).
For this very reason, because energy (ūrjas) in the sense of force is present there due to being conjured by one's own imagination, it has the designation 'energetic' (ūrjasvin);
the word 'ūrjasvin' is formed by Pāṇini's rule: "[the suffix matup occurs after the words] jyotsnā, tamisrā... [ūrjas, etc.]" (Aṣṭādhyāyī 5.2.114).

Its example:

His passion increased so much that he set about
to seize the Daughter of the Snowy Mountain by force, abandoning the right path. //

Here, with reference to the Lord who transcends the entire world, a forceful seizure regarding an unmarried maiden is depicted—which conflicts with the understanding of the treatises and has intensified passion as its cause.
Because of this, it is energetic (ūrjasvin).
There, the phrase "passion increased" is the erotic relish's own word.
Since [erotic relish] is of the nature of the culmination of love, having the nature of an increase of desire, the word "desire" (kāma) is included within this.
It is the own word of that love which is the dominant state of the erotic relish. "The Daughter of the Snowy Mountain" is the foundational cause (ālambanavibhāva).
By the word "by force" (haṭhena), the transitory emotion having the character of agitation (āvega) is conveyed.
"Abandoning the right path" conveys delusion (moha); "he set about to seize" is a bodily consequent (āṅgika-anubhāva).
Thus, the energetic erotic relish is indicated here by five elements beginning with its own word.
In this way, the energetic ornament should be exemplified in other aesthetic relishes and emotions as well.

[Now periphrasis (paryāyokta)]:

Periphrasis is that fact which is expressed in an alternative manner
through an apprehension consisting of understanding,
devoid of the operations of the expressed and expressive. //

The operation (vṛtti), that is, the function, of the expressive (vācaka) word, which is the denoter, is the conveying of the expressed meaning.
The function of the expressed (vācya) meaning, which is the denoted sense, is entering into connection with another expressed meaning by virtue of expectancy (ākāṅkṣā), proximity (saṃnidhi), and compatibility (yogyatā).
That which is comprehended through an apprehension whose nature is the efficacy of sense (arthasāmarthya) in an alternative manner, even without such an operation of the expressed and expressive—that fact is periphrasis (paryāyokta), because it is comprehended by a mediate verbal operation through circumlocution (paryāya), even though not expressed explicitly.
And by its own integration, it ornaments the poetic meaning.
Its example:

By whom the wives of the elephant-demon were made to have loosened locks,
to be tearful, to have breasts reddened by hand-strikes,
and to have their bracelets broken; //

even he was reduced to such agitation by that one
whose body was burned—homage to that alligator-bannered Kāma
of irresistible valor! //

Here, being effects, loosened locks and the rest convey the slaying of the elephant-demon, which is their cause, even though untouched by the operation of the expressed and expressive.
And by that meaning which is comprehended through such strikingness, those meanings such as loosened locks and the rest are ornamented.
Therefore, it is the ornament periphrasis (paryāyokta).

[Now the quieted ornament (samāhita)]:

The composition of the quelling of the occurrence
of an aesthetic relish, an emotion, or their semblance,
whose form is completely devoid of the consequents of another, is the quieted ornament. //

Here, aesthetic relishes and emotions were said to be twofold: in a form not conflicting with the tradition of the treatises, and in a form conflicting with it.
Among these, those aesthetic relishes and emotions that do not conflict with the tradition of the treatises are here

intended by the words 'aesthetic relishes' and 'emotions'.
Those, however, that conflict with it are their semblances (tadābhāsa).
When there is a composition of the quelling of their occurrence—that is, their relation to their substratum—belonging to those aesthetic relishes, emotions, and their semblances, it is the quieted ornament (samāhitālaṅkāra).
For in that case, there is a setting-at-rest (samādhāna), a calm resolution (samādhi), an elimination of those aesthetic relishes and emotions.
The word 'samāhita' is formed with the past passive participle suffix (kta) in the abstract sense of an action (bhāva).

