Shringaraprakasha 7.p1.29

7.p1.29

puṇḍarīkamukhītyaucityātpuṇḍarīkaśabdaḥ kamalamāha | amarāvatyāṃ haririti hariśabdo deśataḥ śatakratuṃ brūte | rātrau pataṅgaṃ paśyati, atra kālataḥ pataṅgaśabdaḥ śalabhamabhidhatta iti | evamanye'pi | tadyāthā-- bhavatu viditaṃ śabdā vakturvivakṣitasūcakāḥ smarati ca yataḥ kānte kāntāṃ haṭhātpariṭumbati | nanana mamamāmāṃ mā sprākṣīrniṣedhaparaṃ vaco bhavati śithile mānagranthau tadeva vidhāyakam || iti || abhinayo'padeśo nirdeśaḥ saṃjñā iṅgitamākāra ityabhinayādayaḥ | teṣvabhinayo yathā-- eddahamettatthaṇiā eddahamettehi acchivattehiṃ | eddahamettāvatthā eddahamettehidiaehiṃ || apadeśo yathā --- itaḥ sa daityaḥ prāptaśrīrneta evārhati kṣayam | viṣavṛkṣo'pi saṃvardhya svayaṃ chettumasāmpratam || nirdeśo yathā-- bhartṛdārake diṣṭyā vardhāmahe, yadatreva ko'pi kasyāpi tiṣṭhatīti māmaṅgulīvilāsenākhyātavatyaḥ | saṃjñā yathā--- apyavastuni kathāpravṛttaye praśnatatparamanaṅgaśāsanam | vīkṣitena parigṛhya pārvatī mūrdhakampamayamuttaraṃ dadau || iṅgitaṃ yathā--- kadā nau saṅgamo bhāvītyākīrṇe vaktumakṣamam | avetya kāntamabalā līlāpadmaṃ nyamīlayat || ākāro yathā--- niveditaṃ niśvasitena soṣmaṇā manastu me saṃśayameva gāhate | na vidyate prārthayitavya eva te bhaviṣyati prārthitadurlabhaḥ katham || evamanye'pi, yathā--- āśloṣe prathamaṃ kamādatha jite hṛdye'dharasyārpaṇe kerlādyūtavidhau paṇaṃ priyatame kāntāṃ punaḥ pṛcchati | sāntarhāsaniruddhasambhṛtarasodbhedasphuradgaṇḍayā tūṣṇīṃ śāravisāraṇāya nihitaḥ svedāmbugarbhaḥ karaḥ || yatparaśśabdaḥ sa śabdārtha iti tātparyam |

From propriety, the word 'puṇḍarīka' in 'lotus-faced woman' (puṇḍarīkamukhī) denotes a lotus. From place, the word 'hari' in 'Hari in Amarāvatī' speaks of Indra. 'He sees a pataṅga at night'—here, from time, the word 'pataṅga' denotes a moth. So too others. As follows: / 'Let it be known that words indicate what the speaker intends, / since when a lover forcibly kisses his beloved as he remembers: / the speech “No, no, no! Don't, don't, don't! Do not touch me!” which is intent on prohibition, / becomes injunctive when the knot of her pique has loosened.' / Histrionic representation (abhinaya), indirect reference (apadeśa), direct indication (nirdeśa), sign (saṃjñā), gesture (iṅgita), and physical posture (ākāra) are histrionic representation and the rest. Among them, histrionic representation is as follows: / 'Breasts of just this size, with eyes of just this size; / a condition of just this measure, in just these days.' / Indirect reference is as follows: / 'From this side that Daitya attained glory; not from this side does he deserve destruction; / even a poison tree, having nurtured it oneself, is not fit to be cut down.' / Direct indication is as follows: / '“Prince, fortunately we prosper, because right here someone stands for someone”—so saying, they indicated to me with a coquettish movement of the finger.' / Sign is as follows: / 'Having received with her gaze the Destroyer of Love who was intent on questioning in order to initiate a conversation even on a non-matter, Pārvatī gave an answer consisting of a shake of her head.' / Gesture is as follows: / 'Realizing that her lover was unable to say “When will our union take place?” in a crowded place, / the slender woman closed her play-lotus.' / Physical posture is as follows: / 'It was revealed by your warm sigh, yet my mind plunges into doubt; / indeed, he who is to be sought by you does not exist; how could one sought [by you] be hard to attain?' / So too others, as: / 'When her lover asked his beloved again for the stake in the gambling play— / first an embrace in due order, then the surrendering of the lower lip when her heart was won— / by her, whose cheeks were trembling with the sudden outburst of accumulated sentiment restrained by an inner smile, / her hand, moist with perspiration, was placed silently to move the gaming piece.' / The purport (tātparya) is that that is the meaning of a word which the word is intent upon.