Shringara-manjari-katha is known from a fragmentary palm-leaf manuscript found at the Jaisalmer Jnana Bhandara (or Brihad-Jnana-Kosha), a Jain repository.
[12] According to her, the text aims to illustrate the various types of rāga (attachment) presented in the Shringara-Prakasha, another work attributed to Bhoja.
[13] The title of the text (and the name of its heroine) appears to have some connection with Bhoja's theory of Shringara rasa, which is also presented in the Shringara-Prakasha.
She is proficient in arts, quick in reading the minds of others, conversant in the profession of courtesans, smart in cheating others, an expert in subduing the arrogant paramours, clever in deception, conversant in talks practised by harlots, bold in speaking purposeful words.... King Bhoja and his companions are sitting in his palace garden, in his capital Dhara.
[17] Bhoja then resumes his story, describing his favourite courtesan (ganika) Shringara-manjari as a beautiful, educated, and talented woman.
[18][7] The king describes her mother Vishama-shila as an old, unattractive, and deceptive woman having the skills required to manage courtesans.
When Ravi-datta had no more money left, she sent a message to him through Sangamika, asking him to not visit her for a few days, as she would be with a wealthy merchant named Vasu-datta.
Just like a cloth dyed in indigo does not lose its colour even after being washed several times, a man with this character does not give up his attachment even after being ruined.
Malatika said that her livelihood depended on a merchant named Vasu-datta because of a contract, and Vikrama-simha will have to wait until she could find an excuse to meet him.
[21] To avoid being seen as a ruined man, Madhava decided to leave Vidisha and go to Malaya country to earn wealth.
When they reached a lonely spot, Madhava attacked Bhujanga-vagura: he threw her on the ground, and cut her nose and ears.
Just like a cloth dyed in safflower is not suitable for washing or exposing to heat, a man with this character becomes estranged and evil when offended.
[22] A poor man named Sura-dharman lived in the Hastigrama village of Brahmins, located on the banks of the Ganges river.
[22] One day, Sura-dharman decided to leave, concerned that Deva-datta will be able to find his secret if he stayed any longer.
Pleased with her, the king gifted her his second best elephant, 40 million pieces of gold, precious ornaments, and expensive clothes.
Ghuda tried to secure his release by offering a large amount of money, but the king declared that he will be freed only if he is able to get a hundred elephants within six months.
[26] Lavanya-sundari considered her husband's freedom more important than her own reputation, and decided to become a courtesan to secure the elephants from king Sahasanka of Ujjayini.
She reached Ujjayini with a large retinue, took up a residence on the banks of the Shipra River, and spread the word that she was a rich and noble courtesan.
Lavanya-sundari was afraid of Bhatta-matrgupta, but as the six-month deadline approached closer, she decided to take a step towards securing the elephants.
[29] On their way to Manyakheta, Ratna-datta and Subandhu came to Vidisha, and attended a dance performance by the courtesan Lavanya-sundari at the temple of Bhailla-svami-deva-pura.
The conspiracy proved to be unsuccessful, when the local king Sura-dharman realized that Lavanya-sundari was accompanying Ratna-datta willingly.
[30] Ashoka-vati told the king the reason for her poor performance, and boldly declared her love for Chaddalaka, stating that she was ready to accept any punishment.
On the king's instructions, a handsome young man named Sundaraka seduced her, and recorded evidence of their one-night stand using a pattanika.
Warder, it was "probably a fine cloth on which a print could be taken from a woman's body, reproducing her characteristic make up and even blood from love scratches".
[33] Pratapa-simha lost his temper, and assaulted Malaya-sundari: he threw her on the ground, scratched her body like a tiger, and pulled her hair.
The actual story is lost, but at its end, Vishama-shila tells her daughter to never deceive a clever man, or be ready to bear the results.
[36] Vishama-shila tells her daughter that even courtesans of noble character and women from good families sometimes fall in love at first sight, without caring for their lives or wealth.
[34] Kalpalata Munshi describes Shringara-manjari-katha as a product of a decadent phase in Sanskrit literature, when the poets emphasized convention over creativity.
"[39] The text is useful as a source of information about the contemporary social life, customers, traditions, administration, architecture and geography.
While the doll is used as a literary device to praise Bhoja, what is notable is that the text also describes several other mechanical objects in the scene, including artificial trees, lotuses, ducks, monkeys, fish, herons, crocodiles, turtles, bees, and female attendants.