Now, an objection may be raised: If in that poetic work the occurrence of an aesthetic relish and the rest is eliminated, then upon the cessation of the former aesthetic relish and the rest, another aesthetic relish and the rest would be composed, which entails the intrusion of the relish-possessing ornament (rasavat) and so on. Anticipating this, [the author] said: "whose form is completely devoid of the consequents of another."
It is described as such whose form is completely (niḥśeṣeṇa) devoid of the consequents (anubhāva) and so on of another (anya), that is, of another aesthetic relish and the rest.
Where, owing to the firmness of the latent impressions of the preceding aesthetic relishes and the rest, the nature of other aesthetic relishes does not manifest even when they have subsided—or, even if manifesting, is concealed by some circumstance—there the quieted ornament occurs.
Its example:

Then, seeing her beloved look, and the movement of her eyebrows from coquetry,
and the bright flush of her face, covered with horripilation and sweat, //

Composing all his limbs that were inflamed by the fever of love, / Giriśa approached the daughter of the mountain with a greeting of well-being.

‘Composing’ means establishing in their natural state. / In the form *samādadhat*, because of its reduplicated character, the augment *num* does not operate. / Here, by the Blessed Lord, the suppression of the ensuants of erotic passion—such as the tender glance and so on—was effected by means of dissimulation, an emotion that consists in concealing one’s outward expression. / As he said: ‘with a greeting of well-being.’ / For by this, the concealment of outward expression is indicated.

[The ornament] exalted [is now described]:

The exalted is a magnificent thing, and the conduct of great-souled persons, / when it serves as a secondary indicator and has not become the primary plot.

‘Magnificence’ is wealth consisting in gold and other riches. / A thing possessed of that is the ‘magnificent’. / And by that, the poetic sense is adorned. / Its exemplification [is as follows]:

And he said: ‘Whose daughter [you are]—in whose lap, by pearls born of bamboos and elephants, / an ornament is made even for Śabara women according to their desire;

‘Where Mount Gandhamādana, scraping the sky with its peaks / made of cat's-eyes, sapphires, and rubies, [stands];

‘Whose northern valleys are lands of prime gold, / and upon whose foot-slopes rests the great emerald Arvindhra;

‘Who, when the earth fell into the netherworld at the dissolution [of the universe], / did not fall along with it, but whose extent became manifest.’

The connection is: ‘You are the daughter of the snowy mountain whose nature is of such a kind.’ / *Kroḍa* means a boar [or ‘lap/middle’]. / *Pṛṣṭya* [read for *puṣṭyo*] is a specific gemstone. / Gandhamādana is a specific mountain. / Valleys are the regions of ground lying at the base of a mountain. / Prime gold is *kārtasvara* and the like. / Arvindhra is a mountain. / ‘Dissolution’

is the end of the cosmic age. / Because the earth descended below, and the region adhering to the earth became detached from the earth, the full extent of the Himālaya became revealed at the end of the cosmic age. / Here, an abundance of jewels and other riches is described. / By this, it is the exalted. / And its status as an ornament comes from suggesting an effect consisting of jewels and the like that surpass the ordinary world. / Thus, through the description of a magnificent thing, one [variety of] the exalted has been stated.

Not only is a magnificent thing the exalted, but also the action of broad-minded persons intent on securing what is beneficial and averting what is harmful, as he said: / ‘and the conduct of great-souled persons.’ / And one should not say: ‘When the conduct of broad-minded persons is described, since it is a cause for apprehending aesthetic relishes such as the erotic, the incursion of the impassioned ornament would apply here.’ / For here, the conduct of the broad-minded person is an intermediate sentence-meaning serving as a secondary indicator for another matter. / Surely the conduct of the great person does not here fall within the scope of the sentence's primary purport, / because its aim is to indicate another fact. / And where aesthetic relishes are understood as the primary purport, there—because they serve as the final resting place of the sentence and are tasted as the nourishment of the permanent emotion, which is the means to attaining or avoiding the four ends of life and their opposites—the impassioned ornament

arises. / Therefore, whence could there even be a scent of the impassioned ornament here? / That is why he said: ‘when it serves as a secondary indicator and has not become the primary plot.’ / Its exemplification [is as follows]:

‘Though repeatedly rubbed against the plump shoulder of the Primeval Boar, / he remained unshakeable—you are the daughter of that snowy mountain.’

