Text 7.144

पुनः पुनर् दीप्तिर् यथा कुमार-सम्भवे रति-विलापेषु. अकाण्डे प्रथनं यथा वेणी-संहारे द्वितीयेऽङ्केऽनेक-सङ्क्षये प्रवृत्ते भानुमत्या सह दुर्योधनस्य शृङ्गार-वर्णनम्. अकाण्डे छेदो यथा वीर-चरिते राघव-भार्गवयोर् धाराधिरूढे वीर-रसे भगवन् कङ्कण-मोचनाय यामीति राघवस्योक्तौ. अङ्गस्याप्य् अतिविस्तृतिर् यथा किराते सुराङ्गना-विलासादिः. अङ्गिनोऽननुसन्धानं यथा रत्नावल्यां चतुर्थेऽङ्के बाभ्रव्यस्यागतौ सागरिकाया विस्मृतिः.

punaḥ punar dīptir yathā kumāra-sambhave rati-vilāpeṣu. akāṇḍe prathanaṃ yathā veṇī-saṃhāre dvitīye'ṅke'neka-saṅkṣaye pravṛtte bhānumatyā saha duryodhanasya śṛṅgāra-varṇanam. akāṇḍe chedo yathā vīra-carite rāghava-bhārgavayor dhārādhirūḍhe vīra-rase bhagavan kaṅkaṇa-mocanāya yāmīti rāghavasyoktau. aṅgasyāpy ativistṛtir yathā kirāte surāṅganā-vilāsādiḥ. aṅgino’nanusandhānaṃ yathā ratnāvalyāṃ caturthe’ṅke bābhravyasyāgatau sāgarikāyā vismṛtiḥ.

(7) An example of punaḥ punar dīpti (heightening a rasa again and again) is in Kumāra-sambhava (by Kālidāsa), in Rati’s lamentations.

(8) An instance of akāṇḍe prathana (emphasizing a rasa, out of place) is in Veṇī-saṃhāra (by Bhaṭṭa Nārāyaṇa): In the second act, when much destruction is going on, there is a description of the romance between Duryodhana and Bhānumatī.

(9) An occurrence of akāṇḍe cheda (interrupting the rasa on the wrong occasion) is in Vīra-carita (by Bhavabhūti): When the vīra-rasa between Rāma and Paraśurāma is about to reach its climax, Rāma says: “Sir, I am going to untie My nuptial bracelet (by tradition, the ribbon or bracelet was tied to His wrist before His wedding).”

(10) An example of aṅgasya api ativistṛti (excessive elaboration on a secondary subject matter) is in Kirātārjunīyam (by Bhāravi), where there is a narration of the sports of the celestial nymphs.

(11) An intance of aṅginaḥ ananusandhāna (not taking interest in the main aspect) is in the fourth act in Ratnāvalī (by Harṣa): Sāgarikā does not pay attention to Bābhravya when he arrives.