Laghustutih (vrittisameta) 302

302

jananītyadbhutabhayānakayoḥ pūrvāparārdhābhyāṃ devānāṃ
tritayamityapyadbhutasya tripurānāmnaḥ
sarvārthakabalanaśaktiprakārasyāviṣkṛtatvāt lakṣmīṃ rājakule iti bhayānakasya
māyā kuṇḍalinītyantayorādye ca bhāva eva na punā rasāntaramatrāsti .
bhaktirasenopakramya tenaivopasaṃhāre tatraivāsya tātparyamiti ca pratyāyitaṃ
bhavati . prathamaślokādiṣūpamālaṅkāro'pi kvacit kvacid bhavati
anuprāsasaukumāryādayaḥ śabdālaṅkārāśca bhavanti .
gūḍhayojanatvagūḍhavarṇatvādinā citrakāvyatā ca vispaṣṭā vipaścitāmiti .

[there is the manifestation] of the marvelous and the fearful through the first and second halves; in 'the triad of gods' (devānāṃ tritayam), also of the marvelous, because the manner of the power of the name Tripurā to devour all objects is revealed; in 'Lakṣmī in the royal family' (lakṣmīṃ rājakule), of the fearful; in the two at the end, 'Māyā, Kuṇḍalinī' (māyā kuṇḍalinī), and in the first, there is indeed only devotional emotion, not any other aesthetic sentiment here. Having begun with the sentiment of devotion and concluded with that very sentiment, it is conveyed that its purport lies precisely in that. In the first verse and others, the ornament of simile also occurs here and there; and verbal ornaments such as alliteration and sweetness also occur. And its status as visual/enigmatic poetry (citrakāvya), through hidden construction, hidden phonemes, and so forth, is entirely evident to the learned.