Professional Documents
Culture Documents
LNDO-IRANIAN SERIES
Volume 7
B
4
DEI 31D
THE DASARUPA
A TREATISE
ON HINDU DRAMATURGY
THE DASARUPA
A TREATISE ON HINDU DRAMATURGY
7]
THE
DASARUPA
A TREATISE ON HINDU DRAMATURGY
By
DHANAMJAYA
NOW FIRST TRANSLATED FROM THE SANSKRIT WITH THE TEXT AND AN INTRODUCTION AND NOTES
BY
GEORGE
C. O.
HAAS, A.M.
SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY, IN THE
1912
All rights reserved
Copyright 19 I
TO MY FATHER
254232
PREFATORY NOTE
In the present volume an important treatise on the canons of
dramatic composition
in
in early
India
is
first
time
As
a con-
am
glad to
A. V. Williams Jackson.
PREFACE
The
publication of the present volume, originally planned for
1909, has been delayed until
now by
While
advantage
in giving
me
opportunities
and enabling
me
to
add considerably to
my
the
same
should be noted,
furthermore, that
The
limitations
myself
from using
in the present
recommended by
should have
personal cor-
have done
in
my
in the publication of books and papers is one of the most effective means of furthering a change at once so necessary and so reason-
able.
I
am
kindness
in
my
use, a
number of volumes
a pleasure to ac-
in this country.
It is
knowledge
patience must have been sorely taxed by the long course of publication,
and of the
printers,
who have
shown
the
My
ments on certain
difficult
passages
to Professor Charles R.
man
tion
;
for placing at
my
me
my
transla-
to Dr. Franklin
MS.
of the Vikramacarita.
am
to Dr. Charles J.
book
in
proof and
gave
Dr.
suggestions,
and
to
with
me many
diffi-
cult passages
at all
my
appreciation of the
help of two other friends, Miss Marie L. Weiss and Miss Jane
Porter Williams,
who have
in
my
all,
task.
some expression, howowe to my friend and His kindly interest teacher. Professor A. V. Williams Jackson. in my work has never flagged since the day, now twelve years past, when I first took up thestudy of Sanskrit under his guidance, and, even amid the pressure of multifarious duties, he has always In the placed his time and energy ungrudgingly at my disposal. preparation of this book I have had throughout the benefit of his encouragement and his stimulating criticism, and it bears some
I
And
My
co-worker
George
July 28, 1912.
C. O.
Haas.
CONTENTS
Prefatory Note by the Editor of the Series
VI
Preface
Bibliography
vii
xiii
.
xiv
xviii
Introduction
Concerning the Dasarupa of Dhanamjaya
xxi
xxi xxi
his patron
Contemporaries of Dhanarnjaya
xxiv
.
Scope and importance of the Dasarupa Style and method of treatment Meters and metrical considerations Concerning Dhanika's commentary on the Dasarupa Authorship and date Character and value Dhanika's explanatory and illustrative quotations Concerning previous editions of the Dasarupa
Hall's edition
XXV i
xxviii
xxix
xxxii
xxxii
XXXV XXXV
xxxix
....
.
xxxix
xl
xli
xli xli
xlii
sections
xliii
....
xliii
xliv
The Dasarupa:
Book One
Introductory remarks
Fundamental
definitions
CONTENTS
as accessories
.
five
five
Junctures
its
.... ....
subdivisions
.
Opening and
subdivisions
its
Progression and
Conclusion and
its
subdivisions
.
The
five
Book Two
Characteristics of the Hero The four types of Hero The Hero as lover Companions of the Hero The Opponent of the Hero Qualities of the Hero The three kinds of Heroine The Hero's wife as Heroine
.
A A
.....
.
their relations
The twenty
Assistants of the
Hero when
.
a king
to
rank
CONTENTS
Horrific Style of Procedure
.
The
71
73 74
Employment of
74
75
76
.
n
79
79
Book Three
The Nataka as the typical variety of drama The beginning of a play The Eloquent Style The Introduction and its various forms The subdivisions of the Vithi Use of these introductory elements
....
79
81
82
84 88
89
89
Adaptation of the story Arrangement of the dramatic structure Appropriate arrangement of the beginning
Characteristics of an
90
90
91
Act
their uses
92
93
93
94 94
95
98
.
The
99 99
100
lOI
Dima
Vyayoga
.
102
103
104 104
105
CONTENTS
PAGE
Book Four
Sentiment and
its
io6
production
1
06
State defined
....
.
106
108 108
States
....
.
The
Erotic Sentiment
130
.
131
Privation and
its its
stages
varieties
.
Separation and
Union and its characteristics The Heroic Sentiment The Odious Sentiment
.
.
141
The Furious Sentiment The Comic Sentiment The Marvelous Sentiment The Terrible Sentiment The Pathetic Sentiment
.
142
143
.
145 145
146
147 148 148
Appendix
Heroine
149
Addenda
Index of Sanskrit Technical Terms
150
General Index
159
BIBLIOGRAPHY
Bohtlingk, Otto: Zur Kritik und Erklarung verschiedener indischer Werke.
57743.
Dagarupa.
In Melanges asiatiques
7.
574-
Cimmino, Francesco
In
dranima indiano.
Memorie
della
the
Hall, Fitzedward:
turgy, by Dhananjaya.
Kale,
Part
i.
Bombay,
1891.
Levi, Sylvain:
Le Theatre
indien.
Leipzig, 1902.
(Second
Trivedi,
Kamalasankara Pranasarikara The Prataparudrayasobhusana of Vidyanatha. Bombay, 1909. Notes, pages 1-68.
In spite of the date on the title-page, this edition appeared in the
1910.
It is
autumn of
first edition,
much
of the
its
to
which
in
titles.
Agni-Purana [AP.]. Ed. Rajendralala Mitra, Calcutta, 1879. (For reference to the ed. of Tarkaratna and the tr. of Dutt, add I to the chapter numbers after chapter 221.) Anargharaghava of Murari. Ed. Durgaprasad and Parab, 2d ed.,
Bombay, 1894.
Amarusataka [Amaru].
Ed. Simon, Kiel, 1893. Ed. Sivadatta and Parab,
Ed.
[Uttararama.].
Ratnam
Aiyar and Parab, Bombay, 1899. Karpuramanjarl of Rajasekhara. Ed. Konow and Lanman, Cambridge, Alass., 1901 (Harvard Oriental Series, vol. 4). Kamasiitra of Vatsyayana. Ed. Durgaprasad, Bombay, 1891. Kavyaprakasa of Mammata. Ed. Vamanacharya, 2d ed., Bombay, 1901.
(This work
may
be consulted also
in the translation
respondingly numbered.)
Kavyapradipa of Govinda.
bay,
1
Bom-
89 1. Kavyanusasana of \7igbhata [\'agbh. Kavyan.]. and Parab, Bombay, 1894. Kavyanusasana of Plemacandra [Hem. Kavyan.]. and Parab, Bombay, 1901. Kfivyalamkara of Rudrata [Rudr. Kavyal.].
Ed. Sivadatta
Ed. Sivadatta
Ed. Durgaprasad
Kumarasambhava of
Kalidasa.
XV
ed.,
Dhvanyaloka of Anandavardhana. Ed. Durgaprasad and Parab, Bombay, 1891. (This work may be consulted also in the translation of Jacobi,
ZDMG.
56-57.)
Ed,
Vamana
Shastrl Islampurkar,
53).
Series, no.
trayam,
26. ed.,
Balaramayana of Rajasekhara.
nares, 1869.
Sastri,
Bharatlyanatyasastra [Bh.].
Books 1-14,
all
and
The Dasa-Rupa,
and Parab, Bombay, 1894. (Books 6 and 7 may be consulted also in Regnaud's Rhctoriqiie Sanskritc, Paris, 1884,
appendix,
p. 1-42.)
Ed. Grierson,
in
The Satsaiya
(Hindi text.) Ed. Parab, 2d ed., Bombay, 1904. IMahanataka (also called Hanuman-nataka). Ed. Jivananda Vi23-135.
ed., Calcutta, 1890.
