चन्द्रालोकः — षष्ठो मयूखः

आलम्बनोद्दीपनात्मा विभावः कारणं द्विधा ।
कार्यो ऽनुभावो भावश्च सहायो व्यभिचार्यपि ॥

Summary AI Vibhāva (determinant), consisting of ālambana (fundamental) and uddīpana (excitant) aspects, is the twofold cause. Anubhāva (consequent) is the effect, while vyabhicāribhāva (transitory emotion) is the auxiliary state.

६.२

गलद्वेद्यान्तरोद्भेदो हृदयेष्वजडात्मनाम् ।
मिलन्मलयजालेप इवाह्लादं विकासयन् ॥

Summary AI In the hearts of the sensitive (ajaḍātman), it manifests as a joy that dissolves all other objects of cognition, much like the refreshing application of sandalwood paste spreading delight.

६.३

काव्ये नाट्ये च कार्ये च विभावाद्यैर्विभावितः ।
आस्वाद्यमानैकतनुः स्थायी भावो रसः स्मृतः ॥

Summary AI In poetry, drama, and performance, the sthāyibhāva (permanent emotion) that is manifested by vibhāva and others, and whose essence is purely being relished, is known as rasa.

६.४

रत्याख्यस्थायिभावात्मा वल्लभादिविभावितः ।
आलस्येर्ष्याजुगुप्साभ्यो विना संचारिभिर्युतः ॥

Summary AI Śṛṅgāra (the erotic) has the permanent emotion called rati (love), is stimulated by the beloved and other factors, and is joined by transitory states, excluding indolence, envy, and disgust.

६.५

अनुभावैः कटाक्षाद्यैरुन्मादाद्यैर्यथाक्रमम् ।
सम्भोगो विप्रलम्भश्च शृङ्गारो द्विविधो मतः ॥

Summary AI Accompanied by consequents like sidelong glances or madness respectively, śṛṅgāra is considered twofold: sambhoga (union) and vipralambha (separation).

६.६

हासस्थायी रसो हास्यो विभावद्यैर्यथाक्रमम् ।
वैरूप्यफुल्लगण्डत्वावहित्थाद्यैः समन्वितः ॥

Summary AI Hāsya (the comic) is the rasa whose permanent emotion is hāsa (laughter); it is attended by determinants like deformity and consequents like puffed cheeks or dissimulation.

६.७

अभीष्टविप्रयोगाश्रुपातग्लान्यादिभिः क्रमात् ।
विभावाद्यैर्युतः शोकस्थायी स्यात्करुणो रसः ॥

Summary AI Karuṇa (the pathetic) is the rasa characterized by the permanent emotion of śoka (sorrow), associated with factors like the loss of a loved one, shedding of tears, and exhaustion.

६.८

क्रोधस्थायी रसो रौद्रो विभावाद्यैः समन्वितः ।
मात्सर्यहस्तनिष्पेषसंमोहाद्यैर्यथाक्रमम् ॥

Summary AI Raudra (the furious) is the rasa with krodha (anger) as its permanent emotion, accompanied by determinants like malice and consequents like wringing of hands or delusion.

६.९

उत्साहाख्यस्थायिभावः प्रभावादिविभावभूः ।
वीरो ऽनुभावैः स्थैर्याद्यैर्भावैर्गर्वादिभिर्युतः ॥

Summary AI Vīra (the heroic) arises from the permanent emotion utsāha (energy), with determinants like power, consequents like firmness, and transitory states like pride.

६.१०

व्याघ्रादिभिर्विभावैस्तु वेपिताद्यनुभावभृत् ।
भावैर्मोहादिभिर्युक्तो भयस्थायी भयानकः ॥

Summary AI Bhayānaka (the terrible) has bhaya (fear) as its permanent emotion, triggered by determinants like tigers, carrying consequents like trembling, and joined by states like delusion.

६.११

स्थायी जुगुप्सा बीभत्सो विभावाद्या यथाक्रमम् ।
अनिष्टेक्षणनिष्ठीवमोहाद्या यत्र संमताः ॥

Summary AI Bībhatsa (the loathsome) is where jugupsā (disgust) is the permanent emotion, and factors like seeing unpleasant things, spitting, or delusion are accepted as its components.

६.१२

अद्भुतो विस्मयस्थायी मायादिकविभावभूः ।
रोमाञ्चाद्यनुभावो ऽयं स्तम्भादिव्यभिचारिकः ॥

Summary AI Adbhuta (the marvelous) has vismaya (wonder) as its permanent emotion, arises from determinants like magic, and involves consequents like horripilation and transitory states like paralysis.

६.१३

निर्वेदस्थायिकः शान्तः सत्सङ्गादिविभावभूः ।
क्षमादिकानुभावो ऽयं स्तम्भादिव्यभिचारिकः ॥

Summary AI Śānta (the peaceful) has nirveda (detachment) as its permanent emotion, originates from determinants like the company of the good, and features consequents like forgiveness and transitory states like paralysis.

६.१४

रतिर्देवादिविषया सन्ति च व्यभिचारिणः ।
वेद्यमाना निगद्यन्ते भावाः साहित्यवेदिभिः ॥

Summary AI Love directed towards deities and the like, along with the transitory states when they are being experienced, are called bhāva (emotions) by experts in literature.

