[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 # Shringaraprakasha 9.p1 Śṛṅgāraprakāśa 9.p1 - **Language:** Sanskrit ### [9.p1.1](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.1) page No. 528 continue sāma dānādisampannaṃ bhūṣaṇaṃ bruvate budhāḥ || yathā ratnāvalyām, vasubhūtiḥ --- devi, sthāne devīśabdamudvahasi| 12.165 yathā ca veṇīsaṃhāre, bhīmaḥ--- kvāsau dhārtarāṣṭrasakhā puṇyajanāpaśado yenāryasya mahānayaṃ cittavibhramaḥ kṛtaḥ| kṛṣṇaḥ -- nigṛhītaḥ sa durātmā nakuleneti| punarvākyaṃ tu vijñeyaṃ yathoktākṣepadarśanam || yathā ratnāvalyāṃ, bābhravyaḥ -- devi, idānīṃ saphanalapariśramo'smi saṃvṛtta iti| yathā ca veṇīsaṃhāre, yudhiṣṭhiraḥ --- bhagavan, kiṃ nāma cārvākeṇa rakṣasā vayaṃ vipralabdhāḥ ? kṛṣṇaḥ --- atha kim| iti| varapradānasamprāptiḥ kāvyasaṃhāra iṣyate || yathā ratnāvalyāṃ, yaugandharāyaṇaḥ--- deva, taducyatāṃ kiṃ te bhūyaḥ priyamupakaromi ? rājā -- kimataḥparamapi priyamasti| yataḥ, nīto vikramabāhurātmasamatāṃ prāpteyamurvītale sāraṃ sāgarikā tathā ca bhuvanaprāptyekahetuḥ priyā| devī prītimupāgatā ca bhaginīlābhājjitāḥ kosalāḥ kiṃ nāsti tvayi satyamātyavṛṣabhe yasmai vidheyaṃ spṛhām || iti| yathā veṇīsaṃhāre, kṛṣṇaḥ --- tatkathaya mahārāja, kimasmattaḥ priyamicchasi ? yudhiṣṭhiraḥ -- na khalvataḥparamabhyarthayituṃ kṣamaḥ| paśyatu devaḥ| krodhāndhaiḥ sakalaṃ hataṃ ripukulaṃ pañcā'kṣatāste vayaṃ pāñcālyā mama durnayopajanitastīrṇo nikārārṇavaḥ| tvaṃ devaḥ puruṣottamaḥ sukṛtinaṃna sāmādṛto bhāṣase kiṃ nāmānyadataḥ paraṃ bhagavato yāce prasannādaham || iti| nṛpadevādiśaktiśca praśastirabhidhīyate || yathā ratnāvalyāṃ, rājā--- tathāpīdamastu| > The wise call that which is endowed with conciliation, bribery, and the like 'adornment' (bhūṣaṇa). As in the Ratnāvalī: Vasubhūti: "Queen, deservedly do you bear the title of 'Queen'." And as in the Veṇīsaṃhāra: Bhīma: "Where is that friend of Dhṛtarāṣṭra's sons, that wretched demon, by whom this great delusion of mind was inflicted on our elder brother?" Kṛṣṇa: "That evil-minded one was subdued by Nakula." But 're-statement' (punarvākya) is to be understood as the demonstration of an objection as previously stated. As in the Ratnāvalī: Bābhravya: "Queen, now my labor has borne fruit." And as in the Veṇīsaṃhāra: Yudhiṣṭhira: "Venerable one, were we truly deceived by the demon Cārvāka?" Kṛṣṇa: "Indeed so." The attainment of the granting of a boon is considered the 'conclusion of the dramatic poem' (kāvyasaṃhāra). As in the Ratnāvalī: Yaugandharāyaṇa: "Your Majesty, please state what further benefit I may render unto you." The King: "What could be more pleasing than this? For: / Vikramabāhu has been brought to parity with myself; this Sāgarikā, the essence upon the earth, / and so my beloved, the sole cause for attaining sovereignty over the world, has been gained; / the Queen is filled with joy at gaining a sister; the Kosalas have been conquered; / what remains, when you are present, O best of ministers, for which I might still frame a desire?" As in the Veṇīsaṃhāra: Kṛṣṇa: "Then tell me, Great King, what favor do you desire from me?" Yudhiṣṭhira: "Surely, I am unable to request anything beyond this. Let the Lord see: / Blinded by anger, the entire host of enemies has been destroyed; we five remain unscathed; / the ocean of humiliation brought upon Draupadī by my folly has been crossed; / you, the Lord, the Supreme Being, speak to me, honoring this virtuous man— / what other thing beyond this, indeed, could I beg from the gracious Lord?" And the invoking of divine power for kings and gods is called the 'benediction' (praśasti). As in the Ratnāvalī: The King: "Nevertheless, let this come to pass:" > — English (machine translation) (machine translation) ### [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) ### [9.p1.3](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.3) paryutsuko nijamahotsavadarśanāya vatseśvaraḥ kusumacāpa ivābhyupaiti || atra śleṣopamāpratyakṣādibhiralaṅkāraiḥ śleṣaprasādasaukumāryādibhiśca guṇairupetatā draṣṭavyā| evaṃ vakṣyamāṇeṣvapi guṇālaṅkārā yathāsambhavamūhanīyaḥ| nāṭakakāraiśca niyamo nārabhyate| sandhyaṅgeṣu tu guṇālaṅkārayogo nāpekṣyata iti| yatrārthairakṣaraiḥ śliṣṭairvicitrārthopavarṇanam| tamatrākṣarasaṅghātaṃ vidyāllakṣaṇasaṃjñitam || 12.166 yathābhijñānaśākuntale saptame'ṅke, (praviśya mṛṇmayūrahastā tāpasī --- savvadamaṇa, sauṃdalāvaṇṇaṃ pekkha| (sarvadamana, śakuntalāvaṇyaṃ prekṣasva|) bālaḥ --- (sadṛṣṭikṣepaṃ), kahiṃ sā ajjū| (kutra me ambā ?) ubhe -- vihasya, ṇāmasāriccheṇa chaḷidotti bhaṇido| (nāmasādṛśyena vañcito'si mātṛvatsalaḥ|) rājā --- (ātmagataṃ), kiṃ śakuntaleti tasya māturākhyā ! siddhairarthaissamaṃ kṛtvā yatrāsiddhaṃ prasādhyate| śliṣṭā ślakṣṇā vicitrārthā sā śobhetyabhidhīyate || yathā ratnāvalyāṃ, prathame'ṅke, yaugandharāyaṇaḥ --- dvīpādanyasmādapi madhyādapi jalanidherdiśo'pyantāt| ānīya jhaṭiti ghaṭayati vidhirabhimatamabhimukhībhūtaḥ || anyathā kva siddhādeśapratyayaprārthitāyāḥ siṃhaleśvaraduhituḥ samudre pravahaṇabhaṅganimnagāyāḥ phalakāsādanaṃ, kva ca kauśāmbīyena vaṇijā siṃhalebhyaḥ pratyāgacchatā tadavasthāyāḥ sambhāvanaṃ ratnamālācihnāyāśca pratyabhijñānādihānayanaṃ ca| sarvathā spṛśanti nassvāminamabhyudayā iti| tatra tulyārthayuktena vākyenābhipradarśanāt| sādhyante nipuṇairarthāstadudāharaṇaṃ smṛtam || > Here, its endowedness with poetic ornaments such as punning (śleṣa), simile (upamā), and vivid presentation (pratyakṣa), and with poetic qualities such as coalescence (śleṣa), lucidity (prasāda), and tenderness (saukumārya), is to be observed. Thus, in the ones to be mentioned hereafter, the poetic qualities and poetic ornaments should also be deduced wherever applicable. And no fixed rule is established by dramatists. In the dramatic limb-subdivisions (sandhyaṅga), however, the employment of poetic qualities and ornaments is not strictly required. Where a description of diverse meaning is expressed with punning syllables, / one should know that to be the characteristic called 'stringing of syllables' (akṣarasaṅghāta). As in the seventh act of the Abhijñānaśākuntala: (Entering with a clay peacock in her hand, an ascetic woman:) "Sarvadamana, look at the beauty of the bird (śakuntalāvaṇya)!" The boy: (looking about) "Where is my mother?" Both: (laughing) "Deluded by the similarity of names, he is devoted to his mother!" The King: (to himself) "What, is