[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) › 9.p1.2 # Shringaraprakasha 9.p1.2 Śṛṅgāraprakāśa 9.p1.2 - **Language:** Sanskrit ### [9.p1.2](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.2) urvīmuddāmasasyāṃ janayatu visṛjanvāsavo vṛṣṭimiṣṭāṃ iṣṭaisnaiviṣṭānāṃ vidadhatu vidhivatprīṇanaṃ vipramukhyāḥ| ākalpāntaṃ ca bhūyātsamupacitasukhassaṅgamassajjanānāṃ niśśeṣaṃ yāntu śāntiṃ piśunajanagiro durjayā vajralepāḥ || yathā ca veṇīsaṃhāre, yudhiṣṭhiraḥ --- tathāpi prītataraścedbhagavāṃstadidamastu| akṛpaṇamatiḥ kāmaṃ jīvyājjajaḥ puruṣāyuṣaṃ bhavatu bhagavanbhaktirdvaitaṃ vinā puruṣottame| dayitabhuvano vidvadbandhurguṇeṣu viṃśeṣavi tsatatasukṛtī bhūyādbhūpaḥ prasādhitamaṇḍalaḥ || lakṣaṇāni catuṣṣaṣṭiriti yatprāgudīritam| nāṭakādessphuṭaṃ lakṣma tadidānīṃ vivicyate || bhūṣaṇākṣarasaṅghātau śobhodāharaṇe tathā| hetusaṃśayadṛṣṭāntāḥ prāptirośaya eva ca || nidarśnaṃ niruktaṃ ca sandhiścāsi viśeṣaṇam| guṇātipāto'tiśayastulyatarkaḥ padoccayaḥ || diṣṭaṃ caivopadiṣṭaṃ ca vicāro'tha viparyayaḥ| bhraṃśaścaivānunītiśca mālā dākṣiṇyagarhaṇe || arthāpattiḥ prasiddhiśca pṛcchā sārūpyameva ca| manorathaśca leśaśca yācñā protsāhanaṃ spṛhā || paścāttāpo'nuvṛttiśca yuktirnirbhāsanaṃ kṣamā| guṇānuvāda ākrandaḥ kapaṭaṃ parivādanam || upapattiśca kāryaśca pratiṣedho mṛṣodyamaḥ| chaloktiḥ kākurunmādaḥva parihāso vikatthanam || yadṛcchāyogavaiṣamyapratijñātapravṛttayaḥ| āśīruktiśca siddhiśca priyaṃ vacanameva ca || lakṣaṇāni catuṣṣaṣṭi kāvyeṣvetāni nirdiśet || tatra ca, alaṅkārai rguṇaiścaiva bahubhiryadavekṣitam || yathā ratnāvalyāṃ prathame'ṅke, yaugandharāyaṇaḥ --- viśrāntavigrahakatho ratimān janasya citte vasanpriyavasantaka eva sākṣāt| > "May Indra bring forth desirable rain, making the earth rich with abundant harvest; / may the foremost of brahmins duly produce the gratification of the gods with sacrificial offerings; / and until the end of the aeon may there be the union of good people with increased happiness; / and may the slanders of malicious people, invincible and firmly glued like cement, completely subside into tranquility." And as in the Veṇīsaṃhāra: Yudhiṣṭhira: "Nevertheless, if the Lord is most pleased, then let this be: / May people live out a full human lifespan at will with unstinting minds; / may there be devotion to the Supreme Being, O Lord, free from duality; / loving his lands, a friend to the learned, discerning in merits, ever performing good deeds— / may the king govern a well-ordered realm." That which was earlier stated as the sixty-four dramatic characteristics (lakṣaṇas), / the distinct mark of a play and other compositions, is now explained in detail: / Adornment (bhūṣaṇa) and stringing of syllables (akṣarasaṅghāta); elegance (śobhā) and illustration (udāharaṇa); / cause (hetu), doubt (saṃśaya), and exemplar (dṛṣṭānta); attainment (prāpti) and intention (āśaya); / demonstration (nidarśana) and etymology (nirukta); combination (sandhi) and qualification (viśeṣaṇa); / excess of quality (guṇātipāta), hyperbole (atiśaya), equal reasoning (tulyatarka), and accumulation of words (padoccaya); / fate (diṣṭa) and instruction (upadiṣṭa); deliberation (vicāra) and inversion (viparyaya); / lapse (bhraṃśa) and conciliation (anunīti); garland (mālā), courteousness (dākṣiṇya), and reproach (garhaṇa); / presumption (arthāpatti) and common fame (prasiddhi); inquiry (pṛcchā) and resemblance (sārūpya); / wish (manoratha) and hint (leśa); entreaty (yācñā), encouragement (protsāhana), and desire (spṛhā); / remorse (paścāttāpa) and compliance (anuvṛtti); apt argument (yukti), manifestation (nirbhāsana), and forgiveness (kṣamā); / recounting of virtues (guṇānuvāda), lamentation (ākranda), deception (kapaṭa), and censure (parivādana); / proof (upapatti), necessity (kārya), prohibition (pratiṣedha), and futile effort (mṛṣodyama); / trick speech (chalokti), vocal inflection (kāku), frenzy (unmāda), mockery (parihāsa), and self-praise (vikatthana); / chance (yadṛcchā), conjunction (yoga), discordance (vaiṣamya), and undertaken enterprise (pratijñātapravṛtti); / expression of blessing (āśīrukti), fulfillment (siddhi), and pleasant speech (priyavacana): / one should designate these sixty-four dramatic characteristics in poetic works. / And among those: That which is viewed with many poetic ornaments and poetic qualities \[is 'adornment'\]. As in the first act of the Ratnāvalī: Yaugandharāyaṇa: "Having laid aside all talk of war, possessing amorous pleasure, dwelling in the hearts of the folk, / the Lord of the Vatsas approaches like Kāma himself, eager to witness his own great festival, with his beloved Vasantaka in his company." > — English (machine translation) (machine translation) - [Previous: 9.p1.1](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.1) - [Next: 9.p1.3](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.3) - [Up: 9.p1](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa~en-mt.9.p1.2) — English, machine translation ## Linked texts (3) - [Nāṭyaśāstra](https://indike.org/pramana/in.art.natya.natyasastra.16.134) — Bharata, Sanskrit - [Nāṭyaśāstra (Śivaśarman)](https://indike.org/pramana/in.art.natya.natyasastra-siva.14.4) — Śivaśarman, Sanskrit - [Nāṭakalakṣaṇaratnakośa](https://indike.org/pramana/in.art.natya.natakalaksanaratnakosa.3.149) — Sāgaranandin, Sanskrit --- Source: [https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.2](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.2) · Pramāṇa