2023-02-15 09:59:19 by ambuda-bot
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Parivṛttih: Exchange
exchange between two equals or unequals or both equal and
unequal objects. Here the thing exchanged for may be superior,
inferior or equal. Needless to say that this type of exchange is not
real but a poetic fancy. Bhāmaha observes that Parivṛtti remains
always linked with some sort of Arthantaranyasa.
eg 1. dattvā kaṭākṣam eṇākṣi jagraha hṛdayam mama.
mayā tu hṛdayam dattvā gṛhito madanajvaraḥ.
दत्त्वा कटाक्षमेणाक्षी जग्राह हृदयं मम ।
मया तु हृदयं दत्त्वा गृहीतो मदनज्वरः ॥
The fawn-eyed beauty gave me side glances
And took away my heart all above;
But I gave my heart to her
And received the burning flames of love.
2. kimityapāsyabharaṇāni yauvane
tvayā dhṛtam vārdhakyaśobhi valkalam.
किमित्यपास्याभरणानि यौवने
त्वया धृतं वार्धक्यशोभि वल्कलम् ॥
(O Pārvati) how is it!
Decorations of young age you have forshaken,
And barks befitting to old age you have taken.
In the first verse, we notice an exchange between the amorous
looks of the lady and the offering of the heart by her lover in the
first bargain. And again in the second sentence, there is an
exchange between heart-offering and love-sickness.
103
In the second verse, Kālidāsa has described how Parvati, the
young princess, has adopted barks to cover her body while practis-
ing austerities for propitiating Lord Mahadeva. Here the poet fan-
cifully describes a kind of exchange of bark in lieu of valuable dec-
orations and ornaments.
In both cases, the inferiority or superiority of the objects
exchanged is but apparent and practically it has nothing to do with
the real value of the objects, but it is simply poetic device of figurative
expression for the sake of artistic beauty of the idea concerned.
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Digitized by
Original from
UNIVERSITY OF MICHIGAN
exchange between two equals or unequals or both equal and
unequal objects. Here the thing exchanged for may be superior,
inferior or equal. Needless to say that this type of exchange is not
real but a poetic fancy. Bhāmaha observes that Parivṛtti remains
always linked with some sort of Arthantaranyasa.
eg 1. dattvā kaṭākṣam eṇākṣi jagraha hṛdayam mama.
mayā tu hṛdayam dattvā gṛhito madanajvaraḥ.
दत्त्वा कटाक्षमेणाक्षी जग्राह हृदयं मम ।
मया तु हृदयं दत्त्वा गृहीतो मदनज्वरः ॥
The fawn-eyed beauty gave me side glances
And took away my heart all above;
But I gave my heart to her
And received the burning flames of love.
2. kimityapāsyabharaṇāni yauvane
tvayā dhṛtam vārdhakyaśobhi valkalam.
किमित्यपास्याभरणानि यौवने
त्वया धृतं वार्धक्यशोभि वल्कलम् ॥
(O Pārvati) how is it!
Decorations of young age you have forshaken,
And barks befitting to old age you have taken.
In the first verse, we notice an exchange between the amorous
looks of the lady and the offering of the heart by her lover in the
first bargain. And again in the second sentence, there is an
exchange between heart-offering and love-sickness.
103
In the second verse, Kālidāsa has described how Parvati, the
young princess, has adopted barks to cover her body while practis-
ing austerities for propitiating Lord Mahadeva. Here the poet fan-
cifully describes a kind of exchange of bark in lieu of valuable dec-
orations and ornaments.
In both cases, the inferiority or superiority of the objects
exchanged is but apparent and practically it has nothing to do with
the real value of the objects, but it is simply poetic device of figurative
expression for the sake of artistic beauty of the idea concerned.
Digitized by
Original from
UNIVERSITY OF MICHIGAN