Śakuntalā the name of his mother?" Where an unestablished fact is established by equating it with established facts, / that smooth and punning \[device\] possessing manifold meanings is called 'elegance' (śobhā). As in the first act of the Ratnāvalī: Yaugandharāyaṇa: "Bringing someone from another island, from the midst of the ocean, or even from the edge of the quarter of the sky, / Fate, having turned favorable, unites them instantly. / Otherwise, where is the reaching of a plank in the ocean by the daughter of the king of Siṃhala, sought in marriage out of faith in an ascetic's prediction, when the ship was wrecked, and where is her rescue in that condition by a merchant of Kauśāmbī returning from Siṃhala, and her bringing here through recognition of the ornament of a jeweled necklace? In every way, fortunes smile upon our master." In this context: Because of an exhibition through a sentence endowed with an equivalent meaning, / facts are established by the skillful: that is commemorated as 'illustration' (udāharaṇa). > — English (machine translation) (machine translation) ### [9.p1.4](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.4) 12.167 yathā ratnāvalyāṃ, dvitīye'ṅke, rājā vidūṣakaśca śārikāvacanaṃ niśamayataḥ| tato vidūṣakaḥ --- (ākāśe) kiṃ āprāraṇe kuppasi| jādiso tue ayaṃ kāmadevo ālihido tādisī mae rai ālihidetti| bho vaassa, kiṃ ṇedaṃ| \[kiṃ akāraṇe kupyasi| yādṛśastvayāyaṃ kāmadeva ālikhatistādṛśī mayā ratirālikhiteti| bho vayasya, kiṃ nvidam?\] 12.168 rājā --- vayasya, evaṃ tarkayāmi| kayāpi hṛdayavallabho'nurāgādabhilikhya kāmapadevavyapadeśena nihnutastatsakhyāpi pratyabhijñāya vaidagdhyātpratibhandānayā sāpi tatraiva likhiteti| yatprayojanasāmarthyādvākyamiṣṭārthasādhakam| samāsoktamanogrāhi sa heturiti saṃjñitaḥ || 12.169 yathā ratnāvalyāṃ, dvitīye'ṅke, vidūṣakaḥ --- saccaṃ sabāmi bamhasutteṇa jai kadāvi amherhi īdisī diṭhṭhapuvvā| \[satyaṃ śape brahmasūtreṇa yadi kadāpyasmābhirīdṛśī dṛṣṭapūrvā|\] 12.170 kāñcanamālā --- bhaṭṭiṇi, kadāvi īdisaṃ ghuṇakkhadaṃ vi saṃbhavadi evva| \[bhaṭṭiṇi, kadāpīdṛśaṃ ghuṇākṣaraṃ saṃbhavatyeva|\] 12.171 vāsavadattā --- ayi ujue,pa vasattao eso ṇa āṇāsi| edaṃ savvaṃ ka bhaṇidīo| (ayi ṛjuke, vasantavaka eṣo na jānāsi| etatsarvaṃ bhaṇasi kiṃ ?) aparijñātatattvārthaṃ yatra vākyaṃ samāpyate| so'nekatvādvicārāṇāṃ saṃśayaḥ parikīrtitaḥ || yathā ratnāvalyāṃ, caturthe'ṅke, vasubhūtiḥ --- (sāgarikāṃ nirvarṇya) susadṛśīyaṃ rājaputryāḥ| bābhravyaḥ --- mamāpyetadeva manasi vartate| .... yastu vakṣyārthasādhakaḥ| hetornidarśanakṛta ssa dṛṣṭānta iti smṛtaḥ || > 12.167 As in the Ratnāvalī, in the second act, the King and the Vidūṣaka hear the words of the starling. Then the Vidūṣaka: '(In the air) Why do you get angry without cause? Just as you drew this Kāmadeva, so I have drawn Rati.' Friend, what is this now? \[Why do you get angry without cause? Just as this Kāmadeva was drawn by you, so Rati was drawn by me. Friend, what indeed is this?\] > 12.168 The King: 'Friend, I guess thus: having drawn her beloved out of passion, she concealed it under the pretext of Kāma; her female friend too, recognizing him, cleverly drew her right there to match.' > When a statement, through the force of its purpose, establishes a desired object and captivates the mind by concise expression, that is designated as Reason (hetu). > 12.169 As in the Ratnāvalī, in the second act, the Vidūṣaka: 'I swear by my sacred thread truly if any such woman was ever seen before by us.' > 12.170 Kāñcanamālā: 'Mistress, sometimes even such a worm-bitten letter \[an accidental coincidence\] does happen.' > 12.171 Vāsavadattā: 'O simple girl, this is Vasantaka, do you not know? Why do you say all this?' > Where a statement ends with its true meaning unascertained, that, owing to the multiplicity of deliberations, is proclaimed to be Doubt (saṃśaya). > As in the Ratnāvalī, in the fourth act, Vasubhūti: '(Looking closely at Sāgarikā) This girl closely resembles the princess.' > Bābhravya: 'The very same thought is in my mind.' > ... But that which establishes the sense to be stated, made as an illustration of the reason, is remembered as Exemplification (dṛṣṭānta). > — English (machine translation) (machine translation) ### [9.p1.5](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.5) 12.172 yathā ca veṇīsaṃhāre, prathame'ṅke, ceṭī --- ai jaṇṇaseṇi pañca gāmā pathīantitti suṇīadi kīsa dāṇīṃ vi de kesā ṇa saṃjamīanti| (ayi yājñaseni pañcagrāmāḥ prārthyanta iti śrūyate| tatkasmādidānīmapi te keśā na saṃyamyante|) bhīmasenaḥ --- sahadeva, śrutam| sahadevaḥ --- ārya kimihocyate| duryodhanakalatraṃ hi sā| paśya| strīṇāṃ hi sāhacaryādbhavanti cetāṃsi bhartṛsadṛśāni| madhurāpi hi mūrcchayate viṣaviṭapisamāśritā vallī || iti| .... .... jānīyāllakṣaṇaṃ nāṭakāśrayam || yathā ratnāvalyāṃ, tṛtīye'ṅke, kadalīgṛhe citragatāṃ sāgarikāṃ nirvarṇayati rājani, 12.173 vidūṣakaḥ --- bho vaassa, kīsa uṇa esā oṇadamuhī ālihidā| \[bho vayasya, kasmātpunareṣā avanatamukhyālikhitā ? (etacchrutvā''ha susaṅgatā) sahi, jaha ayyavasantio maṃtedi taha takkemi bhaṭṭiṇāvi iha evva hovadavvaṃti| \[sakhi, yathā vasantako tarkayate tathā tarkayāmi bhartrāpyatraiva bhavitavyam| abhūtapūrvo'pyartho yassādṛśyātparikalpitaḥ| lokasya hṛdayagrāhī so'bhiprāpaya iti smṛtaḥ || yathā mudrā vedevilīeye --- .... .... dīvaravanam| tatassnānakīḍājanitajaḍabhāvairavayavaiḥ kadācinmuñceyaṃ madanaśikhipīḍāparibhavam || yatrārthānāṃ prasiddhānāṃ kriyate parikīrtanam| parāpekṣāvyudāsārthaṃ tannidarśanamucyate || 12.174 yathā mālatīmādhave, kāmandakī --- ayi sarale, kimatra bhagavatyā śakyam| prabhavati prāyaḥ kumārīṇāṃ janayitā daivaṃ ca| yacca kila, kauśikī śakuntalā duṣyantamapsarāḥ purūravasaṃ cakame ūrvaśītyākhyānavida ācakṣatetyādi tadapi sāhasakalpamityanupadeṣṭavyameveti| > 12.172 And as in the Veṇīsaṃhāra, in the first act, the Maidservant: 'O Yājñasenī, it is heard that five villages are being requested; why then are your braids still not tied up?' > Bhīmasena: 'Sahadeva, did you hear?' > Sahadeva: 'Noble brother, what can be said here? For she is Duryodhana's wife. Look: > For the minds of women become like their husbands from association; / for even a sweet vine, clinging to a poisonous tree, produces intoxication.' > ... One should know the dramatic characteristic belonging to drama. > As in the Ratnāvalī, in the third act, in the