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SAHRDAYĀLOKA only such divine beings as Gandharva, Yaksa, etc. But if Gods were delineated with human emotions these arthas can be easily used. Another possibility is that these artha-s may be achieved through the assistance or instrumentality of God; for instance, the love of Siva and Parvati is an illustration of dharma-śrngāra, as the union is brought about by the Gods for destroying the demon Tāraka through the son born of this union, Indra's passion for Ahalyā will be illustrating kāma-śrngāra. See Abhinava, op. cit pp. 439-440.)
(73) When it becomes an instrument to achieve, in many ways, one's religious duty and one's own welfare through the practice of (religious) vows, prescribed rules, and austerities, it is known as dharma-śrngāra.
(74) - The artha-śrngāra results from artha, due to the desire for (acquiring) wealth in many ways : Here the love in matters of union with woman is prompted by the motive of wealth (arthártha).
(75) The love (yasya=śrngārasya) which is caused by the seduction of a maiden, or which takes a delightful form (ramyam) when a man and a woman meet each other, and (the affair) is carried on either secretly (nibhrtam) or with open impetuousness, (that is) kāma-śrngāra.
(76) The metres which have an uneven structure like Uşnik, Gāyatrī, etc. are to be used by the poets in the Samavakāra.
[Dr. Bhat reads in a foot-note : “Bandhakuțila” refers to visama (uneven) and ardha-sama (semi-even) metres. Abhinava refers to Udbhata according to whom Uşņik and Gāyatrī are not to be used, but the long metres like Sragdhara are to be used.]
(77) In this way, the experts should construct the samavakāra based on many sentiments. - I will now proceed to define the character of īhāmrga. The DR. defines samvakāra as (pp. 162, I. 626-68a) :
“kāryam samavakāre syād āmukham nāțakā"di-vat. - 62b khyātam devā'suram vastu nirvimarśāstu sandhayaḥ, vșttayo manda-kaisikyo netāro deva-dānavāḥ. - 63
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