The method
is
irregular and
the
utterly impractical.
section-numbers
The many
printer has
places.
To
have frequently
24,
added page-numbers to the citations. "The last of the four books edited by Hall,
really
book
bears the
number 34
in his text.
XVI
Aludraraksasa of Visakhadatta.
1893
Ed. Telang, 2d
ed.,
Bombay,
is
(Bombay
Reference
made
Bombay,
1900.
Raghuvamsa of
Kalidasa.
Srrigaradipika or gnigarabhedapradipa)
Ed. Schmidt,
ZDMG.
and Parab, Bombay, 1888. Rasatarahgim of Bhanudatta [Rasatar.]. Ed. Regnaud, in his Rhctorique Sanskritc, Paris, 1884, appendix, p. 43-70. Rasamanjarl of Bhanudatta. Ed. Tailanga, Benares, 1904 (Benares Sanskrit Series).
Published
in
Bombay, 1890, p. 118-143. Vagbhatalarnkara of Vagbhata [Vagbhatal.]. Ed. Sivadatta and Parab, Bombay, 1895. Vikramorvasi of Kalidasa. Ed. Parab and Telang, Bombay, 1888.
Kavyamala, part
6,
Viddhasalabhafijika of Rajasekhara.
gavkar, Bombay, 1898.
Vairagya-sataka
[Vairagyas.].
ed.,
Bhartrhari-
viracitam
Press),
1
satakatrayam,
891.
to the
2d
'With reference
(1904),
p.
name of
ZDMG.
58
203:
'Was
als
von Srngaradipika; denn einstweilen ist eben nur die Ratirahasya-Partie der Srhgaradipika und selbst sie vielleicht nicht vollstiindig
von Ratirahasya
zur
Hand.'
Cf.
1,
in
p.
general
72.
Schmidt,
Beitriige
cur
indischcn
XVU
ed.,
Bom-
89 1.
i,
Sarrigadharapaddhati [Sarng.].
text; no
Series, no.
Magha [Magha]. Ed. Durga])rasad and SivaBombay, 1905. Srngaratilaka of Rudrata [Rudr. Srng.]. Ed. Pischel, Kiel, 1886. This work may be consulted also in Kcivyamala, part 3, Bom(
Srngaratilaka
(attributed to Kalidasa).
Ed. Haeberlin,
P-
in
his
^4-^7-
Srngarasataka of Bhartrhari
satakatrayam,
26. ed.,
Srrigaras.]
In Bhartrhari-viracitam
Press), 1891.
ed.,
to the edition of
Borooah
Sahityakaumudi of Vidyabhusana.
Ed.
Parab,
Bombay,
1897.
liotheca
Indica.)
Occasional reference
is
made
also
the
Dviveda and Parab, Bombay, 1902. Sahityasara of Acyutasarman (or Acyutaraya). Bombay (Nirnaya Sagara Press), 1906. Subhasitavali of Vallabhadeva. Ed. Peterson and Durgaprasada, Bombay, 1886 (Bombay Sanskrit Series, no. 31). Hanuman-nataka, see Mahanataka. Halasaptasati [Hala]. Ed. Weber, Das Saptacatakam des Hdla,
edition of
Leipzig, 1881.
'
The
title
of
this
Stravrtti,
Vagbha/a
/4Iawikara,
Anundoram Borooah.
taries.
as follows Vamana Kavyala;kara and Sarasvatika<habharaa. Edited by With a few notes and extracts from old commen-
work
is
Calcutta,
1883.
LIST OF ABBREVIATIONS
AP.
B.
AND SY.MBOLS
(editor of the Sarasvatl-
BB.
Bh.
BR,
com.
Petersburg, 1855-1875.
DR.
ed.
Ep. Ind.
ex.
H
Hall
Hem. Kavyan.
Ind. Ant.
JAOS. JRAS.
Levi
Mahavira.
jMalatim.
Malav.
Mrcch. Xagan.
P
Pratapar.
Rasagahg.
Rasaratn.
Rasatar.
Ratn.
= commentary, commentator. = Dasarupa. = edited = Epigraphia = example. = of the Dasan'ipa Hall's = Hall's of the Dasarupa, Calcutta, 1865. = Hemacandra's Kavyanusasana. = The Indian Antiquary. = Journal of American Oriental = Journal of the Royal Asiatic = Levi's Theatre 1890. = Bhavabhuti's Mahaviracarita. = Bhavabhuti's Malatlmadhava. = Kalidasa's Alalavikagnimitra. = Sudraka's Mrcchakatika. = Harsadeva's Nagananda. = of the Dasarupa Parab's = Vidyanatha's Prataparudrayasobhiisana. = Jagannatha's Rasagahgadhara. = Sivarama Tripathin's Rasaratnahara. = Bhanudatta's Rasatarahginl. = Harsadeva's Ratnavali.
by,
edition.
Indica.
text
in
edition.
edition
the
Society.
Society.
indien, Paris,
text
in
edition.
LIST OF ABBREVIATIONS
AND SYMBOLS
Regnaud
Rudr. Kavyal.
Rudr. rng.
Sarasv.
Sanig.
Sb.
Sarngadharapaddhati.
Sitzungsberichte.
Schmidt
published in 1910).
SD.
Skm.
Saduktikantamrta
36).
(see
Auf-
ZDMG.
Spr.
Petersburg, 1870-1873.
tr.
:
Uttararama.
Bhavabhuti's Uttararamacarita.
text of the
V
V.
Dasarupa
in
Vidyasagara's edition.
Vagbhatal.
Vagbhatalanikara.
Vagbh. Kavyan.
\^eni.
Vagbhata's Kavyanusasana.
--
WZKM.
ZDAIG.
=
Wiener
Zeitschrift
fiir
die
Kunde
des
Mor-
genlandes.
Zeitschrift
Gesellschaft.
word or
II
Hindu works,
chiefly
INTRODUCTION
I.
his patron. The Dasarupa,' or Treatise on Ten Forms of Drama, one of the most important works on Hindu dramaturgy, was composed by Dhanamjaya, son of Visnu,
the
in
given by
Dhanamjaya
'
in his
91),
where he
variety
intelligence
This
who had
a great
names or
epithets
(Muhja,
Vakpati,
Utpalaraja,
as
Dasarupa
the
or,
more
frequently, as Dasarupaka,
I
For
use throughout
4,
in
we
(4.
the
'
who gave
his
commentary
Dasarupavaloka.
0x0)1.
^
and Dasaru-
135
b.
See Biihler
(and Zachariae),
'
in Sb.
p.
Ueber das Navasahasahkacharita des der phil.-hist. Classe der kais. Akad.
620-625 (== English translation, hid.
section
The
last
(15th)
of
the
first
prakasa of
Meruturiga's Prabandhacintamani
an account of
Munja;
p.
(completed April, 1306) is devoted to see the translation by Tawney, Calcutta, 1901
30-36.
(Bibliotheca Indica),
Muhja
is
mentioned by Sambhu
i.
in
his
460b). For inscriptions recording land-grants by Munja- Vakpati see Archaeol. Survey of Western India, vol. 3 (Burgess), London, 1878, p. 100 (given
v.
RajendrakarnapiJra,
17
6.
cit. p.
See also
p. xxiii,
5, p.
below.
For an
name Utpalaraja
xxi
vi.
XXU
raja of the
IXTRODUCTION
Paramara dynasty of Malava.^
He came
to
the
throne in 974 A.D., succeeding his father Siyaka, and held sway
until
about 995,"
when he was
whom
in
king a
'
friend of poets
'
and
'
states that
it
was
able to
wander along
Furthermore
For inscriptions regarding this dynasty see Ep. Ind. i. 222-238; 2. 180Cf Biihler, op. cit. p. 603-630 Fleet, The Dynasties of the Kanarese 195.
'
. ;
Districts,'
*
2d ed., p. 432, in Bombay Gazetteer, Early History of the Dekkan,' ibid. p. 214.
(1896),
pt.