plantain-bower, while the King observes Sāgarikā in the painting, > 12.173 The Vidūṣaka: 'Friend, but why is she painted with a downcast face?' > \[Hearing this, Susaṅgatā says:\] 'Friend, as the noble Vasantaka surmises, so I guess the master must also be right here.' > When an unprecedented matter is conceived through resemblance and captivates the hearts of the world, that is remembered as Intended Conception (abhiprāya). > As in the Mudrā\[rākṣasa\] ... > '... the water lily grove. Then, with limbs numbed by the sport of bathing, I might perhaps cast off the oppression and torment of the fire of love.' > Where the recitation of well-known facts is made to dismiss dependence on another, that is called Illustration (nidarśana). > 12.174 As in the Mālatīmādhava, Kāmandakī: 'O simple girl, what can the venerable lady do here? Mostly, the father and destiny have power over young girls. And as for what storytellers relate, namely, that the Kauśikī maiden Śakuntalā loved Duṣyanta, and the apsaras Urvaśī loved Purūravas, even that is almost reckless and surely not to be advised.' > — English (machine translation) (machine translation) ### [9.p1.6](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.6) niravadyasya śakyasya pūrvoktārthaprasiddhaye| yudacyate tu vacanaṃ niruktaṃ tadudāhṛtam || 12.175 yathābhijñānaśākuntale, priyaṃvadā -- halā sauṃdale iha evva dāva muhuttaaṃ ciṭhṭha| tue samīpaṭṭhidāe ḷadāsaṇāho via aaṃ kesararukkhao paḍibhāi| \[sakhi śakuntale, atraiva tāvat muhūrtaṃ tiṣṭha| yāvattvayā upagatayā latāva sanātha iva kesaravṛkṣaḥ pratibhāti|\] śakuntalā --- ado khu si piaṃvadā| (ataḥ khalu tvaṃ priyaṃvadā|) rājā --- priyamapi tathyamāha| adharaḥ kisalayarāgaḥ komalaviṭapānukāriṇau bāhū| kusumamiva lobhanīyaṃ yauvanamaṅgeṣu sannaddham || bahūnāṃ tu pradhānānāṃ nāma yatrābhikīrtyate| abhipretārthasidhdyarthaṃ sā siddhiriti kīrtitā || yathā ratnāvalyāṃ, caturthe'ṅke, rājā --- kvāsau jalaṃ hutavahastadavasthametadantaḥpuraṃ kathamavantinṛpātmajeyam| bābhravya eṣa vasubhūtirayaṃ vayasyassvapne matirbhramati kintvidamindrajālam || sidvānbahūnpradhānārthānuktvā yatra prayujyate| viśeṣa .... || yathā abhijñānaśākuntale --- prāṇānāmanilena vṛttirucitā satkalpavṛkṣe vane toye kāñcanapadmareṇukapiśe puṇyābhiṣekakriyā| dhyānaṃ ratnaśilātaleṣu vibudhastrīsannidhau saṃyamo yadvāñchanti tapobhiranyamunayastasmiṃstapasyantyamī || guṇābhidhānairvividhai rviparītārthayojitaiḥ| guṇātipāto madhurairniṣṭhurārthai rbhavetsphuṭam || yathottararāmacarite, lavaḥ -- rāmamuviṣaye, vandyāste hyavicāraṇīyacaritāstiṣṭhantu kiṃ varṇyate sundastrīnidhane'pyakhaṇḍayaśaso loke mahānto hi te| yāni trīṇi kutomukhānyapi padānyāsankharāyodhane yadvā kauśalamindrasūnudamane tatrāpyabhijño janaḥ || > A statement which is uttered regarding a faultless and feasible matter to establish a previously stated sense is cited as Etymological Explanation (nirukta). > 12.175 As in the Abhijñānaśākuntala, Priyaṃvadā: 'Friend Śakuntalā, stay right here for a moment. With you standing near, this kesara tree appears as though endowed with a creeper.' > Śakuntalā: 'Therefore, indeed, you are Priyaṃvadā (speaking pleasant words).' > The King: 'Though sweet, she speaks the truth: > Her lower lip has the glow of a sprout, her two arms imitate tender branches; / youth, enticing like a flower, is arrayed in her limbs.' > Where the name of many principal entities is mentioned to achieve an intended purpose, that is proclaimed as Realization (siddhi). > As in the Ratnāvalī, in the fourth act, the King: 'Where is that fire, that water, that state of this inner apartment? How is this the princess of Avanti? Here is Bābhravya, here is Vasubhūti, here is my friend. Does my mind wander in a dream, or what is this magical illusion?' > Where, after stating many established, prominent things, a distinction is applied ... > As in the Abhijñānaśākuntala: 'Maintenance of the vital breaths through air is customary, \[even though\] in a forest with true wishing-trees; the rite of sacred ablution takes place in water yellowed with the pollen of golden lotuses; / meditation is upon jeweled stone-slabs, self-restraint in the presence of celestial women; they practice austerities amid that which other sages desire through their austerities.' > When, by means of various descriptions of qualities applied to a contrary sense, harsh matters are made sweet, that is clearly Overstepping of Qualities (guṇātipāta). > As in the Uttararāmacarita, Lava \[speaking\] regarding Rāma: 'Revered are they indeed, whose deeds are beyond reproach; let them be, why describe them? For they are great in the world, whose fame was unbroken even in the slaying of the woman Sundā! / Those three steps, wherever directed, taken in the battle with Khara, or the skill in subduing the son of Indra—people are well acquainted with that too!' > — English (machine translation) (machine translation) ### [9.p1.7](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.7) bahūnguṇānkīrtayitvā sāmānyajanasambhavān| viśeṣaḥkīrtyate yastu jñeyasso'tiśayo budhaiḥ || yathā ratnāvalyāṃ, dvitīye'ṅke, rājā citralikhitāṃ sāgarikāṃ dṛṣṭvā''ha -- vidhāyāpūrvapūrṇendumasyā mukhamabhūddhruvam| dhātā nijāsanāmbhojavinimīlanadussthitaḥ || rūpa ... ... stulyatarkaḥ prakīrtitaḥ || yathottararāmacarite, rāmaḥ --- api janakasutāyāstacca taccānurūpaṃ sphuṭamiha śiśuyugme naipuṇonneyamasti| nanu punariva tanme gocarībhūtamakṣṇorabhinavaśatapatraśrīmadāsyaṃ priyāyāḥ || bahūnāṃ tu prayuktānāṃ padānāṃ bahubhiḥ padaiḥ| uccayassadṛśārtho yassa vijñeyaḥ padoccayaḥ || yathā ratnāvalyāṃ, prathame'ṅke, rājā vāsavadattāṃ pratyāha --- kusumasukumāramūrtirdadhatī niyamena tanutaraṃ madhyam| ābhāti makaraketoḥ pārśvasthā cāpayaṣṭiriva || yathādeśaṃ yathākālaṃ yathāpātraṃ ca varṇyate| yatpratyakṣaṃ parokṣaṃ vā diṣṭaṃ tadvarṇako'pi vā || yathā rāghavānande--- aṅke nyasyottamāṅgaṃ plavagabalapateḥ pādamakṣasya hantuḥ kṛtvotsaṅge salīlaṃ tvaci kanakamṛgasyāṅgaśeṣaṃ nidhāya| bāṇaṃ rakṣaḥkulaghnaṃ praguṇitamanujenādarāttadīkṣṇamakṣṇaḥ koṇenāvekṣamāṇastvadanujavacane dattakarṇo'yamāste || parigṛhyatu śāstrārthaṃ yadvākyamabhidhīyate| vidvanmanoharaṃ svantamupadiṣṭaṃ prakīrtyate || yathā śākuntale --- śuśrūṣasva gurūn kuru priyasakhīvṛttiṃ sapatnījane bharturviprakṛtāpi roṣaṇatayā māsma pratīpaṃ gamaḥ| bhūyiṣṭhaṃ bhava dakṣiṇā parijane bhāgyeṣvanutsekinī yāntyevaṃ gṛhiṇīpadaṃ yuvatayo vāmāḥ kulasyādhayaḥ || pūrvāśayasamānārthairapratyakṣārthasādhanaiḥ| > When, after mentioning many qualities common to ordinary people, a distinction is described, that should be recognized by the wise as \*atiśaya\* (hyperbole / preeminence). > As in the second act of the \*Ratnāvalī\*, the king, having seen Sāgarikā drawn in a picture, says: > “Surely, by fashioning her face as a unique full moon, > the Creator became ill at ease from the closing of the lotus of his own seat!” > \[...