Shringaraprakasha 1.p1.2

1.p1.2

ābhāvanodayamananyādhiyā janena yo bhāvyate manasi bhāvanayā sa bhāvaḥ| yo bhāvanāpathamathitya vivartamānaḥ sāhaṃkṛtau hṛdi paraṃ svadate raso'sau|| 10 || ratyādayo yadi rasāḥ syuratiprakarṣe harṣādibhiḥ kimaparāddhibhinnaiḥ| asthāyimasta iti cedbhayabāsaśokakrodhādayoḥ vada kiyañcaramillasanti|| 11 || sthāyitvamatra viṣayātiśayānmataṃ ceñcintādayaḥ kuta uta prakṛtervaśena| tulyaiva sā''tmani bhavedatha vāsanāyāḥ saṃdīpanāttadubhayatra samānameva|| 12 || 1.2 ataḥ siddhametat - ratayadayaḥ śṛṅgāraprabhavā eva ekonapañcāśatadbhāvāḥ; vīrādayo mithyārasapravādāḥ; śṛṅgāra evairgaikakāraṇaṃ rasa iti| sa cānubhavaikagamyatvādasaparvaviṣayatvāñca duravaseyaḥ, samyagabhnayeṣu vā vidagdhaśailūṣai pradarśyamānaḥ sāmājikairavadhāryate, pravandheṣu vā mahākavibhiryathāvadāḥ khyāyamāno viduṣāṃ manīṣāvuṣayamavatarati| tatra natathā padārthaḥ pratyakṣeṇa pratīyamānāḥ svadante, yathā vāgmināṃ vacobhirāvedhyamānāḥ| tadāha- ’atthavisesā ṇa hi taha cittaviasaṃ kuṇānti sañcaviā| jaha uṇa te ummilalanti sukaivaāhiṃ susīsantā||’ 1.3 ato'bhinetṛbhyaḥ kavīnena bahumanyāmahe, abhinayebhyaśca kāvyameveti | tatpunaḥ śabdārthayoḥ sāhityamāmananti; tadhyathā ’śabdārthau sahitau kāvyam’ iti | kaḥ punaḥ śabda ? yaḥ sabdena pratyāyyate | sa ca dvadaśadhā-kriyā, kālaḥ, kārakam, purūṣaḥ, upādhiḥ, pradhānam, upaskārārthaḥ, pratipadikārthaḥ, vibhaktyarthaḥ, vṛttyarthaḥ, vākyārthaḥ, iti | kiṃ sāhityam ? yaḥ śabdārthayoḥ saṃvandhaḥ |

That which is brought to mind through contemplation by a person whose intellect is undivided, until the rise of feeling, is emotion (bhāva). That aesthetic relish (rasa) is what, having transcended the path of contemplation, turns back and tastes exquisitely in the heart possessing ego-consciousness. (10) / If amorous pleasure and the others were aesthetic relishes when carried to excess, what fault would there be in Joy and the rest [being relishes too]? If you say that they are not enduring, then tell me, how long do fear, grief, anger, and the rest endure? (11) / If permanence here is held to arise from an intensity of object, whence do worry and the like arise? Or if [it is] by force of human nature, then that nature would be equal in every person; or if it is from the stimulation of latent impressions, that is equal in both cases. (12) / 1.2 Therefore this is established: amorous pleasure and the other forty-nine are indeed emotions derived from erotic aesthetic experience; heroic and the rest are false claims to aesthetic relish; erotic aesthetic experience alone is the sole cause, the [true] aesthetic relish. And because it is accessible solely through direct experience and has no other object, it is difficult to fathom; or, when demonstrated in flawless histrionic representations by sophisticated actors, it is apprehended by the spectators; or, when correctly narrated in compositions by great poets, it enters the sphere of the intellect of the wise. In this matter, meanings of words directly perceived do not taste so sweet as when they are communicated through the words of eloquent speakers. So it is said: / 'Indeed, the particulars of things do not produce a blossoming of the mind when merely directly perceived / as they do when opening up as they are heard through the words of good poets.' / 1.3 Therefore, we esteem poets more than actors, and poetry over histrionic representations. And that [poetry] is remembered as the literary conjunction of linguistic sound and meaning, as in: 'Sound and meaning conjoined are poetry.' What, then, is meaning? That which is conveyed by linguistic sound. And that is twelvefold: action, grammatical tense, syntactic role, grammatical person, qualification, primary element, subsidiary meaning, meaning of the nominal stem, meaning of the case inflection, meaning of the complex formation, and sentence-meaning. What is literary conjunction? That which is the relation between linguistic sound and meaning.