The beginning of Jayaratha’s commentary on Ruyyaka’s Alaṃkārasarvasva contains a long digression on the nature of the goddess Parā Vāc, “Highest Speech,” referred to in Ruyyaka’s benedictory verse. This is an unusual choice in a text on poetics, and attention to Jayaratha’s religious context reveals that the digression is based closely on Abhinavagupta’s Parātrīśikāvivaraṇa , a tantric commentary. Jayaratha models his opening passage on this text in order to bolster an argument he wants to make about poetry, namely that poetry is the appearance of the goddess Highest Speech, who has split herself into both poet and reader in order to blissfully interact with herself. He does this, I suggest, in order to mark the discussion that will follow—an extremely detailed and polemical analysis of the nature and mechanisms of various rhetorical figures, with very little explicit theology—as a discussion that takes place squarely within a Śaiva universe, one which can only be fully understood in Śaiva terms even though, or perhaps precisely because, the language of theology is not necessary for analyzing any individual rhetorical figure.

中文翻译：

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诗歌与女神的戏剧：查亚拉塔的 Alaṃkāravimarśinī 的神学

Jayaratha 对 Ruyyaka 的 Alaṃkārasarvasva 的评论的开头包含对 Parā Vāc 女神的本质的长篇离题，“至高的言语”，在 Ruyyaka 的祝福诗中提到。这是诗学文本中的一个不同寻常的选择，对 Jayaratha 宗教背景的关注表明，该题外话与 Abhinavagupta 的 Parātrīśikāvivaraṇa 密宗评论密切相关。Jayaratha 以他的开篇段落为原型，以支持他想就诗歌提出的论点，即诗歌是最高言语女神的出现，为了与自己幸福地互动，她将自己分为诗人和读者。我建议他这样做是为了标记接下来的讨论——对各种修辞人物的性质和机制的极其详细和有争议的分析，