2; Bhandarkar,
^On
12.
2.
cit.
p.
624-625.
^Munja's execution
270;
*
attested by
16. 18,
212-221.
214-215.
Biihler {op.
cit. p. 623) gives the text as follows: Japathadanapurvanisidhya tarn pura sodha nirjitam ity avajnataya pasyann atirekavasat
kam
tain
nivesayam
asa.
Cf.
Prabandhacin-
Tawney, Calcutta, 1901, p. SS- Biihler inadvertently translated sodha as sechzehnmal,' and this mistake has been perpetuated by him, Ep. Ind. I. 227, and by Vincent Smith, Early History of India, p. 317,
tamani,
p.
365, 389)-
On
His defeat by Baliraja, a Cahamana chief, is mentioned in an inscription of about 1262 A.D. see Ep. Ind. 9. 71. For the legendary account of Muiija, as given in the Bhojaprabandha, see Lassen. Indischc Alterthumskunde, 3 (Leipzig, 1858). p. 837-841.
227-228.
;
''Munja, the author of the Gaiidavaho, lived early in the eighth century, under King Yasovarman. Peterson's identification of him with the Paramara ruler Munja-Vakpati (Subhasitavali. p. 113) is erroneous. A similar mistake is found in Kavyamala, part i (2d ed., Bombay, 1893). p. 131, where one of the editors assigns to Utpalaraja (= Munja) the authorship of the Pratyabhijnasutra, a work composed by a Saivite guru named Utpaladeva, who lived about 930 A.D. " Navasah. i. 8: kavibandhava; 11. 93: kavimitra. ' Navasah. i. 7. The text is given below, p. xxvi, note i. "For the text of one of them see p. xxv, note 7, below.
INTRODUCTION
XXlll
Dhananijaya claims, as we have seen, to have profited by conversations with his august ruler; and the work of other
court^
;
authors,
to
Some
is
to be
found
Merutuhga depicts the captive king as versifying his plaints.^ That he actually was a writer of verse, however, is clearly established by quotations of some of his lines by later writers and in
anthologies.
One
is
twice quoted by
Dhanika
as
'
in his
Another stanza is reproduced by the Paramara king Arjunavarman (who ruled early in the
in
teenth century)
his
poet
Ksemendra
by
'
1037-1066 A.D.)
in
quotes three
different
stanzas
Srimad-Utpalaraja,'
as
many
;
of
his
works."
Two
known
is
probably to be
it
is
of interest to
note that his nephew, Bhojadeva, was the reputed author of the Saras-
my
notes).
Muhja
is
mentioned
in
one of
its
Prabandhacintamani,
tr.
Tawney, Calcutta,
1901, p. 34-35.
Verses
list
p.
60).
are
attributed to
Munja
For a
of these
and a record of their recurrences in other works see Oster, Die Recensionen des Bhojaprabandha, Darmstadt, igii. p. 24 (dissertation). * See the com. on DR. On Munja's various names and epi4. 66, 67.
thets see above, p. xxi.
His words are: asmatpilrvajasya Vakpatirajaparandmno Muiijadevasya. See Amarusataka, ed. Durgaprasad and Parab, Bombay, 1889, p. 23. " Suvrttatilaka 2. 6 {Kavyamala. part 2, ed. Durgaprasad and Parab, Bombay, 1886, p. 27) Kavikanthabharana 2. I {Kavyamala, pt. 4, 1887, Aucityavicaracarca 16 {Kavyamala, pt. i, 2d ed., 1893, p. 131). p. 125)
',
XXIV
INTRODUCTION
\'allabhadeva included this same
regarded as an interpolation.^
stanza and one other in his anthology,^ and two further specimens
in the
Sarhgadharapaddhati
1363 A.D.)-;
Contemporaries of Dhanarnjaya.
himself nothing
is
Concerning Dhanamjaya*
known
is
and
King Muiija,
from the
fact that a
Some
which he
lived,
Fore-
most
to
command our
attention
is
Dhan
ka
son of Visnu,
who
He
and
his
commentary
will be specially
Dhanapa
capital,
son of Sarvadeva,
who
lived
Malava
his predecessor
Siyaka.^
^
He was
is
the author of the Pa'iyalacchi, a Prakrit vocabuIn Sarng., where this stanza also
attributed to Bhartrhari.
The author
'),
is
given
as
'
Srl-Harsadeva').
According mentioned or quoted also in the Saduktikarnamrta of Sridharadasa. (But I find no mention of this at ZDMG. 36. 557, in Aufrecht's article on Skm.) *0n a diflferent (and probably later) Dhanarnjaya, who was the son of Vasudeva and who wrote a kavya called Dvi&amdhana, or RaghavaSariig.
126 (by
'
\'akpatiraja
1017
1.
(by
'
Utpalaraja
64
1),
Utpalaraja
is
pandavlya, as well as a brief lexicographical work entitled Namamala, see Zachariae, 'Die indischen Worterbiicher (Kosa),' in Grutidriss der
i. 3 b, p. 27-28 (Strassburg, 1897). 3- 211; cf. Aufrecht, ZDMG. 36 (1882), p. 533-534See PaiyalacchI 277. ' Merutui'iga mentions both Dhanapfda and his brother Sobhanamuni see Prabandhacintamani, tr. Tawney, Calcutta. 1901, p. 52-62. He errone-
indo-arischcn Philogie,
'Skm.
"
add greater
p.
luster
to
that
is
(1878),
73-75.
Dhanapfda
monarch's entourage; cf. Biihler, BB. 4 mentioned also by Sfuitisuri in his Pra-
INTRODUCTION
lary,
XXV
his conversion to
completed
in
of
Rsabha, the
is
first
work named
is
Tilakamanjarl
brother.
to
Dhanapala's younger
said
Sobhanamuni, who
have converted
men
a
of this time,
later
prepared
commentary.^
,
Another
to
Bhatta
life
Ha
in
ay u d h a
]\Ialava, is
who known
Presum-
Abhidhanaratnamala^
year 950 at INIanyakheta at the court of King Krsnaraja IIP; and the MrtasamjivanI, a commentary on the PihgalachandahsCitra,
was prepared considerably later at Dhara at the court of King Muhja, whose liberality is appreciatively referred to in some of The poet Padmagupta (also called Parimala), the stanzas."
bhavakacarita.
On
both
p.
Biihler,
Sb.
^The
p.
BE. 4 (1878),
70-166.
On
work
see ibid.
p. 71.
"The text of the Tilakamainjarl, ed. by Bhavadatta Sastri and Parab, was pubhshed at Bombay in 1903 (Kavyamala series, no. 85). 'The text of Sobhana's work has been edited by Jacobi, ZDAIG. 32 (1878), p. 509-534. On the com. see Biihler, Sb. Akad. IVien, 99 (1882),
P-
570-572.
^
On Halayudha
Cf.
p.
20-32 (dissertation).
^
Zachariae,
(Kosa),' in
Grundriss
3 B, p. 26
(Strassburg, 1897).
The
te.xt
in
bcidcn Reccnsionen
This commentary has been printed with Pingala's Siatras in the edi1874 (Bibl. Ind.), and of Kedaraseries,
no. 91).
One
XXVI
INTRODUCTION
whose
mahakavya
in glorification
stanzas in his
Am
aga
who
finished
Another work of
year
1014.'*
his,
entitled
Dharma-
was written
in the
Scope and importance of the Dasarupa. In the Dasariipa Dhanamjaya presents, in the form of a brief manual, the rules
of the references to Munja-Vakpati
Indische Studien,
8.
(for a
(4.
list
of which
:
193-4)
is
as follows
20)
see
Weber,
1886,
p.
115,
states
that
this
verse
is
quoted in the Dasariipavaloka, but I do not find it in the printed text. ' See Biihler and Zachariae, Ueber das Navasahasaiikacharita des Padmagupta oder Parimala,' in Sb. der phil.-hist. Classe der kais. Akad. der Wiss. zu Wicn, 116 (1888), p. 583-630 (Enghsh translation of this article: Ind. Ant. 36. 149-172). The text has been published by Vamana Shastrl Islampurkar, Bombay, 1895. Padmagupta's chief reference to his royal patrons is as follows (Navasah. i. 7, 8)
:
Sarasvatlkalpalataikakandcuti
tasyanujanma kavibandhavasya
bhinatti tarn samprati Siiidhurajah.