\] > ... is proclaimed as \*tulyatarka\* (congruent conjecture). > As in the \*Uttararāmacarita\*, Rāma says: > “Indeed, in this pair of children there clearly is that and that resemblance to the daughter of Janaka, discoverable by careful observation; > is it not that the face of my beloved, possessing the splendor of a fresh hundred-petaled lotus, has once again become visible to my eyes?” > When many words of identical meaning are used through multiple terms, that collection should be known as \*padoccaya\* (accumulation of words). > As in the first act of the \*Ratnāvalī\*, the king says to Vāsavadattā: > “Having a form delicate as a flower, bearing by rule a slender waist, > she shines forth standing beside me, like the bow of the fish-bannered Kāma.” > Whatever is described according to place, time, and character, whether visible or invisible, is called \*diṣṭa\* (instruction) or \*varṇaka\* (depiction). > As in the \*Rāghavānanda\*: > “Resting his head upon the lap of the lord of the monkey army, playfully placing his foot upon the lap of the slayer of Akṣa, resting the remainder of his body upon the hide of the golden deer, > looking out of the corner of his eye with respect at the arrow that destroys the race of demons, made ready by his younger brother, this \[Rāma\] sits listening intently to the words of your younger brother.” > A statement that is spoken having adopted an authoritative meaning of scripture, charming to the minds of the wise and beneficent, is proclaimed as \*upadiṣṭa\* (counsel). > As in the \*Śākuntala\*: > “Serve your elders; treat your cowives as dearest friends; > even if wronged by your husband, do not act contrary out of anger; > be most gracious toward your attendants; be not haughty in your fortunes; > thus young women attain the status of housewife; those of opposite conduct are the torment of the family.” > Possessed of multiple expedients, establishing an unperceived object by means of things corresponding to a prior intention, > — English (machine translation) (machine translation) ### [9.p1.8](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.8) anekopāyasaṃyukto vicāraḥ parikīrtitaḥ || yathottararāmacarite, lavacandraketū parasparaṃ sasnehānurāgaṃ nirvarṇya, nijo vā sambandho na vidhivaśātkopavidito mayā tasmindṛṣṭe hṛdayamavadhānaṃ racayati || vicārasyānyathābhāvastathādiṣṭopadiṣṭayoḥ| sandehājjāyate yatra sa vijñeyo viparyayaḥ || 12.176 yathā ratnāvalyāṃ, tṛtīye'ṅke, vāsavadattā --- haḷā kaṃcaṇamāle, saccaṃ jevva maha vesadhāriṇī bhavia sāariā ayyauttaṃ ahisarissadi| \[hañje kāñcanamāle ! satyameva mama veṣadhāriṇī bhūtvā sāgarikā āryaputraṃ abhisariṣyati|\] 12.177 kāñcanamālā --- kadhaṃ aṇṇadhā bhaṭṭiṇīe ṇivedīadi| ahavā cittasālīādavāre uvaviṭṭo vasaṃtao evva de paccaaṃ uppādaissadi| \[kathamanyathā bhartryai nivedyate| athavā citraśālikādvāra upaviṣṭo vasantaka eva te pratyakṣamutpādayiṣyati|\] (tataḥ praviśati kṛtāvakuṇṭhano vasantakaḥ.) 12.178 vasantakaḥ --- jaha aaṃ cittasāliāduvāre padasaddo suṇīadi taha takkemi āadā sāariātti| \[yathāyaṃ citraśālikādvāre padaśabdaḥ śrūyate tathā tarkayāmyāmyāgatā sāgariketi|\] 12.179 kāñcanamālā --- bhaṭṭiṇi, iyaṃ sā cittaśāliā| tā jāva vasaṃtaassa saṇṇaṃ karemi| (bhartri, iyaṃ sā citraśālikā| tadyāvadvasantakasya saṃjñāṃ karomi|) iti choṭikāṃ dadāti| 12.180 vidūṣakaḥ -- (upasṛtya apavārya), susaṅgade susariso khu tue kido kaṃcaṇamālāe veso sāariā evva vāsavadatteti| (susaṅgate, sadṛśaḥ khalu tvayā kṛtaḥ kāñcanamālāyā veṣaḥ sāgarikā eva vāsavadatteti|) yathā cātraivāgrataḥ --- 12.181 vidūṣakaḥ --- (sasambhramaṃ, dṛṣṭvā) bho vaassa, parittāahi parittāahi| > it is proclaimed as \*vicāra\* (deliberation). > As in the \*Uttararāmacarita\*, Lava and Candraketu, gazing at each other with affection and love, \[say:\] > “Is it an innate connection, or through the power of destiny an unknown one? When I look upon him, my heart directs its attention toward him.” > Where, through doubt, an alteration of deliberation, as well as of what was instructed (\*diṣṭa\*) and counseled (\*upadiṣṭa\*), occurs, that should be recognized as \*viparyaya\* (reversal / erroneous transformation). > As in the third act of the \*Ratnāvalī\*, Vāsavadattā says: > “Friend Kāñcanamālā, is it really true that Sāgarikā, having assumed my dress, will rendezvous with my husband?” > Kāñcanamālā: > “How could it be reported otherwise to the queen? Or rather, Vasantaka, seated at the door of the picture gallery, will produce certainty for you.” > (Then enters Vasantaka, veiled.) > Vasantaka: > “Just as the sound of footsteps is heard at the door of the picture gallery, so I infer that Sāgarikā has arrived.” > Kāñcanamālā: > “Queen, this is that picture gallery. So let me give a sign to Vasantaka.” Saying this, she snaps her fingers. > The Vidūṣaka (approaching, aside): > “Susaṅgatā, you have made Kāñcanamālā's dress very similar: Sāgarikā is Vāsavadattā herself!” > And as further ahead in the very same play: > The Vidūṣaka (in agitation, looking): > “Ah, friend, protect her, protect her! > This is Queen Vāsavadattā! She is killing herself by hanging!” > — English (machine translation) (machine translation) ### [9.p1.9](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.9) esā khu devī vāsavadattā| attāṇaṃ ubbaṃdhia vāvādeti| (bho vayasya, paritrāyasva paritrāyasva| eṣā khalu devī vāsavadattā ātmānamudbadhya vyāpādayati|) rājā --- (sasambhramamupasṛtya) vayasya, kvāsau ? vidūṣakaḥ --- bho esā| (bho eṣā|) rājā --- (upasṛtya, kaṇṭhātpāśamapanayan) ayi sāhasakāriṇi, kimidamakāryaṃ kriyate ? mama kaṇṭhagatāḥ prāṇāḥ pāśe kaṇṭhagate tava| atassvārthaprayatno'yaṃ tyajyatāṃ sāhasaṃ priye || ... riṣṭādibhiranekadhā| anyasminneva patanādāgu bhraṃśassa ucyate || yathā ca veṇīsaṃhāre, dvitīye'ṅke, duryodhanaḥ -- sahabhṛtyagaṇaṃ sabāndhavaṃ sahamitraṃ sasutaṃ sahānujam| sabalena nihanti saṃyuge na cirātpāṇḍusuta ssuyodhanam || kañcukī --- (karṇau pidhāya, sabhayaṃ) śāntaṃ pāpam| pratihatamamaṅgaḷam| rājā -- (duryodhanoktaṃ paṭhitvā) tadetadviparītamabhihitaṃ devena| 12.182 rājā --- vinayandhara, adya khalu bhānumatī yathāpūrvaṃ māmanāmantrya vāsabhavanātprātareva niṣkrānteti vyākṣiptaṃ me mana iti| ubhayoḥ prītijanano viruddhābhiniveśayoḥ| arthasya sādhakaścaiva vijñeyo'nunayo budhaiḥ || 12.183 yathā ratnāvalyām, tṛtīye'ṅke, rājā sāgarikāvṛttāntāparādhe vāsavadattāyāḥ puro baddhāñjalistāmanunayannāha --- priye vāsavadatte devi, evamapi pratyakṣadṛṣṭavyalīkaḥ kiṃ bravīmi ? tathāpi vijñāpayāmi| ātāmratāmapanayāmi vivarṇa eṣa lākṣākṛtāṃ caraṇayostava devi mūrdhnā| kopoparāgajanitāṃ tu mukhendubimbe hartuṃ kṣamo yadi paraṃ karuṇā mayi syāt || abhipretārthasidhdyarthaṃ kīrtyate yatra sūribhiḥ| prayojanānyanekāni sā māletyabhisaṃjñitā || > The King (approaching in agitation): > “Friend, where is she?” > The Vidūṣaka: > “Ah, here she is!” > The King (approaching, removing the noose from her neck): > “Ah, rash woman, why is this improper deed being done? > My vital breaths are in my throat when the noose is at your throat; > therefore abandon this effort at self-interest, abandon this rashness, my beloved!” > \[... through portents\] and so forth in many ways, > by falling upon another person suddenly, it is called \*bhraṃśa\* (slip / lapsus). > And as in the second act of the \*Veṇīsaṃhāra\*, Duryodhana says: > “Together with his host of servants, together with his kinsmen, together with his friends, with his son, with his younger brother, > and with his army, the son of Pāṇḍu will soon slay Suyodhana in battle!” > The Chamberlain (covering his ears, in fear): > “May evil be appeased! May misfortune be averted!” > The King (reciting what was spoken by Duryodhana): > “Indeed, this was spoken reversely by His Majesty.” > The King: > “Vinayandhara, today indeed Bhānumatī departed from the bedchamber early in the morning without bidding me farewell as usual; thus my mind was distracted.” > Producing affection in both parties who have conflicting attitudes, > and achieving an objective, is to be known by the wise as \*anunaya\* (placation / conciliation). > As in the third act of the \*Ratnāvalī\*, the king, at the offense concerning Sāgarikā's affair, folding his hands before Vāsavadattā, says in placation to her: > “Beloved Queen Vāsavadattā, even though my falsehood was seen firsthand, what can I say? Yet I make this petition: > Turning pale, I remove with my head the reddishness of the lac made upon your feet, O Queen; > but if there were supreme compassion toward me, I would be able to remove \[the redness\] born of the eclipse of anger upon the moon of your face.” > Where multiple purposes are mentioned by the wise to achieve a desired end, that is named \*mālā\* (garland / series). > — English (machine translation) (machine translation) ### [9.p1.10](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.10) yathā mālatīmādhave makarando mālatīmuddinapaśya kāmandakīṃ prati, bhagavati, ślāghyānvayeti nayanotsavakāriṇīti nirvyūḍhasauhṛdamayīti guṇojvaleti| ekaikameva hi vaśīkaraṇaṃ garīyo yuṣmākamevamiyamityatha kiṃ bravīmi || hṛṣṭaiḥ prasannavadanairyatparasyānupādhikā| .... dākṣiṇyamudāhṛtam || 12.184 yathā ratnāvalyāṃ, dvitīye'ṅke, vāsavadattā --- (vidūṣakamuddiśya), ayya mama uṇa edaṃ cittra pekkhia sīsaveaṇā samuppaṇā| tā gamissaṃ ahaṃ| (ārya, mama punaridaṃ citraṃ prekṣya śīrṣavedanā samutpannā| tadgamiṣyāmyaham|) rājā --- vāsavadattāṃ paṭānte gṛhītvā, priye prasīdeti brūyāmidamasati kope na ghaṭate kariṣyāmyevaṃ nāṃ punariti bhavedabhyupagamaḥ| na me doṣo'stītitvamidamapica jñāsyasi mṛpā kimetasminvaktuṃ kṣamamiti na vedmi priyatame || vidūṣakaḥ --- bhodi pasīda| (bhavati, prasīda|) 12.185 vāsavadattā --- ajjautta, mā aṇṇadhā saṃbhavehi| saccaṃ evva me sīsaveaṇā samuppaṇā| tā gamissaṃ| (āryaputra, mā'nyathā sambhāvaya| satyaṃ me śīrṣavedanā samutpannā| tadgamiṣye) iti niṣkrāntā saparivārā vāsavadattā| 12.186 vidūṣakaḥ --- bho diṭhṭhiā vaḍhḍhase kkhemeṇa adikkantā vāsavadattā aālabādaliā via| \[bhoḥ, diṣṭyā vardhase kṣemeṇātikrāntā vāsavadattā'kālabādalikaiva|\] rājā --- mūrkha, alaṃ parihāsena| ābhijātyādvinigūḍho na lakṣitastvayā kopo devyāḥ| bhrūbhaṅge sahasodgate'pi vadanaṃ nītaṃ parāṃ namratā- mīṣanmāṃ prati bhedakāri hasitaṃ noktaṃ vaco niṣṭhuram| antarbāṣpajaḍīkṛtaṃ prabhutayā cakṣu rna niṣphāritaṃ kopaśca prakaṭīkṛto dayitayā muktaśca na praśrayaḥ || > As in the Mālatīmādhava, Makaranda, looking towards Mālatī, \[says\] to Kāmandakī: / "Venerable lady, that she is of praiseworthy lineage, that she brings delight to the eyes, / that she is full of enduring friendship, that she is radiant with virtues— / any one of these alone is indeed a mighty means of winning \[a heart\]; / what then can I say of her, who is such to you?" / When, with joyful and serene faces, unconditioned \[...\] of another / \[...\] is exemplified as courtesy (dākṣiṇya). \[12.184\] / As in the Ratnāvalī, in the second act: / Vāsavadattā (turning to the Vidūṣaka): "Noble sir, but from seeing this painting, a headache has arisen in me; so I shall depart." / The King (taking Vāsavadattā by the hem of her garment): / "'My beloved, be pleased,' should I say this? It does not fit where there is no anger. / 'I will not do so again,' this would be an admission of guilt. / 'I have committed no fault,' this too you will know to be false. / I do not know what is fitting to say in this \[matter\], O dearest one." / Vidūṣaka: "Lady, be pleased." \[12.185\] / Vāsavadattā: "Noble son, do not think otherwise; truly a headache has arisen in me, so I shall depart." (Exit Vāsavadattā with her retinue.) \[12.186\] / Vidūṣaka: "Well done, by good fortune you prosper! Vāsavadattā has passed away peacefully, like an untimely storm-cloud!" / The King: "Fool, enough with joking! Out of noble birth, the Queen's anger was concealed and not noticed by you: / Though a knitting of her brow suddenly arose, her face was brought to extreme modesty; / a smile slightly cutting towards me \[was made, but\] no harsh word was spoken; / her eye, chilled with inward tears, was not rolled wide through her authority; / anger was manifested by my beloved, and yet propriety was not abandoned." > — English (machine translation) (machine translation) ### [9.p1.11](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.11) yatra saṅkīrtayeddoṣaṃ guṇamarthena darśayet| guṇātipātāddoṣādvā garhaṇaṃ nāma tadbhavetu || yathā cottararāmacarite, candraketuḥ --- sainikairabhiyujyamānaṃ lavamuddiśya, bho bho rājānaḥ, saṃkhyātītai rdviradaturagasyandanasthaiḥ padātāvatraikasminkavacanibiḍairnaddhacarmottarīye| kālajyeṣṭhairaparavayasi vyātikāmai rbhavadbhiryo'sau baddho yudhi samabharastena dhigvo dhigasmān || katha ... nyo'rthaḥ pratīyate| vākyamādhuryasampannā sārthāpattirudāhṛtā || yathā rāghavānande, kumbhakarṇo rāvaṇamuddiśyāha --- rāmo'yaṃ jagatīha vikramaguṇairyātaḥ prasiddhiṃ parā- masmadbhāgyaviparyayādyadi paraṃ devo na jānāti tam| bandī vaiṣa yaśāṃsi gāyati marudyasyaikabāṇāhati- śreṇībhūtaviśālatālavivarodgīrṇai ssvaraissaptabhiḥ || vākyaissātiśayairyattu ... | lokaprasiddhairbahubhiḥ prasiddhiriti kīrtitā || yathā mahāvīracarite, rāmaḥ paraśurāmamuddiśyāha --- utpattirjamadagnitaḥ sa bhagavāndevaḥ pinākī guruḥ vīryaṃ yattu na tadgirāṃ pathi nanu vyaktaṃ hi tatkarmabhiḥ| tyāgassaptasamudramudritamahīnirvyājadānāvadhi- rbrahmakṣatrataponidherbhagavataḥ kiṃ vā na lokottaram || yatrākārodbhavairvākyairātmānamathavā param| pṛcchannivābhidhatte .... || yathā mahāvīracarite, hanūmān sītāṃ dṛṭvā āha -- sthāne'vasīdasi raghūdvaha kiṃ vidhātarasyāstvayekṣitamalakṣaṇamaṅgakeṣu| adyāpi jīvasi daśānana he hanūman keyaṃ tavābhimukhavartiripoḥ pratīkṣā || dṛṣṭaśrutādibhūtārthakathanādisamudbhavam| sādṛśyaṃ kṣobhajananaṃ sārūpyamiti saṃjñitam || > Where one proclaims a fault \[and yet\] indicates virtue by implication, / whether arising from the transcendence of virtue or from a fault, that is called reproach (garhaṇa). / As also in the Uttararāmacarita, Candraketu \[says\], referring to Lava who is being attacked by soldiers: / "O kings! Mounted on countless elephants, horses, and chariots, / against a single foot-soldier here, who wears armor closely tied with an upper garment of deerskin, / you who are elder in years, against one of tender age, longing to exchange blows— / by you this equal combat has been joined in battle; therefore fie on you, fie on us!" / When \[...\] another meaning is understood, / enriched with sweetness of expression, that is exemplified as presumption (arthāpatti). / As in the Rāghavānanda, Kumbhakarṇa says, referring to Rāvaṇa: / "This Rāma in the world has attained supreme renown by his virtues of valor; / if due to a reversal of our fortune alone, the King does not know him, / verily the Wind serves as his bard singing his praises, / with the seven musical notes vomited forth through the apertures of the giant palm trees struck in a row by a single arrow of his!" / But that which \[is expressed\] with sentences full of hyperbole \[...\] / through many things well-known in the world, is proclaimed as renown (prasiddhi). / As in the Mahāvīracarita, Rāma says, referring to Paraśurāma: / "His birth is from Jamadagni; that venerable lord, the Wielder of the Pināka, is his teacher; / as for his valor, indeed it is not within the path of words, for it is evident by his deeds; / his generosity has the unconditional gift of the earth bounded by seven oceans as its limit— / or what indeed is not transcendent in the venerable lord, the storehouse of asceticism of Brahmins and Kṣatriyas?" / Where, through sentences born of physical demeanor, towards oneself or another, / as if inquiring, one declares \[...\]. / As in the Mahāvīracarita, Hanūmān, having seen Sītā, says: / "Fittingly do you waste away, O scion of Raghu! O Creator, what inauspicious mark was seen by you on her limbs? / Do you still live, O ten-faced one? O Hanūmān, what is this expectation of yours regarding an enemy standing before you?" / Arising from the narration and so forth of facts seen, heard, and the like, / a similarity producing emotional agitation is known as correspondence (sārūpya). > — English (machine translation) (machine translation) ### [9.p1.12](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.12) 12.187 yathā veṇīsaṃhāre, duryodhanena bhīmārjunau hatāviti cārvākādākarṇya śokāccitāpraveśaṃ abhilaṣati sadraupadīke yudhiṣṭhire, (nepathye kalakalānantaraṃ) bho bhoḥ syamantapañcakasañcāciṇaḥ kṣatajāsavamattayakṣarākṣasapiśācabhūtavetālakaṅkajambukolūkavāyasabhūyiṣṭhā viralayodhapuruṣāḥkṛtamasmaddarśanatrāsena| kathayata kasminnuddeśe yājñasenī saṃnihiteti| kathayāmyupalakṣaṇaṃ tasyāḥ| ūrū kareṇa parighaṭṭayatassalīlaṃ duryodhanasya purato'pahṛtāmbarā yā| duḥśāsanena kacakarṣaṇabhinnamaulissā draupadī kathayata kva punaḥ pradeśe || kañcukī --- hā devi yajñavedisaṃbhave, paribhūyase saṃpratyanātha kurukulakalaṅkena| 12.188 yudhiṣṭhiraḥ --- (sasaṃbhramamutthāya) devi yājñaseni, na bhetavyaṃ na bhetavyam| kaḥ ko'tra bhoḥ saniṣaṅgaṃ me dhanurupānaya| durātmanduryodhanahataka āgacchāgaccha| apanayāmi te gadākauśalasaṃbhṛtaṃ bhujadarpaṃ śilīmukhāsāreṇa| anyacca re kurukulāṅgāra, priyamanujamapaśyaṃstaṃ jarāsandhamallaṃ kupitaharakirātāyodhinaṃ taṃ ca vatsam| tvamiva kaṭhinacetāḥ prāṇituṃ nāsmi śakto nanu punarapahartuṃ bāṇavarṣaistavāsūn || (tataḥ praviśati yathānirdiṣṭo bhīmasenaḥ|) bhīmasenaḥ --- bho bhoḥ syamantapañcakasaṃcāriṇaḥ sainikāḥ ko'yamāvegaḥ| nāhaṃ rakṣo na bhūto ripurudhirajalaplāvitāṅgaḥ prakāmaṃ nistīrṇorupratijñājalanidhigahanaḥ krodhanaḥ kṣatriyo'smi| bho bho rājanyavīrāḥ samaraśikhiśikhādagdhaśeṣāḥ kṛtaṃ va- strāsenānena līnairhatakarituragāntarhitairāsyate yat || kathayantu bhavantaḥ kasminnuddeśe pāñcālī tiṣṭhati| kañcukī --- devi pāṇḍusnuṣe, uttiṣṭhottiṣṭha| > \[12.187\] As in the Veṇīsaṃhāra, when Yudhiṣṭhira, having heard from Cārvāka that Bhīma and Arjuna were slain by Duryodhana, desires to enter the funeral pyre together with Draupadī, / (behind the curtain, after a tumultuous uproar): / "Ho, ho, wanderers of the Syamantapañcaka field, crowded with yakṣas, rākṣasas, piśācas, bhūtas, and vetālas drunk on the liquor of blood, and with herons, jackals, owls, and crows, where warriors are few! Enough of fear at the sight of me! / Tell me, in what place is the daughter of Yajñasena present? / I will state her identifying mark: / She whose clothes were snatched away before Duryodhana, who was playfully slapping his thighs with his hand; / she whose crest was torn by Duḥśāsana's dragging of