Here, while the stability of the Himālaya is the sentence-meaning, the action of the Blessed Lord in the form of a boar, striving to deliver the three worlds—which is a cause for apprehending the heroic aesthetic relish—serves as a secondary indicator because it is an intermediate sentence-meaning. / *Ādikroḍa* means the Primeval Boar. / The same should be illustrated when other aesthetic relishes serve as secondary indicators.

The pun [is now described]:

The combination of [words] pronounced with a single effort, and also of those bearing their semblance / with properties that differ, such as the circumflex accent, is here called the pun.

Generating an appearance pertaining to another ornament by means of words / of two kinds, let it be understood as distinguished by semantic and verbal expression.

Here indeed, when multiple meanings are simultaneously intended from words having multiple meanings, there are two courses: first, according to the doctrine of the venerable Udbhaṭa, words differ with each difference in meaning. / There, of the words that differ according to the difference in meaning, some can be employed through single formulation, while some cannot. / Those whose consonants, vowels, places of articulation, efforts, and the like are identical can be employed through single formulation. / But where there is a difference—owing to consonants being single or multiple, vowels being accented acute, grave, and so on, places of articulation being labial, dentolabial, and so on, or efforts being slight, non-slight, and so on—their employment through single formulation is impossible, / because a single formulation must have a common form. / As it has been said: / ‘Single formulation must be common [to both].’ / And this being so, those that can be pronounced through single formulation are ‘pronounceable with a single effort.’ / When there is a combination of them, semantic pun arises. / As he said: / ‘of [words] pronounced with a single effort.’ / Likewise, in the composition of those words that bear the semblance—the resemblance—of those very words pronounced with a single effort, verbal pun arises, / because when one word is pronounced, by force of resemblance another word, even though unpronounced, is coalesced. / As he said: ‘and also of those bearing their semblance / with properties that differ, such as the circumflex accent, the combination is the pun.’ / Likewise: ‘let it be understood as distinguished by verbal expression.’ / And this pun, although two-fold, attains the status of an ornament by generating the appearance of other ornaments such as simile. / Hence, because it lacks room [elsewhere], other ornaments are superseded in its own domain, while those [other ornaments] do have room in other domains. / As he said: / ‘generating an appearance pertaining to another ornament by means of words / of two kinds.’ / The meaning is that here there is only an appearance of other ornaments, but not an actual syntactic arrangement of them. / Thus both verbal pun and semantic pun have been defined. / Its exemplification [is as follows]:

‘And she herself, radiant with shining hands reddish as sprouts—just as the morning twilight shines with its blazing reddish rays—granting the desires of those eager for the fruit that is wakefulness / freedom from sleep;

‘with a face pleasing as the moon / having a face like a moonstone, with glossy hair like great sapphires, possessing the beauty of pearls / free from attachment to fortune, a jewel of a woman in the three worlds, with feet tender as sprouts and red as rubies.’

Though having no report of the Pārijāta tree, she is the beauty of the Nandana garden abiding on earth; / having beauty like the moon reflected in water, she constantly sheds drops of loveliness. // 4.*17

The word "and" [conveys]: not only are you the daughter of such a Snowy Mountain, but also yourself of such a kind. / Here the goddess shines with two hands which are reddish like sprouts

and glowing, that is, radiant. / But the morning twilight shines with rays of the sun which are reddish like sprouts. / And here, with respect to both, there is identity of consonants and vowels. / Hence, because simultaneous pronunciation is possible, this is a semantic double meaning. / In the phrase asvāpaphalalubdhe hitapradā ("granting what is desired to those greedy for the fruit devoid of sleep" / "granting the unobserved merit suited to him who is not greedy for the fruit of sleep"), however: on the goddess's side, the meaning is that she grants what is desired to those who are eager for a fruit that is asvāpa, that is, cannot be attained with ease; / but on the morning twilight's side, the meaning is that she bestows the beneficial—that is, the unseen religious merit—pertaining to that person who, being engaged in the twilight adoration, is not greedy for the fruit characterized by cessation of fatigue resulting from sleep, that is, the experience of slumber. / And here, on the former view, because it forms a single compound word, it has an acute accent on the final syllable according to the rule governing words ending in thā, atha, and so forth (Pāṇini 6.2.144). / In the subsequent case, however, because asvāpaphalalubdhe and hitapradā are separate words, there are different accents: / because asvāpaphalalubdha has an acute accent on the first syllable due to the original accent of the prior member by the rule "In a Tatpuruṣa compound having an equivalent sense..." (Pāṇini 6.2.2),

while hitapradā has an acute accent on the final syllable according to the rule governing words ending in yathā, etc. (Pāṇini 6.2.144). / Therefore, there is a difference in accent here. / Moreover, regarding the short a in asvāpa and the e in phalalubdhe, there is also a difference in effort between the two sides respectively, owing to lightness and non-lightness. / Hence simultaneous pronunciation is impossible. / But when one word is pronounced here, another word is apprehended on account of its similarity to it. / Therefore, this is a verbal double meaning.