'
2. 65.
;
361
Hertel,
WZKM.
17.
105-134.
in
of this
59
and 61, and also by Bhavadatta Sastrl and Parab, Bombay, 1903 (Kavyamala scries, no. 82). * On this work see Mironow, Die Dharmapanksd des Amitagali. Leip-
INTRODUCTION
of dramatic composition originally laid
XXVll
down
in the
great com-
science,
the
Bharatlyanatyasastra.
as authoritative
and
and a somewhat
of
From
was
the
point
view of
the
dramatist, particularly,
a mass of
The author of
the Dasarupa
dramaturgy
in
He
not only
ment of the
Dhanamjaya has a somewhat (DR. 2. 24), and in his treatErotic Sentiment (DR. 4. 58, etc.) he introduces a
(
new
distinction
which,
it is
it
may
ignored by
At
3.48, after quoting (though without indication of source) part of the definition of the nafika given in Bh., he ventures to modify
it
in the direction
of greater latitude.
The
tween the two works are not of any special significance and are
few
in
number.'
excellence
The
of
its
con-
has retained
As
it
Bharatlyanatyasastra,
scripts of
and
it
so
com-
Cf.
"Cf.
DR. DR.
I.
I.
in definition:
i.
41, 48,
50,
i.
85,
DR.:
80.
See
my
XXVIU
to
its
INTRODUCTION
time, that
it is,
extant
Its
work
in its field.
in the eyes
importance
is
rules
and
alluin
them
in later rhetorical
and dramaturgic
plays.
treatises
and
Hindu
In the Prataparudriya.
we
find
ten quotations
in all
found
in
our
The Sahityadarpana, furthermore, not only refers to the Dasarupa^ and criticizes some of its statements,* but bases its treatment of dramaturgy to a great extent on Dhanarnjaya's work and repeats verbatim or with minor variations a large number of
its
sections.
its
tion of
value
found also
in
Style and
very
largely
method
it is
of treatment.
stated above,
The
lines."
latter is
very
dift'use,
abounds
in
transitional
fill
The Dasarupa, on
all
is
formulaic
padding
'
except where
cases,
is
In
many
however, brevity
clearness,
ii,
15,
34. 36,
115b;
4; 4. I. (DR. I. 115 b is quoted at Pratapar. 3. 35. p. 124; for the others DR. is mentioned also at Pratapar. see my notes on the various sections.)
3, p. 131-
^Pratapar.
see the com.
at
For another pseudo-DR. rule 2, p. 46; 4, p. 221; 4, p. 228. on Anargharaghava, p. 7 (cf. Levi, pt. 2, p. 4, 24). notes on DR. i. 50, 55. DR. 3. 37 is quoted, as by Dhanika,
my
notes on
DR.
2. 70, 71.
Bh.
18.
3 b;
18.
Cf. Bh.
'
18.
112 b;
19. 83.
DR.
I.
38 (atlui lahsdiuiiii)
i.
67
(lahsiiuci)fi ca t^raijlyatc).
INTRODUCTION
parallel passages that are to be
xxix
other dramaturgic and
found
in
rhetorical treatises.
single
This
is
where only a
of
word
is
as
often
happens
Book
i,
in
the
treatment
dramatic
structure.^
Dhanamjaya
occasionally
root of a
idea of
its
word or
its
component parts
meaning and application.- As a typical example, and one which shows the method at its best, may be cited the treat-
in
i.
19.
Analytic in character
is
44.
Other examples of
126;
2.
9, 20, 81,
in evidence
is
best
(2.
tunately
Dhananijaya
for-
number of types
of hero and heroine, but his commentator makes up for the deficiency in the former
case.'*
The Dasariipa
stanzas,
is
com-
found
in
treatises
of this
kind.
Eighteen
however,
including the last section in each book, are written in other meters.
list
of these
is
'Cf.
DR.
I.
'Such explanations are frequently met with in the Upanisads; cf. for example, Brhad-Aranyaka Up. i. 2. 7; i. 3. 22, 23; i. 4. i Chandogya Up.
;
T.
2.
^
10-12.
See
my
DR.
notes on
2.
DR.
2. 45.
*Cf.
II,
com.
INTRODUCTION
occasional substitution of the
regularly
XXXI
for the term
synonymous word
variations
list
employed.
These
may
4.
be
conveniently
is
The
of examples appended
notes on
84, 86, 87).
prac-
my
1.
pravesa
(i.
iiS) ^= pravesaka
= =
= samksipti
2.
alasata (4. 9)
= alasya
57) ^iigratd
capalatd
(4.
81)
= cdpala
z:^
utsuka uddhrti
(4. (i.
parikriya
(i.
paryupdsti
prdgalbliya
(i.
(2.
parynpdsana
augrya
sviyd.
(4. 9,
57) =^ pragalbhatd
(2.
(4.
25)
9)
capala
= svd = cdpala
44) = dhirasdnta = harsa
= vastutthdpana
3.
dluraprasdnta
sahacdrin
praharsa
(4. (4.
79)
smaya
yatna
(4. (i.
sammoha
vhnarsa
86)
^=moha
zzz
(3. 60,
61)
avamarsa
vcga
(4.
Si)=di'ega
= vyabhicdrin
the elements of a
(i.
4.
compound.
upasamhdra
dyuti (i. 58)
97)
^ kdvyasamhdra prdptisambhava
phaldgama
(i.
66)
= prdptydsd
=nannadyuii
28)
= phalayoga
compound term.
53)
10)
^::^
= sfttradhdra
5.
Use of
(4.
utkd
(4.
75) =z'ira!wtkanthitd
52) z=.bhaydnaka
samaprakarsa
siltrin
(2.
(4.
3.
santarasa
bhayotkarsa
102;
^ siltradhdra
6.
Irsyd (4. 9)
svdpa
(4.
87)
= a^ffja = nidrd
upasamhrti
drti (4. 80)
It
XXXll
It
INTRODUCTION
is
we
cases, of
in -dha,
dznvidha,
3.
3.
58; dasavidha,
54 d).
predicates
dvidha:
i.
17,
125;
3.
lob, 45a;
4.
2b.
dvedha:
tridhd:
2. 31,
79
d.
2.
i.
23
a,
122;
3.
tredha:
2.
/Cjd;
2. 2,
i.
45
d,
55;
4.
79
d.
caturdha:
dasadha:
10.
As doubtful
2.
may
113;
be added the
3.
is
following: dvidha,
15b;
4.
65a; dvedha,
30a.
i.
14b;
tridha,
79 b; sod ha,
i.
I.
III.
The
exemplified
in tredha,
23a; pancadha,
2.
most
of
the
manuscripts
the
Dasarupa
entitled
Its
is
in prose,
Dasarupavaloka,^ or
Hall
'
(p.
4,
notes)
53), by
53).
(Aufrecht,
*
2.
So
Ksonldhara Misra (Hall, p. 4, notes), by Kuravirama far as I am aware, none of these have been made
don, 1871,
Wilson, Select Specimens of the Theatre of the Hindus. 3d cd., LonI. XX, xxi. Wilson's statement is reprinted by Hall, p. 3, notes.
