Shringaraprakasha 3.p2.10

3.p2.10

sākāṃkṣāvayavaṃ tena na sarvaṃ tulyalakṣaṇam|| 3.65. etena bhinnābhinnapravṛktiṛkānevākyopakalpitaikavākyasthānāmapi kriyāṇāṃ parasparamatabhisaṃbandho vyākhyātaḥ | sa bhinnapravṛktṛkatve yathā-- kuśalaṃ tasyā jīvati kuśalaṃ pṛcchāmi jīvatītyuktam| punarapi tadeva kathayasi mṛtāṃ nu kathayāmi yāśvasiti|| abhinnavaktutve yathā-- asvacache salilātmani pratiphaleddeve triyāmāpatau | pīyūṣākṛti paryavasyati kila jyotsnnoti tatvāntaram|| tigmaṃ dhāma ciraṃ cakāsti divi tattatrāsti divyaḥ pumān| yaṃ vijñātavatāṃ truṭanti nikhilā bhūyo bhavagranthayaḥ|| 3.66. prabandhāṅgamavāntaravākyaṃ prakaraṇam | tantridhā--prastutaṃ, kalpitaṃ, ākāsmikañca | teṣu prastutaṃ dvidhā--aṅgaṃ varṇakañca tayoraṅgaṃ yatha-- athajināṣāḍhadharaḥ pragalbavāgjvalanniva brahmamayena tejasā | viveśa kaścijjaṭilastapovanaṃ śarīrabandhaḥ prathamāśramo yathā|| ityata ārabhya, ito gamiṣyāmyathaveti vādinī śramālasā ca stanabhinnavalkalā| svarūpamāsthāya ca tāṃ kṛtasmitassamālalambe vṛṣarājaketanaḥ|| iti yāvat| atrahi-- tamātitheyībahumānapūrvayā saparyayā pratyudiyayā pārvatī | bhavanti sāmye'pi niviṣṭacetasāṃ niviṣṭatasāṃ vapurviśeṣeṣvatigauvāḥkriyāḥ|| ityādeḥ prakaraṇāntasya kathāśarīratvamavagamyate | varṇako yathā-- asaṃbhṛtaṃ maṇḍanamaṅgayaṣṭeranāsavākhyaṃ karaṇaṃ madasya | kāmasya puṣpavyatiriktamastraṃ bālyātparaṃ sā'tha vayaḥ prapede|| ityata ārabhya, sarvopamādravyasamuñcayena yathāpradeśaṃ viniveśitena| sānirmitā viśvasṛjā prayatnādekasthasaundaryadiddakṣayeva|| iti yāvat|

By this has been explained the mutual connection of actions standing even within a single sentence fabricated out of multiple sentences having different or identical speakers. Where there are different speakers, it is as in: 'Is she well? She lives. I ask about her wellness; it has been told she lives. / Yet again you tell me that very thing! Should I tell of her as dead, who still breathes?' Where there is an identical speaker, it is as in: 'When the lord of the night shines reflected in the pure water-self, / the moonlight indeed resolves into a form of nectar, an ultimate reality. / That fierce light shines long in heaven; therein is the divine Puruṣa, / having known whom, all the knots of worldly existence are severed once more.' An intermediate sentence that is a limb of an extended composition is an episodic section. It is threefold: contextual, invented, and incidental. Among these, the contextual is twofold: an integral limb and a descriptive passage. Of these two, an integral limb is as in: 'Then, bearing a deerskin and an aṣāḍha staff, bold of speech, blazing as it were with Brahmanic splendor, / a certain ascetic with matted hair entered the penance grove, like the first stage of life embodied,' up to: '"Either I shall go from here," saying thus, exhausted by fatigue, her bark-garment broken across her breasts, / assuming his true form with a smile, the god whose banner is the lord of bulls held her fast.' For here, from: 'Pārvatī went forward to greet him with worship preceded by deep respect due to a guest; / for even in those of equal mind, great reverential actions occur toward distinguished bodies,' up to the end of the episodic section, its nature as the body of the story is understood. A descriptive passage is as in: 'An unmade adornment of her slender frame, a cause of intoxication uncalled by the name of wine, / an arrow of Kāma distinct from flowers: then she attained the age beyond childhood,' up to: 'With an assemblage of all objects of comparison placed properly in each spot, / she was fashioned by the Creator with effort, as if out of a desire to see beauty gathered into a single place.'