Kāvyaprakāśa, ullāsa 7 vā / Kāvyapradīpa va Udyota yā dona saṃskr̥ta ṭīkā va Rā. Rā. Dinakara Tryaṃbaka Cāṃdorakara...iṃgrejī noṭas saha Rāvajī Śrīdhara Goṃdhaḷekara.

  • Mammaṭācārya.
Date:
1895
Catalogue details

Licence: Public Domain Mark

Credit: Kāvyaprakāśa, ullāsa 7 vā / Kāvyapradīpa va Udyota yā dona saṃskr̥ta ṭīkā va Rā. Rā. Dinakara Tryaṃbaka Cāṃdorakara...iṃgrejī noṭas saha Rāvajī Śrīdhara Goṃdhaḷekara. Source: Wellcome Collection.

    373/382 (page 169)
    ‘faultlessness’ is the most important characteristic of a poem; so much so that a poem, however excellent, is declared to be devoid of charm, if vitiated by a single fault. Now if we accept this view, there will remain nothing or very little that will deserve the name of poetry. We must, therefore, put some limitation upon this view. The limitation is given by the Prabha,* which says:— A fault is defined to be that which obstructs the desired apprehension. The desired apprehension is the apprehension of the beauty of a suggested ( sense ), or an expressed sense that may be intended by the poet in a particular verse. The abovementioned faults vitiate a poem, only when they obstruct this apprehension. In ;q^TTT ^j-qj^ &c., although there is a fault, yet there is also apprehension of the beauty of the suggested sense intended by the poet. Hence, the verse deserves to be called poetry. As for the criterion to decide when these faults obstruct the desired apprehen¬ sion and when they do not, we say that it is a man’s own ( cultivated) consciousness. If a man of a poetic sensibility does not perceive the beauty of a verse owing to the presence of a fault there, to him that verse is faulty, to others it is not. The verse ^q^rfr &c. is given as an example to him, who does not perceive the beauty of the suggested sense of the verse, on account of the presence of the fault Pr.