[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Arts, Poetics, Architecture & Lexicography](https://indike.org/pramana/in.art) › [Poetics](https://indike.org/pramana/in.art.alamkara) › [Treatises on rasa, the erotic sentiment and heroines](https://indike.org/pramana/in.art.alamkara.rasa) › [Shringaraprakasha](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa) › 6.p1.39 # Shringaraprakasha 6.p1.39 Śṛṅgāraprakāśa 6.p1.39 - **Language:** Sanskrit ### [6.p1.39](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1.39) sthālyagnicillikāṣṭhānāmitikartavyatā matā || sa ca prayatnaparispandādaudāsīnyapratyupalakṣyamāṇaḥ puruṣavyāpāraḥ karotyartho bhāvanā | kathaṃ tarhi kāṣṭhānāṃ karaṇatvaṃ ? dhātvarthasya kriyātvāt | bhāvanāyāṃ tu dhātvarthasya karaṇatvāt karaṇavibhaktyupādāne ca pradhānāntareṇa sambandhāyogāt | ucyate, bhāvanāsaṃbandhāddhātvartho'pi pūrvāparībhūto bhavanātmāvagamyata iti tadapekṣayā kāṣṭhānāṃ karaṇatvam | ataḥ sthitametat tryaṃśaparipūrṇā bhāvanā vākyārtha iti | pravṛttinivṛttyorvidhāyako'rthavādādibhirupakriyamāṇo liṅloṭvyādivācyaḥ śabdavyāpāro vidhiḥ | tena hi bhāvanāyāṃ puruṣaḥ pravartyate nivṛrtyate vā | yathā yāvajjīvamagnihotraṃ juhuyāt, brāhmaṇaṃ na hanyāt, prauṣānanubrūhi, māpabhāṣasva, hoturaṣṭakāḥ kartavyāḥ, surā na pātavyā, pitaro vandanīyāḥ, guravo nāmamānyāḥ, śivaṃ te bhūyāt, mā tva śyena udvadhīditi | sa ca sarvavākyānāmarthaḥ sarvaṃ hi vākyaṃ vidhīniṣedhayoreva paryavasyati | yatrāpi ca liṅādayo na śrūyante tatrāpi vidhinisedhaparatayā sarvavākyānāṃ vākyaśeṣabhūtāste'vagamyante | tadyatheha deśe subhikṣamityukte'treva sthātavyamasyāṃdho vartata ityukte, ihaiva bhoktavyaṃ sacoraḥ panthā ityukte, na gantavyaṃ grāhāḥ sarityasyāmityukte na snnātavyamiti pratīyate | kiñca mahākāvyairipa rāmāyaṇādibhiridameva vyutpādyate| rāmasya piturājñāṃ pālayato vananivāsino'pi tathāvidho'bhyudayaḥ saṃvṛttaḥ | rāvaṇasya paradārānabhilaṣyatastrailokyavijayino'pi tathāvidha ucchedaḥ | tasmātpiturājñāṃ pālayet | paradārānnābhilaṣyet | rāmavadvarteta na rāvaṇavaditi | > The pot, fire, hearth, and firewood are considered the procedure.' And that productive operation, which is the meaning of 'to do', is a human activity distinguished from indifference through exertion and movement. How, then, is firewood an instrument? Because the meaning of the verbal root is action; whereas in productive operation, since the root-meaning is the instrument, if an instrumental case-ending were attached \[to firewood\], it could not be connected to another primary factor. In response, it is said: in connection with productive operation, the root-meaning is also understood as a state of becoming consisting of prior and subsequent stages, and in relation to that, firewood is the instrument. Therefore, this stands established: productive operation complete in its three factors is the sentence-meaning. > > Injunction is the operation of linguistic sound expressed by the optative, imperative, and other moods, enjoining engagement or disengagement, and assisted by explanatory passages (arthavāda) and the like. For by it a person is impelled to, or dissuaded from, productive operation, as in: 'As long as one lives, one should perform the agnihotra', 'One should not kill a brāhmaṇa', 'Recite the praiṣa calls', 'Do not speak incorrectly', 'The aṣṭakā rites of the Hotṛ are to be performed', 'Wine should not be drunk', 'The ancestors are to be saluted', 'Elders must not be disrespected', 'May good fortune be thine', and 'May the hawk not slay you'. And that is the meaning of all sentences, for every sentence ultimately terminates in an injunction or a prohibition. Even where the optative and other moods are not heard, they are understood as sentence-complements of all sentences because of their intent toward injunction and prohibition. Just as when it is said, 'There is plenty of food in this region', it is understood: 'One should stay here'; when it is said, 'Food is available here', 'One should eat right here'; when it is said, 'The road is infested with thieves', 'One should not go'; when it is said, 'There are crocodiles in this river', 'One should not bathe'. Moreover, even by the great poems like the Rāmāyaṇa, only this is instructed: Rāma, obeying his father's command though living in the forest, attained such great prosperity; Rāvaṇa, coveting another's wife though conqueror of the three worlds, met such destruction. Therefore, one should obey one's father's command; one should not covet another's wife; one should act like Rāma, not like Rāvaṇa. > — English (machine translation) (machine translation) - [Previous: 6.p1.38](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1.38) - [Next: 6.p1.40](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1.40) - [Up: 6.p1](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa~en-mt.6.p1.39) — English, machine translation ## Linked texts (1) - [Nyāyamañjarī](https://indike.org/pramana/in.darsana.nyaya.nyayamanjari.2.1.378) — Jayanta Bhaṭṭa, Sanskrit --- Source: [https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1.39](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.6.p1.39) · Pramāṇa