Shringaraprakasha 3.p2.11

3.p2.11

atrahi-- unmīlitaṃ tūlikayeva citraṃ sūryāṃśubhirbhinnamivāravindam| babhūva tasyāścatuśraśobhi vapurvibhaktaṃ navayauvanena|| ityādeḥ prakaraṇārthasya pārvatīrūpayauvanalāvaṇyavarṇanādyavagamyate | kalpitaṃ dvidhā--sābhāsaṃ nirābhāsaṃ ca | tayo ssābhāsaṃ yathā-- abhūdabhūmiḥ pratipakṣajanmanāṃ bhiyāntanūjastapanadyutirditeḥ| yamindraśabdārthaniṣūdanaṃ hare hiraṇyapūrvaṃ kaśipuṃ pracakṣate|| ityata ārabhya, yathopapatticchalavāparoparāmavāpya śailūṣa ivaiṣa bhūmikām| turohitātmā śisupālasaṃjñayā pratīyate saṃprati so'pyasaḥparaiḥ|| iti yāvat |atrabi-- vinodamicchannatha darpajanmano raṇena kaṇḍvāsnnidaśaissamaṃ punaḥ| sarāvaṇo nāma nikāmabhūṣaṇaṃ babhūva rakṣaḥ kṣatarakṣaṇaṃ divaḥ|| ityādiprakaraṇārthaḥ kalpito'pi purāṇeṣūpalambhāsaṃbhavāñca tathātvenāvabhāsate | nirābāsaṃ yathā-- tataḥ kirātādhipateraladhvīmājikriyāṃ vīkṣya vivṛddhamanyuḥ| sa tarkayāmāsa viviktatarkaściraṃ vicinvanniva kāraṇāni|| ityata ārabhya, iyaṃ ca durvāramahārathānāmākṣipya kīrtiṃ mahātāṃ balānām| śaktirmamāvasyati hīnayuddhe saurīva tārāpatidāmni dīptiḥ|| iti yāvat|| atrahi, madastrutisyāmitagaṇḍasekhāḥ krāmantivikrāntanarādhirūḍhāḥ| sahiṣṇavo neha yudhāmabhijñā nāgā nagocchrāyamivotkṣipantaḥ|| ityādiḥ prakaraṇārthaḥ tāpasakirātayuddhavarṇanāyāmanābhāsamānaḥ kāvyakuśalena kavinā podṛdvāreṇopakathyate | ākasmikaṃ dvidhā--sabūjaṃ virvījaṃ ca | tayossabūjaṃ yathā-- athopariṣṭāt bhramarairbhramadbhiḥ prāksūcitāntaḥsalilapraveśaḥ| nirdhautadānāmalagaṇḍabhittirvanyassaritto gaja unmamajja||

For here, from the meaning of the section [of verses] beginning: / 'Like a painting brought out by a brush, or a lotus blooming in the sun's rays, / her body, uniformly beautiful, took distinct shape with fresh youth' / —is understood [the subject matter] consisting in the description of Pārvatī's form, youth, grace, and so on. / The invented [prakaraṇa] is of two kinds: having a basis in reality [sābhāsa] and without a basis in reality [nirābhāsa]. / Of these two, that with a basis in reality is as follows: / 'A son was born to Diti, brilliant as the sun, an unsuitable place for fear arising from adversaries, / whom they call Hiraṇyakaśipu, the slayer of Hari whose name means Indra' / —beginning with this, up to: / 'Having assumed another persona like an actor by taking a pretext as circumstance demanded, / with his true nature concealed under the name Śiśupāla, he is now perceived as another even by his enemies.' / For here, the meaning of the section beginning: / 'Then, desiring through battle to relieve the itch born of pride, / once more with the gods, he became the demon named Rāvaṇa, fully adorned, who breached the protection of heaven' / —though invented, appears as if real because it is impossible to find [such details] in the Purāṇas. / The one without a basis in reality is as follows: / 'Then, seeing the Kirāta king's trivial deed in battle, his wrath increased; / he deliberated, his reasoning refined, as if examining reasons for a long time' / —beginning with this, up to: / 'And this power of mine, having surpassed the renown of irresistible great warriors of mighty armies, / loses its strength in ignoble fighting, like the sun's splendor in the presence of the moon' / —up to this point. / For here, the meaning of the section beginning: / 'With the line of their temples darkened by trickling rut-fluid, mounted by brave men, / resilient, ignorant of battles here, the elephants advance, as if uprooting a mountain's height' / —having no basis in reality in the description of the battle between the ascetic and the Kirāta, is narrated by the skilled poet by means of poetry. / The adventitious [prakaraṇa] is of two kinds: with a seed [sabīja] and without a seed [nirbīja]. / Of the two, that with a seed is as follows: / 'Then, its entrance into the water previously indicated by bees circling above, / its spotless temple-walls with their rut-fluid washed clean, a wild elephant emerged from the river'