INTRODUCTION
XXXUl
who
work
is,
as
we have
2.
seen,
Dhanamjaya.'
contains (at
after 995 A.D., in the reign of Sindhuraja), enables us to assign Dhanika's commentary ap-
sahasahkacarita (a
poem published
It is
it
consequently
impossible (though
do not regard
as probable) that
is the same person as the Dhanika Pandita to whose son Vasantacarya a tract of land was granted in 974 A.D. by King Vakpati (=Mufija).^ This conclusion as to the age of the Dasarupavaloka would seem to be invalidated by the occurrence, at the end of the first book (i. 129, com.), of a quotation from Ksemendra's Brhatkathamaiijari, a work composed about
our commentator
1037 A.D., but the four lines in question occur m only one of the manuscripts and are generally admitted, for this and other reasons,
to be a later interpolation.*
It
and the identity of the patronymic, that the author of the Dasarupa and
is
its
This view
usually referred to
that the
commenthe other
tary seems to
^
form an
On
places in his
Dhanika quotes one of the commentary (DR. 4. 66, 67). According to Jacob, JRAS. 1897, p. 304, Dhanika
See page xxi, above.
king's stanzas in
two
in
is
quoted 16 times
vol. 3
^Cf. Ind. Ant. 6 (1877), P- 51-53; Archaeol. Survey of Western India, (Burgess), London, 1878, p. 100. This grant was first described by Hall, Journ. As. Soc. Bengal, 30 (1861), p. 195-210.
*
Cf
Hall,
8.
serie,
(1886),
slokas
Vasavadatta, Calcutta, 1859, p. 55 Levi, Journal asiatique, p. 221; Buhler, Sb. Akad. Wien, 116 (1888), p. 622,
;
n.
Gunadhya
et
la
p.
14.
The two
commentary on the
Mudraraksasa
8. serie,
xx.
etc.,
and
in other works.
Cf. Levi,
Le Theatre
indien,
p.
17.
XXXIV
hand, there are
difiference in
in the
INTRODUCTION
commentary
it is
number of
indications of a
authorship/ and
its
conckision
that Dhanika,
author,
who
Of
From
comment on DR.
poetics,
4.
46
it
entitled
Kavyanirnaya,
which nothing
further
is
known.
and four
own
in Prakrit, as illustrations of
Dhanamjaya's
found
definitions.^
in
Two
of these stanzas
are
included,
the
Sarhgadharapaddhati, and
still
another
in that antholog>'
we
find his
those of
Dhanika gives two possible interpretations of the text without deciding which is the correct one; at 3. 40 his explanation seems to read a technical meaning into an apparently simple line; at 4. 52 we find the form vikasa substituted for the vikasa of the
2. 34,
At DR.
for example,
on these
the
sections.
interpretation
of
See my notes regard Hall's views (p. 9, notes) regarding Dhanika's tulyasamvidhanaviscsanam (DR. i. 22) as mistaken;
I
commentator seems
Cf. Hall, p. 2-4.
to give
the
in
this passage.
^
by Keith,
Catalogue of the Sanskrit and Prakrit MSS. in the Indian Institute Library, Oxford^ Oxford, 1903, p. 4. ' Dhanika's lines occur in the commentary on the following sections of DR.
16, 22, 26, 29,
2. 8,
50 (Prakrit), 51 (Prakrit),
;
52,
79 (repeated at 4. 69) 4. 3. 34, 35, 67, 69 (three stanzas, one being a repetition of the one at 2. 79), 76, 79. An introductory stanza,
ground that
See Hall,
its style
was
p. 4. notes.
4.
Sarrig. 3973
(DR.
2.
16), 341?
(DR.
3), 278
(DR.
4.
79).
"See pages
xxii-xxiii, above.
INTRODUCTION
Other poets
(Kalidasa,
XXXV
in
an
anonymous stanza recorded by Cowell.^ Character and value. Although professedly an aid to the understanding of the text, the commentary leaves much to be
desired and
kind.
is
its
At times
(this
is,
explains what
is
so clear as to require
in
no
;
comment
Hindu
glosses)
[it
is]
clear.'
Even
where Dhanamjaya's
absence of
The
real merit of
Dhanika's Avaloka
lies in
of illustrative quotations,
many
Hindu dramaturgy.
In his
also
His quotations
are,
Occasionally
also
from the
The range
all
the
the footnotes.
^JRAS.
15.
175in the
com. on DR.
i.
81;
2.
82;
3.
15; etc.
XXXVl
I.
INTRODUCTION
Mrcchakatika
Sakuntala
Venisamhara' Karpuramanjari*
Viddhasalabhanjika^
VikramorvasI Malavikagnimitra
Ratnavali^
Malatimadhava
]\Iudraraksasa'
Anargharaghava* Mahanataka'
(Priyadarsika)"
2.
(Mahabharata)'*
Halasaptasati"
Bhartrharisatakani^'
(Ramayana)"
Meghaduta'"
Kiratarjuniya"
Kumarasambhava''
Raghuvanisa'"
(Kadambarl)'^ Sisupalavadha"
(Brhatkatha)^"
Amarusataka"
Navasahasarikacarita'*
' The Ratnavali and the Venlsamhara are quoted more frequently than any other works, especially in connection with the treatment of dramatic structure in Book i, since of all- the plays they conform most strictly to
down
at
in the text-books.
is
referred to at
DR.
2.
82, 92.
i.
Quoted only
DR.
3.
23,
129 and
2.
86.
One
stanza
is
16.
in the comment on DR. 4. 61. 'The only quotation from this play is found at DR. 2. i. Dhanika does not name the source of the stanza. Parab, in his index of verses, attributes
Mahanataka. Regarding this drama see the following page. " Referred to only at DR. 3. 28. "Mentioned by name at DR. i. 129; 2. 12, 86; 3. 28, 52. A reference to plots based on the Ramayana is found at DR. 2. 90. '"Quoted only at DR. 4. /i" Quoted only in Books 2 and 4. All of the numerous stanzas from Hala are quoted anonymously. '" Quoted at DR. 2. i and 4. 35 mentioned at 4. 74. " Of this work, attributed to Kalidasa, stanza 3 is quoted at DR. 4. 69,
it
to the
'
One stanza is quoted, as an illustration of DR. 4. 33. " Referred to at DR. 4. 73, 74. '"This old collection of stories is mentioned at DR. i. 129; 4. 43. " Nitisataka, DR. 2. i; Srngarasataka, DR. 4. 43; Vairagyasataka, DR.
4.
10,
14.
"
On
this
above.
One
stanza from
p.
xix,
note
i,
and
p.
xx,
65.
INTRODUCTION
3.
Dramas unpublished
or no longer extant
(Taraiigadatta)"
(Puspadiisitaka)'
Udattaraghava' Chalitarama"
Pandavananda' (Ramabliyndaya)*
4.
2.
five
stanzas
(found
in
his
Dhvanyaloka commen42.
4. 66, 67.
56;
4.
Rudra one stanza at DR. 4. 67. Dhanika twenty- four stanzas (see page xxxiv, note
one
4.
stanza at
DR.
3).
at
DR.
2.
54).
5.
Technical works
2.
3. 46,
59; 4. 2, 4, 5, 6, 50, 45; (4. 64). treatise by Bhartrhari (apparently not the Vakyapadlya)
3.
52, 89.
DR.
4.
2.
DR.
44.
4. 46.
deviate
texts of
due either to
known
to us, or to corruption in
They
^A
play by Mayuraja.
is
quoted at DR.
2.
91;
3.
3;
4.
15,
35;
referred to at
'Quoted
^
at
DR. DR.
3.
i.
29.
85;
3.
15, 22.
The only quotation from this work occurs at DR. 3. 14. * Written by Yasovarman in the latter part of the 7th century. It is referred to at DR. I. 90 (also at SD. 427). Cf. ZDMG. 36 (1882), p. 521. These two plays are mentioned at DR. 3. 45. The name Puspadusitaka recurs as Puspabhiisita at SD. 512. At DR. 3. 61 Samudramanthana may possibly be the name of a drama.
"
See page
xxiii,
above.
The reputed author of the Bh. is designated variously as Bharata (DR. 2. 11), muni (DR. 3. 46), Bharata-tnuni (DR. 3. 59), or satsahasrakrt
^
(DR.
'
4.
2).
is
Rudrata's Kavyalanikara
XXXVlll
INTRODUCTION
we
of the lines of stanzas^ and of assignment of speeches to characters other than those indicated in the printed texts.-
In some
full,
but
first
and
last
to 48.
which he
commentary on DR.