her hair—tell me, in what place again is that Draupadī?" / Chamberlain: "Alas, Queen born of the sacrificial altar, you are now humiliated, helpless, by the stain on the Kuru race!" / \[12.188\] Yudhiṣṭhira (rising in agitation): "Queen, daughter of Yajñasena, do not fear, do not fear! / Who, who is here? Bring my bow along with the quiver! / Vile wretch of a Duryodhana, come, come! / With a shower of arrows I shall take away the pride of your arms amassed by your skill with the mace! / And furthermore, O cinder of the Kuru race: / Not seeing that dear younger brother who wrestled Jarasandha, and that child who fought with the angry Hara as a Kirāta, / I am not able, being hard-hearted like you, to remain alive, / except indeed to snatch away your vital breaths with rains of arrows!" / (Then enters Bhīmasena as described.) / Bhīmasena: "Ho, ho, soldiers roaming the Syamantapañcaka field, what is this agitation? / I am no rākṣasa, nor a bhūta; / though my body is exceedingly drenched with the waters of enemy blood, / and I have crossed the deep ocean of a mighty vow, I am an irascible Kṣatriya! / Ho, ho, warrior kings remaining after being burnt by the flames of the fire of battle! Enough of this fear of yours, / on account of which you sit concealed, hidden behind slain elephants and horses! / Let you tell me in what place the princess of Pañcāla is staying!" / Chamberlain: "Queen, daughter-in-law of Pāṇḍu, arise, arise!" > — English (machine translation) (machine translation) ### [9.p1.13](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.13) draupadī -- (sahasotthāya) kahaṃ ṇa saṃbhāvemi ajjavi cidāsamīvam| \[ kathaṃ na saṃbhāvayāmyadyāpi citāsamīpam|\] 12.189 yudhiṣṭhiraḥ -- kaḥ ko'tra bhoḥ| saniṣaṅgaṃ dhanurupanaya| kathaṃ na kaścitparijanaḥ| bhavatu| bāhuyuddhenaiva durātmānaṃ gāḍhamāliṅgya jvalanamabhipātayāmi| (iti parikaraṃ badhnāti.) 12.190 kañcukī --- devi pāṇḍusnuṣe, saṃyamyantāmidānīṃ nayanoparodhino duḥśāsanāvakṛṣṭā mūrdhajāḥ| astamitā saṃprati pratīkārāśā| citāsamīpameva drutataraṃ saṃbhāvaya| yudhiṣṭhiraḥ --- kṛṣṇe, na khalvanihate tasmindurātmani duryodhane saṃhartavyāḥ keśāḥ| 12.191 bhīmasenaḥ -- pāñcāli, na khalu mayi jīvati saṃhartavyā duḥśāsanavilulitā veṇirātmapāṇibhyām| tiṣṭhatu tiṣṭhatu| svayamevāhaṃ saṃharāmi| (iti keśeṣu grahītumicchati|) yudhiṣṭhiraḥ --- (vegādbhīmamāliṅgya,) durātman bhīmārjunaśatro suyodhanahataka, āśaiśavādanudinaṃ janitāparādho matto balena bhujayorhatarājaputraḥ| āsādya me'ntaramidaṃ bhujapañjarasya jīvanprayāsi na padātpadamadya pāpa || bhīmasenaḥ --- aye kathamāryaḥ suyodhanaśaṅkyā krodhānnirdayaṃ māmāliṅgati| 12.192 kañcukī --- (nirūpya, saharṣaṃ) mahārāja vañcyase| ayaṃ khalvāyuṣmānbhīmasenaḥ suyodhanakṣatajāruṇīkṛtasakalaśarīrāmbaro durlakṣyavyaktiḥ| alamadhunā sandeheneti| hṛdayasthasya bhāvasya suśliṣṭārthaprakāśakam| anyāpadeśakathanaṃ manoratha iti smṛtaḥ || 12.193 yathā ratnāvalyāṃ dvitīvaye'ṅke, susaṅgatā --- sahi jassa kide tumaṃ āadā so aaṃ ciṭhṭhadi| \[sakhi, yasya kṛte tvamāgatā, so'yaṃ tiṣṭhati|\] sāgarikā -- (sāsūyaṃ), sahi kassa kide ahaṃ āadā ? > Draupadī: (Suddenly rising) How is it that even now I have not reached the vicinity of the pyre? \[12.189\] Yudhiṣṭhira: Who, who is here? Bring the bow with its quiver! How is there no servant at all? So be it. By wrestling alone, embracing the villain tightly, I shall cast him into the fire! (Thus he girds his loins.) \[12.190\] Chamber-attendant: Queen, daughter-in-law of Pāṇḍu, let your hair, dragged by Duḥśāsana and obstructing your eyes, be tied up now! At present the hope for retaliation has set. Go quickly to the vicinity of the pyre! Yudhiṣṭhira: Kṛṣṇā, your hair must certainly not be gathered up while that villain Duryodhana is not yet slain! \[12.191\] Bhīmasena: Princess of Pañcāla, while I live your braid, dishevelled by Duḥśāsana, must certainly not be tied up with your own hands! Hold on, hold on! I myself shall tie it up! (Thus he wishes to seize her hair.) Yudhiṣṭhira: (Violently embracing Bhīma,) Villain, enemy of Bhīma and Arjuna, wretched Suyodhana! Perpetrator of offenses from childhood day after day, intoxicated by the strength of your arms, killer of princely youths! Having entered this cage of my arms, you wicked one, you shall not go a step further today alive! Bhīmasena: Ah! How does the noble one, suspecting me to be Suyodhana, embrace me pitilessly out of fury? \[12.192\] Chamber-attendant: (Looking closely, with joy) Great king, you are mistaken! This is indeed the long-lived Bhīmasena, whose entire body and garments are reddened by Suyodhana's blood, his identity difficult to recognize. Enough of doubt now! Revealing an underlying feeling situated in the heart through an artfully double-entendre meaning, speech by way of indirect address is remembered as 'desire' (manoratha). \[12.193\] As in the Ratnāvalī, in the second act, Susaṅgatā: 'Friend, the one for whose sake you have come, here he stands.' Sāgarikā: (Indignantly) 'Friend, for whose sake have I come?' > — English (machine translation) (machine translation) ### [9.p1.14](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.14) \[sakhi, kasya kṛte'hamāgatā?\] susaṅgatā --- ai aṇṇasaṃkide, ṇaṃ cittaphalaassa| tā gehṇatam| \[ayi anyaśaṃkite, nanu citraphalakasya| tadgṛhāṇa tam|\] yadvākyaṃ vākyakuśalairupāyenābhidhīyate| sādṛśyārthābhiniṣpattyā sa leśa iti kīrtitaḥ || 12.194 yathā śākuntale sakhyau -- śakuntalāduṣyantayorākaraṃ viditvā, janāntikaṃ, haḷa sauṃdaḷe, jai ajja jādo saṇṇihido have| (sakhi śakuntale, yadyadya tātassannihito bhavet|) śakuntalā --- (saroṣaṃ) tado kiṃ bhave| (tataḥ kiṃ bhavet ?) 