And both of these—the semantic double meaning and the verbal double meaning—are the cause of the appearance of a simile. / For the morning twilight is the standard of comparison here; / the goddess is the subject of comparison; / and the word iva ("like") expresses the relation of standard and subject of comparison. / Apart from the words, however, there is no common property residing in the meaning here. / Therefore, this is not a simile; rather, it is a double meaning that is the cause of the appearance of a simile.

In the phrase "having a moon-lovely face," the goddess is of such a kind whose face is beautiful like the moon; / likewise, having glossy, long, black hair; / she by whom ugliness has been abandoned, that is, cast away; / and superior in the three worlds; / likewise, she whose foot-sprouts possess redness, that is, crimson, like a lotus. / When, however, this goddess is metaphorically identified—through a double meaning that serves as the foundation for the appearance of a metaphor—as having the nature of a mass of rubies existing inside the three worlds, then the subject under discussion is cognized as having its form covered by the moonstone, sapphire, the beauty of pearls, and rubies, because she possesses limbs directly made of such jewels, [thus] having the nature of an abundance of gems contained within the cavity of the three worlds. / And here, in muktāśrīḥ ("whose pearl-like beauty / by whom ugliness is abandoned"), there is a difference in accent: / for on the view of a Bahuvrīhi compound, there is the original accent of the prior member by the rule "In a Bahuvrīhi according to its original nature..."; / but in a Tatpuruṣa, the compound has an acute accent on the final syllable. / For the remaining words, however, there is no difference in accent. / But heaviness and non-heaviness of effort exist in words other than trijagadratnam with respect to their particular sounds. / Therefore, in those places there is verbal double meaning; / but for the word trijagadratnam, since no distinction exists between the two sides, there is semantic double meaning. / In the phrase apārijātavārtāpi ("though having no report of the Pārijāta tree"), the goddess, because she has no born enemies, is one from whom reports of the multitude of enemies are departed; and her beauty wins over everyone's heart, hence she has gladdening beauty; / and, by virtue of dwelling in the midst of water, she is beautiful like that moon which is reflected in the water; / and she has a stream of loveliness constantly flowing. / When, however, this goddess attains the condition [of the celestial garden]—through a double meaning serving as the foundation for the appearance of a metaphor, because the word nandanaśrī denotes another meaning characterized by the beauty of the divine garden—then, relying upon that, by contemplating the words apārijātavārtāpi and so forth, there occurs the manifestation of yet another double meaning that is the cause for the appearance of a contradiction. / For surely the beauty of the divine garden cannot be one devoid of news of the particular tree called Pārijāta; / nor does it abide on earth. / In abindusundarī ("not beautiful by drops / beautiful like the moon in water"), how could drops of loveliness spread forth from one who has no beauty by drops?—thus it is a double meaning that causes the apprehension of a contradiction. / In apārijātavārtāpi also, when it is analyzed as "from whom news of the born enemy has departed," there is the original accent of the prior member by "In a Bahuvrīhi according to its original nature..."; / but on the Tatpuruṣa view, there is an acute accent on the final syllable. / In abindusundarī, being a standard of comparison in the sense "beautiful like the moon in water," the word abindu has its original accent by "In a Tatpuruṣa compound having an equivalent sense..."; / and because it has a prior member ending in a locative case, by that very rule it has an acute accent on the first syllable due to the original accent. / In the negative sense of abindusundarī, however, because the negative particle nañ is an indeclinable, there is that very same [first acute] through the original accent of the prior member. / Hence there is no difference of accent here. / But due to the striking effect of the sounds caused by difference of effort, it is a verbal double meaning.