Some
One
at 2.
more than
illustrations
Amaru,
at 2. 31
I
and at 2. 82; a stanza from the Mahavlracarita is quoted and recurs at 2. 20 and 4. 22. Usually the passage is rein full at
peated
RatnavalT quotation at
first illustrative
4. 86,
which appears
4.
'
in full at 2. 92).
The
excerpt at
86,
Possibly the
words
just
which has
stories
DR.
2,
89,
and the
Samudramanthana, named
be actually the
at
DR.
3.
may
name of
a drama.
Of
particular interest
is
nology
commentary of
The source
indi-
(DR.
2.
be
found
in
the
text
of
the
recension
published
by jTvananda
play,
9.
Vidyasagara.
The
oldest
5.
extant
recension
4.
of this
that
'DR.
4.
3.
18 (Venisarnhara
i.
26); DR.
10
(Mahanataka
55); DR.
61 (Viddhasalabhanjika
31).
;
^DR. I. 94 (Venl. 5, p. 149-150) DR. 3. 10 (Venl. i. 7, p. 10). "At DR. 2. I (this stanza recurs in Rajasekhara's Balaramayana,
5
4.
60),
(repeated at
2.
INTRODUCTION
ascribed to
XXXIX
Damodara
INIisra,
patchwork character,
to be
is
This supposition
must be from an
sions, since
it is
earlier
Hanuman-nataka than
all
known
recen-
ring at as
many
As has
i.
DR.
129
DR.) are
3.
Hall's edition.
as I
The
am
Bibliotheca Indica.
The
text,
it,
as
well as the
commentary of
collation of six
was based on a
p.
35-36), and
is
very satisfactory.
37), and
we
without
much
number of variant
many
p.
658;
p. xiii].
142-143
See page xxxiii, above. am informed, on the authority of Mr. Richard Hall, the scholar's the title-page of his Fitzedward son, that Hall wrote his given name Dasa-Rupa, however, has the form Fitz-edward.' At all events, he should
^
'
'
'
not be referred to as
'
F. E. Hall.'
Xl
INTRODUCTION
work which
text
'
of the Dasarupa.'
This
list
was
printed,
in the text
In using this
must be borne
mind
as
they
I
stood
alone,
unconit
In quoting these
have thought
best
form
the
The introduction to Hall's edition contains a brief analysis of work and much illustrative and explanatory material, a large In addition to the part of which is now naturally antiquated.
Dasarupa, the volume contains, as an appendix, the Sanskrit text
of four books of the Bharatiyanatyasastra, a manuscript of which
came
rest of
last,
the work.
The books
is
numbered
however,
is
really
book
This appendix
must be
said that
of a hasty transcript.^
The
1878
edition published by
is
in
merely a reprint.
reproduced, even to the misprints, without any indisource or a single word of acknowledgment.
its
The
to to
publisher took no notice of the fact that Hall (on pages 38 and
39)
He
likewise
in
failed
to
correct an
;
error
calls
15.
attention
his
introduction
see
my
notes
The
reprint contains
no prefatory material or
of the
all
'Sec
my
notes on
DR.
i.
80;
3.
63.
INTRODUCTION
xH
Parab's edition. Another reprint of Hall's text, prepared under the supervision of Kashiniith Pandurang Parab, was published by the Nirnaya Sagara Press at Bombay in 1897. Here
again there
is
no acknowledgment of indebtedness
'
to Hall's text,
which
is
pafha.'
For no
Plall's
numbering
passages
some
difficulty in finding
This edition
is
in
many
and
respects the
most
The
text embodies
all
marked as preferable
on pages 38 and
in the footnotes.
39,
A group
i.
P.
I.
32b-35; H.
passage
its
of sections in the first book (i. 53-65 3ob-32), which were printed as a con-
tinuous
by Hall, are
arranged
separately,
each
fol-
lowed by
own
form
also a detailed
table of contents, a
and an index of
an indication,
in
all
many
4.
The
new examination
is
of
manu-
and can
in
cases, of
Hall's
(that
is,
as printed by Parab)
On
i.
247 b;
2.
53.
xlii
INTRODUCTIOX
119
I
1.
expressed prefer-
ence
2.
(p.
27
78 80
83
89
34
41 52
4.
Emendation of yavanauanga to ymivananangd. Adoption of splii'irja for sphinja. Adoption of narmasphiirjah for narmasphinjah. Emendation of dayajavaih to dayarjaz'aih. Emendation of parigrahah to parigraham, to remedy faulty grammatical construction. Emendation of the unintelligible garbhadejahmya to garbhader i ad yam. Adoption of one of Hall's variants, tz'arasvasa.
Substitution of Dhanika's vikdsa for the vikasa of the printed
texts.
83
87
89
Change of ati to att to satisfy metrical requirements. Adoption of one of Hall's variants, anistapteh. Adoption of laksnia from Hall's variant reading.
For
The numbering
edition of
of sections.
differs
in the
Parab
from
(and
re-
printed by Vidyasagara) sufficiently to interfere with rapid consultation of passages in an edition other than the particular one
referred
tions
to.^
in these edi-
especially
of
the
cumbersome addition of
letters
and superior
deliberation,
figures.-
separately treated in
Dhanika's commentary.
not only the
At the head of each section I have placed new number thus assigned, but also the number in
Hall,-''
so that passages
i.
may
i.
be con60; P.
2.
67
= H.
62
H. 3. 51 P. 4. 67 H. 4. 61. 57 P. 3. 57 "The brief definition of the term parisarpa, DR. i. 54, had to be cited heretofore as H. i. 30b', c\ or as P. i. 32 b', 33 a\ Similarly DR. 3.
;
= H.
= H.
'
a,
is
b\
identical with that of Hall.
INTRODUCTION"
suited with
xliii
made.
to
to
The translation. In the translation, which I have aimed make as nearly literal as possible, it has been found necessary
introduce a considerable
in brackets], in
number of explanatory words [enclosed order to make clear the precise meaning of the
Important Sanskrit technical terms
in
or explained.
are not, in
The
many
words names
To
It v/as
in
mere
definitions,
is
'
or a similar indicative
form.
Under
the head-
Com.'
is
literal trans-
commentary
as are of particular
to present
sum-
marized.^
efl:ort,
am
indebted
to
Bohtlingk's
valuable
of
material
(43.
Melanges
asiatiques, 7.
574-577) and
cf.
to
marginal
the com. on
DR.
^
2. 5,
6;
4. 44.
xliv
INTRODUCTION
is
now
in
my
possession.
The
references so obtained
have supremain
number of
still
When
in a later
a stanza not
native anthologies
(such as the
work (such
I
Bhojaprabandha), or
its
in Bohtlingk's
Indische Spriiche,
have given
number
in
such collection
I
in
number of cases where the original source is known, in order to show that the passage is one that is familiar and often quoted. The editions that have been consulted are
works
in a
The
as
it
seemed advisable
appended
work
will be
'
found
Notes,' the
Among
may
Dhanamjaya's termi-
work of
scholars in
fea-
ture to which
Hindu
These references
reader to
a
at
to native
treatises
which
will
enable the
make a comparative study of any special point without are as exhaustive as the material laborious search of his own
16,
42;
4.
INTRODUCTION
(see the Bibliography, p. xiii),
all
xlv
with rhetoric and the drama have been carefully searched for
passages treating the same topics or defining the same terms as
those that appear in the Dasarupa, and parallel passages in other
The
referII
,
the
The
main
cases
is in
the
in
many
though dating from the middle of the fifteenth century, has for
reasons of convenience been quoted uniformly in the second
place, directly after the Bharatiyanatyasastra.
Detailed informa-
which the
in the
THE DASARUPA
BOOK ONE
1
(P. i; H. i).
Homage
to that
Ganesa whose
drum
in the
wild
dance of Siva, just as the sound of the wildly expanding thundercloud at the dance of the peacock!'
Com. According to established usage the author begins his work with There is here an imperfect pun (khandaslesa). two stanzas of invocation.