12.195 sakhyau --- imaṃ jīvitasavvasseṇavi adihiṃ kidatthikarissadi| (imaṃ jīvitasarvasvenāpyatithiṃ kṛtārthīkariṣyati|) 12.196 śakuntalā -- haḷā aveha| kiṃ vi hiae karia maṃteha| ṇavo vaaṇaṃ suṇissaṃ| (sakhyau apeta| kimapi hṛdaye kṛtvā mantrayethe| na vāṃ vacanaṃ śroṣyāmi|) paradoṣairvicitrārthai ryatrātmā parikīrtyate| aduṣṭo'nyo'pi vā kaścitsa tu kṣobha iti smṛtaḥ || yathā ratnāvalyāṃ, tṛtīye'ṅke, rājā --- (añjaliṃ badhvā) priye vāsavadatte prasīda| 12.197 vāsavadattā --- ajjautta, mā evvaṃ bhaṇa| aṇṇagadāiṃ edāiṃ akkhanarāiṃ| (āryaputra, mā evaṃ bhaṇa| anyagatānyetānyakṣarāṇi|) 12.198 vidūṣakaḥ --- bhodi, mahāṇubhāvā khu tumaṃ| tākhamīadu dāva ekko avarāho piavaassassa| \[bhavati, mahānubhāvā khalu tvam| tatkṣamyatāṃ etāvānaparādhaḥ priyavayasyasya|\] 12.199 vāsavadattā --- ajja vasantaa, ṇaṃ paḍhamasaṃgame vigdhaṃ karaṃtīe mae jevva edassa avaraddhaṃ| \[ārya vasantaka, nanu prathamasaṅgame vidhnaṃ kurvantyā mayaivaitasyāparāddham|\] kīrtyamānairguṇairyatra vividhārthasamudbhavaiḥ| > Susaṅgatā: 'O suspicious one, why, for the picture board's sake! So take it!' When a statement is made by clever speakers by means of an expedient device, accomplishing a similar meaning, that is proclaimed as 'allusion' (leśa). \[12.194\] As in the Śākuntala, the two female friends, having perceived the feeling between Śakuntalā and Duṣyanta, aside: 'Friend Śakuntalā, if father were present today—' Śakuntalā: (Angrily) 'Then what would happen?' \[12.195\] The two friends: 'He would satisfy this guest even with the all-in-all of his life!' \[12.196\] Śakuntalā: 'Friends, go away! Having something else in mind, you are whispering. I shall not listen to your talk.' Where oneself is proclaimed through the faults of others with manifold meanings, or someone else who is blameless \[is spoken of\], that is remembered as 'agitation' (kṣobha). As in the Ratnāvalī, in the third act, the King: (Folding his hands) 'Beloved Vāsavadattā, be gracious!' \[12.197\] Vāsavadattā: 'Noble lord, do not speak thus! These syllables are directed to someone else.' \[12.198\] Vidūṣaka: 'Lady, you are noble-minded indeed! Therefore, let this single offense of my dear friend be pardoned!' \[12.199\] Vāsavadattā: 'Noble Vasantaka, rather, it is I who have offended him by causing an obstacle in his first meeting!' Where, through qualities being praised that arise from diverse objects, > — English (machine translation) (machine translation) ### [9.p1.15](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1.15) doṣā na parikalpyante tajjñeyaṃ guṇakīrtanam || yathā ratnāvalyām, dvitīye'ṅke, rājā -- dṛṣṭiṃ ruṣā kṣipasi bhāmini yadyapīmāṃ snigdheyameṣyati tathāpi na rūkṣabhāvam| tyaktvā tvarāṃ vraja padaiḥ skhalitairayaṃ te khedaṃ gamiṣyati gururnitarāṃ nitambaḥ || pṛṣṭairapṛṣṭairathavā nirṇayaḥ paryavasthitaḥ| tadākhyānamiti jñeyaṃ lakṣaṇaṃ nāṭakāśrayam || 12.200 yathottararāmacarite, caturthe'ṅke, kausalyā -- ammahe edāṇaṃ majjheko eso rāmacaṃdakomāralaccīsāvaṭhṭhaṃbhehiṃ muddhaḷaḷidehiṃ aṃgehiṃ dārao amhāṇaṃ loaṇāiṃ sīaḷāvei| \[aho eteṣāṃ madhye ka eṣaḥ rāmacandrakaumāralakṣmīsāvaṣṭambhairmugdhalalitairaṅgairdārako'smākaṃ locane śītalayati|\] 12.201 arundhatī --- (apavārya, saharṣotkaṇṭhaṃ,) idaṃ tannāma yadbhāgīrathīniveditaṃ rahasyaṃ karṇāmṛtam| natvetat vidmaḥ kataro'yamāyuṣmatoḥ kuśalavayoriti| vāryamāṇāḥ subahubhirva ... yuktibhiḥ| nāryo yaṃ nānutiṣṭhanti so'bhimānaḥ prakīrtitaḥ || 12.202 yathā ratnāvalyāṃ, tṛtīye'ṅke, kāñcanamālā --- bhaṭṭiṇi karehi se pasādaṃ| eaṃ caraṇapaḍiaṃ mahārājaṃ ujjhia gadāe paccādāvena hodavvaṃ| (bhartri, kuruṣva asmai prasādam| evaṃ caraṇapatitaṃ mahārājamujjhitvā gatāyāḥ devyāḥ paścāttāpena bhavitavyam|) 12.203 vāsavadattā --- ai apehi apaṇḍite| kudo ettha pasādassa paccādāvassa vā kāraṇaṃ ? (ayi, apehi apaṇḍite| kuto'tra paścāttāpasya prasādasya vā kāraṇam ?) lābhopapattimākhyāya svayaṃ dūtamukhena vā| prārthyate yatra kanyādissā yācñetyabhidhīyate || > faults are not conceived of, that is to be known as 'proclamation of qualities' (guṇakīrtanam). As in the Ratnāvalī, in the second act, the King: 'Fierce lady, even if out of wrath you cast this look away, yet, affectionate, it will not become harsh. Renouncing your haste, walk with faltering steps; this heavy hip of yours will become exceedingly weary.' A conclusion established through asked or unasked \[questions\] is to be known as 'exposition' (tadākhyāna), a dramatic characteristic. \[12.200\] As in the Uttararāmacarita, in the fourth act, Kausalyā: 'Oh! In the midst of these, who is this boy who cools our eyes with tender and charming limbs displaying the poise of Rāmacandra's youthful splendour?' \[12.201\] Arundhatī: (Aside, with joy and longing) 'This is indeed that secret nectar to the ears disclosed by the Bhāgīrathī. Yet we do not know which of the two long-lived boys, Kuśa and Lava, this one is.' Being dissuaded by very many \[...\] reasons, that which women do not carry out is proclaimed as 'indignation' (abhimāna). \[12.202\] As in the Ratnāvalī, in the third act, Kāñcanamālā: 'Mistress, show favor to him! If you go away, abandoning the great king who has thus fallen at your feet, remorse will surely follow.' \[12.203\] Vāsavadattā: 'Ah, go away, foolish girl! Whence here is a cause for favor or remorse?' Where, having declared the attainment of an acquisition either in person or by the mouth of an envoy, a maiden or the like is requested, that is designated as 'solicitation' (yācñā). > — English (machine translation) (machine translation) _First 15 of 26 passages. [Read on](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.p1.1) — English, machine translation ## Linked texts (12) - [Nāṭyaśāstra](https://indike.org/pramana/in.art.natya.natyasastra.16.134) — Bharata, Sanskrit - [Rasārṇavasudhākara](https://indike.org/pramana/in.art.natya.rasarnavasudhakara.3.195.p3) — Siṃhabhūpāla, Sanskrit - [Veṇīsaṃhāra](https://indike.org/pramana/in.lit.plays.bharata.venisamhara.6.113) — Bhaṭṭa Nārāyaṇa, Sanskrit - [Saduktikarṇāmṛta](https://indike.org/pramana/in.lit.subhasita.subhasita.kosa.saduktikarnamrta.1.6.712) — Śrīdharadāsa, Sanskrit - [Subhāṣitaratnakoṣa](https://indike.org/pramana/in.lit.subhasita.subhasita.kosa.subhasitaratnakosa.36.11) — Vidyākara, 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 - [Śārṅgadharapaddhati](https://indike.org/pramana/in.lit.subhasita.subhasita.kosa.sarngadharapaddhati.155.15) — Śārṅgadhara, Sanskrit - [Alaṅkārasaṅgraha](https://indike.org/pramana/in.art.alamkara.sahitya.alankarasangraha.8.53) — Amṛtānandayogin, Sanskrit - [Alaṅkāramahodadhi](https://indike.org/pramana/in.art.alamkara.sahitya.alankaramahodadhi.5.192) — Narendraprabha, Sanskrit - [Bhāvaprakāśana](https://indike.org/pramana/in.art.natya.bhavaprakasana.p2440) — Śāradātanaya, Sanskrit - [Sāhityamīmāṃsā](https://indike.org/pramana/in.art.alamkara.sahitya.sahityamimamsa.3.p194) — Ruyyaka, Sanskrit --- Source: [https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1](https://indike.org/pramana/in.art.alamkara.rasa.srngaraprakasa.9.p1) · Pramāṇa