६.१५

निर्वेदग्लानिशङ्काख्यास्तथासूयामदश्रमाः ।
आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिर्धृतिः ॥

Summary AI These include detachment, exhaustion, doubt, envy, intoxication, fatigue, indolence, wretchedness, anxiety, delusion, recollection, and contentment.

६.१६

व्रीडा चपलता हर्ष आवेगो जडता तथा ।
गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च ॥

Summary AI Shame, fickleness, joy, agitation, stupor, pride, despair, eagerness, sleep, and epilepsy.

६.१७

सुप्तं प्रबोधो ऽमर्षश्चाप्यवहित्थमथोग्रता ।
मतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च ॥

Summary AI Dreaming, awakening, indignation, dissimulation, ferocity, resolve, sickness, madness, and death.

६.१८

त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः ।
त्रयस्त्रिंशदिमे भावाः समाख्यातास्तु नामतः ॥

Summary AI Terror and deliberation are also to be known as transitory states. These thirty-three emotions are thus fully enumerated by name.

६.१९

सर्वसाधारणप्रेमप्रश्रयादिस्वरूपया ।
अनौचित्या रसाभासा भावाभासाश्च कीर्तिताः ॥

Summary AI Due to impropriety (anaucitya) in forms such as general love or excessive modesty, they are proclaimed as rasābhāsa (semblance of rasa) and bhāvābhāsa (semblance of emotion).

६.२०

भावस्य शान्तिरुदयः सन्धिः शबलता तथा ।
काव्यस्य काञ्चनस्येव कुङ्कुमं कान्तिसंपदे ॥

Summary AI The subsidence, arising, conjunction, and mixture of emotions serve to enhance the splendor of poetry, just as saffron enhances the beauty of gold.

६.२१

आतुर्यमासप्तमं च यथेष्टैरष्टमादिभिः ।
समासः स्यात्पदैर्न स्यात्समासः सर्वथापि च ॥

Summary AI Compounds may consist of four words, up to seven words, or as many as desired starting from eight; alternatively, a compound may not be formed at all.

६.२२

पाञ्चालिकी च लाटीया गौडीया च यथारसम् ।
वैदर्भी च यथासंख्यं चतस्रो रीतयः स्मृताः ॥

Summary AI Pāñcālikā, Lāṭīyā, Gauḍīyā, and Vaidarbhī are remembered as the four styles (rīti), assigned respectively according to the sentiments (rasa).

६.२३

मधुरायां समाक्रान्ता वर्गस्थाः पञ्चमैर्निजैः ।
लकारश्च लसंयुक्तो ह्रस्वव्यवहितौ रणौ ॥

Summary AI In the Madhurā style, class consonants are conjoined with their respective nasals, the letter 'l' is doubled, and 'r' and 'ṇ' are separated by a short vowel.

६.२४

रेफाक्रान्ता वर्ग्ययणाष्टवर्गात्पञ्चमाद् ऋते ।
कपाक्रान्तस्तवर्गः स्यात्प्रौढायां च कमूर्धता ॥

Summary AI In the Prauḍhā style, class consonants and semi-vowels are conjoined with 'r' (except for the fifth consonants of the ṭa-varga), the ta-varga is conjoined with 'k' or 'p', and 'k' is placed above or as a cerebral.

६.२५

सर्वैरूर्ध्वैः सकारस्य सर्वै रेफस्य सर्वथा ।
रहोर्द्वेधा तु संयोगः परुषायां शषौ स्वतः ॥

Summary AI In the Paruṣā style, 's' is conjoined with all following letters, and 'r' is conjoined with all letters in every way. The combination of 'r' and 'h' occurs in two ways, while 'ś' and 'ṣ' appear naturally.

६.२६

लकारो ऽन्यैरसंयुक्तो लघवो घभधा रसौ ।
ललितायां तथा शेषा भद्रायामिति वृत्तयः ॥

Summary AI In the Lalitā style, the letter 'l' is not conjoined with others, 'gh', 'bh', and 'dh' are light, and 'r' and 's' are used. All other remaining forms belong to the Bhadrā style; these are the vṛtti (verbal functions).

६.२७

अङ्गभङ्गोल्लसल्लीला तरुणी स्मरतोरणम् ।
तर्ककर्कशपूर्णोक्तिप्राप्तोत्कटधियां वृथा ॥

Summary AI A young woman, whose playful charm shines through her graceful bodily movements and who serves as the gateway for Smara (the god of love), is in vain for those whose intense intellects are preoccupied with harsh logical expressions.

६.२८

वीप्सोत्सर्पन्मुखाग्रार्द्रं बर्ही जह्रे कृशस्तृषम् ।
ललना रभसं धत्ते घनाटोपे महीयसि ॥

Summary AI A peacock, with its beak wet from repeatedly drinking, quenches its thirst, while a slender woman feels a rush of passion amidst the grand, dense gathering of clouds.

६.२९

महादेवः सत्रप्रमुखमखविद्यैकचतुरः
सुमित्रा तद्भक्तिप्रणिहितमतिर्यस्य पितरौ ।
मयूखस्तेनासौ सुकविजयदेवेन रचिते
चिरं चन्द्रालोके सुखयतु महति ऋतुसंख्यः ॥

Summary AI May this sixth chapter (the ṛtu-saṃkhya ray) of the great Raghuvaṃśam, composed by the excellent poet Jayadeva—whose parents are Mahādeva, uniquely skilled in the knowledge of sacrifices like the satra, and Sumitrā, whose mind is devoted to him—provide lasting joy.

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