' '
Notes.
introductory stanza.
but can also be understood as referring to that of a peacock. In this way a simile is included in the very words to which it refers. This necessitates a double translation of the words in the second line.
(P. 2; H. 2).
namah
*
ca.
Homage
whose senses
revel in the
whose
[of
drama] (dasanlpa)
Here again there is a double meaning, in that the first line one sense to Visnu and in another to Bharata. In order to convey this twofold meaning adequately in English, the words of the first line have been rendered twice.
Notes.
applies in
list of abbreviations and symbols will be found on pages xviiixix; a conspectus of editions of texts referred to, on pages xiv-xvii
^^^ A
2
xli-xlv.
BOOK ONE
Introductory Remarks
[^'
3-
(P. 3; H. 3).
kam
man
at
it
be
{ka)}i
api),
by which
somebody
Notes.
for literary ture
is
becomes
sense is:
cultured.'
Sarasvati freely provides themes
The
The goddess
works
to persons of intelligence,
others.
diffused
among
4).
Meter:
cul-
arya.
(P. 4;
H.
uddhrtyoddhrtya sararn
yam akhilanigaman
munir api Bharatas
pratipadam aparam
iste
natyavedam
Virificis
tandavarn Nilakanthah
pragunaracanaya
laksanarn sarnksipami.
'Who,
pray,
is
able
to
make
new
detailed
nomenclature
Viriiici
[i.
e.
Brahma] created
though a
seer,
from
of which Bharata,
[i.
e.
[i.
Siva] pere.
Parvati]
Yet
I shall
give concisely,
representations.'
Notes.
Brahma and
Levi,
p.
reference to the legend of the creation of the drama by of the codification and application of its rules by Bharata,
Meter:
sragdhara.
Cf.
-1.8]
5
BOOK ONE
H.
5).
(P. 5;
e.
of the
in
its
is
[own] words.'
Notes.
Cf. Levi, p. I7-
(P. 6; H. 6).
anandanisyandisu rupakesu
As
man
of
little
intelligence
is
who
says that
only, as
to him,
distil
knowledge
(itihasa)
and the
is
like
homage
!
from what
is
delightful
Com.
Notes.
Spr. 3122.
The
statement
ironical
p.
{solluntham)
IMeter: indravajra.
Cf.
Levi,
258.
Fundamental Definitions
7
(P.
7a^H. 7aO.
is
avasthanukrtir natyarn.
'Drama
Notes.
||
p.
100.
ruparn drsyatayocyate.
'
It is
called a
Show
{rupa,
lit.
it
is
seen.'
Cf. Levi,
p. 29.
Notes.
4
9
(P. 7bi; H. 7bi).
BOOK ONE
[l.
9-
rupakam
'
tat
samaropad.
It [is called]
by
Notes.
As noted by
the
by a compound derivative of the causative, samaropa. SD. 273. Cf. Levi, p. 29.
II
10
(P.
7b^ H.
7b^).
dasadhaiva rasasrayam.
'
It is tenfold,
and
is
Notes. With regard to the employment of the different varieties of Sentiment (rasa) in a drama see DR. 3. 36-38.
II
Pratapar.
3.
i,
p.
100 (rasasraya).
11
(P. 8; H. 8).
varieties
of
drama
are]
the
Nataka, the
Ihamrga.'
Com.
cf.
and
(cf.
Hem. Kavyan.
Notes.
327].
is
No
;
mention
here
made
is
drama
Levi, p. 145)
at
DR.
II
3.
46-52.
2,
This
section
quoted
3a; SD. 275; AP. 337. 1-4; Hem. Kavyan. Vagbh. Kavyan. i, p. 16; Pratapar. 3. 2. Cf. Levi, p. 30.
Bh.
18.
p.
317, 327;
as Accessories
-I. 15]
BOOK ONE
(urtya), which
is
'Pantomime
States,
is
Notes. Pantomime and dancing are probably mentioned here chiefly on account of the similarity of name. The words natya, urtya, nrtta are all derived from the root nrt or its Prakrit form nat and our author seems to have felt the need of differentiating them. But in Pratapar. where we find the terms nrtya and nrtta curiously interchanged the insertion of definitions of these terms is justified as follows: nrttanrtyayor ndtakadyangatvad iha svarupanirilpanam krtam (3. 2, p. loi).
II
Pratapar.
3.
a, p.
loi.
13
(P. 9a%-
H.
ga'-).
nrttam talalayasrayam.
'Dancing
also different].'
[is
Notes.
|I
Pratapar.
3.
a, p.
loi.
14
(P.
9b; H. 9b).
desi tatha param.
[is
a representation of an object,
called]
''high
15
(P. 10;
H.
10).
is
gentle
Nataka and
enumerated
Cf.
Hindu theoreticians recognize ten forms of the lasya, which are This section is quoted at Pratapar. 3. 2, p. loi. at DR. 3. 54.
Levi, p. 119.
BOOK ONE
Basis of Classification of
[l.
l6-
Dramas
i6
(P.
iia^ H. iia^.
'Dramas are
Sentiment.'
Notes.
||
classified
Pratapar.
3.
3.
Ci. Levi,
p.
30.
H.
II a-).
vastu ca dvidha.
'The
Notes.
Subject-matter
|[Bh. 19.
(vastu)
is
twofold.'
18
tatradhikarikam
'
mukhyam ahgam
is
prasafigikarn viduh.
known
Bh.
19.
Cf. Levi,
p.
31.
19
(P. 12;
H.
12).
'The possession of
its
[is
called] adhikara,
and
possessor
[is called]
called]
adhikdrika
(Principal
an etymo-
Subject).'
Notes,
Bh.
p.
38.
This
notes on
is
term adhikarika.
d.
See
p. 31.
my
4. 8.
19.
Cf. Levi,
20
I-
23]
BOOK ONE
is
'
a purpose of
is inci-
own purpose
is
here satisfied by
4, 8.
the notes on
19-
5b; SD.
297.
21
'When
banner);
it
is
continuous
short
it
is
called
Episode
{pataka,
lit.
when of
duration,
Episodical Incident
3. 7.
{prakan).''
Notes.
||
Bh.
19.
23
SD. 320-323
Pratapar.
22
An
indication,
is
a matter that
begun or
is
about to happen
[is
called]
is
an
Episode-indication
Com.
Notes.
Levi,
11
(pafakdstlianaka), which
charac-
62 [similar situation]
Ratn.
2. 4, p.
32 [simi-
lar attributes].
p.
98-100.
19.
Bh.
23
(P. 15, 16 a;
H.
15).
'pi
prakhyatotpadyamisratvabhedat tredha
tat tridha
This [subject-matter]
is
also threefold,
owing
to a threefold
The
derived]
from legends
BOOK ONE
[arises]
[l.
in
23-
mixed
accordance
like.'
tabhyam H, V, P;
3.
naiito,
p.
tredha Hall
p.
38.
The
first
line
tat
4,
102,
AP.
3. 3, p.
102.
H. i6a).
chuddham ekanekanubandhi
(karya)
of
[of
ca.
'The
one of]
is
Denouement
the
the
action
consists
;
of
it
three objects
human
existence
{trivarga)
objects].'
Com.
Notes.
The
three objects of
human
.
Bh.
19.
25 b, 26 a; SD. 323
b,
c;
AP.
337. 7 b.
Cf. Levi,
p. 31.
25
(P. 17a;
H. l6b).
'The cause of
first]
this
[Denouement]
is
the
Germ
in
(blja),
[at
manifold ways
in the
Com. Ex.: Ratn. i, p. 4-5 [quoted in part also at DR. i. 29 and i. 41] Venlsamhara, the energy of Yudhisthira, increased by the wrath of Bhlma and resulting in the binding of the tresses of Draupadl.
;
Notes.
P-
||
Bh.
19.
AP.
337. 22;
Pratapar.
3.
6.
Cf. Levi,
34-
26
'When
cause of
(biiidu).'
drama]
is
is
interrupted, the
its
the
Expansion
-! 28]
Com.
a
BOOK ONE
i,
9
[lit.
Ex.: Ratn.
p.
20.
'The
biiidu
drop]
drop of
Notes.
oil in water.'
||
Bh.
19.
3.
6.
27
(P. 18;
H.
17).
bljabindupatakakhyaprakarikaryalaksanah
arthaprakrtayah panca ta etah parikirtitah.
'
sion
the
so-called
Episode
(patakd), the
Episodical
are
Incident
(prakari),
(karya)
these
(artha-
Notes. The insertion of the word akhya in the enumeration is due merely to the exigencies of the meter. Contrary to the usual custom, this section comes after the definitions of the elements mentioned in it, instead of introducing them, in order to avoid a repetition of the definitions of the patakd and the prakari given in another connection in i. 21. This section is quoted in the com. on Hemacandra's Anekarthasanigraha 2. 230 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 37, foot), and the second line is quoted ibid. 3. 565 (see Extr., p. 142, middle). The first line is quoted at Pratapar. 3. 3, p. 105. With the first line compare bljam biuduh pataka ca, given in explanation of the word arthaprakrti in the com. on Maiikhakosa 390 (ed. Zachariae, Vienna, 1897, P- 5o)-
II
Bh.
19.
AP.
337.
19.
The
28
(P. 19;
H.
18).
arambhayatnapraptyasaniyataptiphalagamah.
'There are
by those that
fort (yatna
five
Stages
,
is
set
on foot
= prayatiia)
tainty
of Success
(niyatapti),
(phalagama
Notes.
rectly
II
= phalayoga).'
The words karyasya prarabdhasya phalarthibhih are taken diThe second line is quoted at Pratapar. 3. 3, p. 105. 19. 13. Bh. 19. 7, 13; SD. 324; AP. 337. 19 b, 20. Cf. Levi, p. 32.
from Bh.
lO
29
(P.
BOOK ONE
20a; H. 19a).
[l.
29-
'Beginning
of the
(arambha)
result.'
p. 5
is
more important
Ex.: Ratn.
||
Com.
Notes.
i. 7,
[also quoted at
3.
DR.
4.
i.
25 and
i.
41].
Bh.
19.
8;
30
'Effort
when
this
(prayatna)
is
[result]
Com.
Notes.
Ex.: Ratn.
||
24 [with variants].
3. 4.
Bh.
19.
9;
Cf. Levi,
p.
33.
31
(P. 21 a; H. 20a).
'Prospect of Success
Com.
Notes.
Pratapar.
(prdptyasd)
is
the possibility of
p.
76 [with variants].
i|
This
3.
5.
is
Bh.
19.
10;
SD. 327;
Cf. Levi,
32
(P. 21 b; H. 20b).
suniscita.
is
'Certainty of Success
Com.
Notes.
{niyatapti)
risk.'
the assurance of
3,
p.
y3 [with
much
variation].
3.
5.
Bh.
19.
11;
Cf. Levi,
p.
33.
33
(P. 22a;
IT.
20c).
phalayoga ^
is
the
ac-
as previously mentioned.'
I.
36]
BOOK ONE
II
Com.
Notes. Bh.
called
phalagama
in section 28 above,
and also
in the
19.
3. 5.
The
34
Five Junctures
'There are
five
parallel
[from these]
Junctures
the
Opening (mukha).'
Notes. The Junctures are the structural divisions of the drama, which correspond with the elements of tlie plot and the stages in the hero's realization of his purpose. They and their subdivisions are defined in the following sections. This section is quoted at Pratapar 3. 3, p. 105.
USD.
35
(P.
330; Pratapar.
3. 3, p.
104.
23b; H. 22a).
sati.
'Juncture
different one,
Notes.
||
(samdhi)
there
is
is
when
;
SD. 331
Pratapar.
3,
p.
104.
36
(P.
24a; H. 22b).
[The
five
Junctures are]
the
gression
{upasamhrti
2>7,
= mrvahana)J
This
section
5.
in sections
104.
quoted
II
at Pratapar. 3. 3, p.
Bh.
35
b,
36 a; SD. Z3^;
p. 35.
AP.
2,Z7-
21; Sarasv.
128 (ed. B.
5-
129).
Cf. Levi,
12
BOOK ONE
[l.
37-
its Subdivisions
mukham
'The
bijasamutpattir nanartharasasambhava
Opening
(mukha)
is
Germ
it
and Sentiments;
has
its
Germ and
Notes. sambhava H, V, P; samsraya Hall p. 38. The terms bija and arambha are defined at i. 25, 29. Bh. 19. 37 b, 38 a; SD. 333; AP. 237. 23 (mistranslated by Dutt)
II
;
Pratapar.
3. 8.
38
Suggestion
Allurement
Settling
(vilobJiana),
(yukti),
Success
(prdpti),
intelligible.
Now
follow
Bh.
19.
57
b,
58;
3.
9.
39
(P. 27 a^;
II.
25 a^.
bijanyasa upaksepas.
'Suggestion
(bija).'
(upakscpa)
is
the
sowing
of
the
Germ
Com.
Notes.
Ex.: Ratn.
||
i.
6, p.
4 [quoted also at
DR.
3. 9.
3.
and
3.
10].
p. 36.
Bh.
19.
Cf. Levi,
-I. 44]
40
(P. 27 a=;
BOOK ONE
H. 25
a-).
13
tadbahulyam parikriya.
'Enlargement
this
(parikriya
= parikara)
3. 9.
is
the increase of
[Germ].'
Ex.
||
:
Com.
Notes.
Ratn.
19.
i,
p. 4-5.
Bh.
41
(P.
27b- H. 25b0.
tannispattih parinyaso.
'Establishment
Com.
Notes.
II
(parinyasa)
is
its
lodgment.'
i.
Ex.: Ratn.
i.
7, p.
5 [quoted also at
DR.
25
and
is
i.
29].
to take place.
Bh.
19.
SD. 341
Pratapar.
3. 9.
42
gunakhyanarn vilobhanam.
'Allurement
qualities.'
(vilobhana)
is
the
mentioning
of
good
Com.
Notes,
Ex.
Ratn.
i.
23, p.
i.
48]
Veni.
i, p.
26-30.
gunakhyanarn Hall p. 38, P gunakhyanad H, V. The form gunakhyanarn is found also in SD., where this definition is repeated. Bh. 19. 71a; SD. 342; Pratapar. 3. 9. Cf. Levi, p. T,y.
11
43
(P. 28 a^;
H. 26 a^yuktih.
sampradharanam arthanarn
'Resolve
Com.
Notes.
(yukti)
i,
is
the determination
upon purposes.'
Ex.
||
Ratn.
19.
p. 5.
Bh.
71 b;
3.
9.
44
praptih sukhagamah.
'Success
Com.
Notes.
||
iprapti)
i,
is
Ex.: Venl.
Bh.
19.
p.
18-19; Ratn.
p. 20.
3.
72 a;
9.
Cf. Levi,
p.
38.
14
45
(P. 28bi; H. 26 b^).
BOOK ONE
[l.
45-
bijagamah samadhanam.
'Settling (samadhdna)
ibija):
is
the
appearance
of
the
Germ
Com.
at
Ex.: Ratn.
I.
i,
p.
15-16; Veni.
i,
p.
25 [the stanza
is
quoted also
DR.
Notes.
98].
||
Bh.
19.
3.
9.
Cf. Levi,
p.
38.
46
vidhanarn sukhaduhkhakrt.
'Conflict of Feelings
both joy and sorrow.'
Com.
I.
(vidliana )
is
that
which causes
Ex.: Malatim.
24; Veni.
||
i.
32, p. 35
[quoted also at
DR.
4.
56]; Malatim.
22, p.
I,
p.
30-31.
Notes.
Bh.
19.
73 a;
3.
9.
47
(P. 29 a^;
H. 27
a').
paribhavo 'dbhutavesa,
'Surprise
Com.
Notes.
Bh.
19.
(pa)'ibhava
= paribhavana)
many
variations]
is
intentness
upon
something marvelous.'
Ex.
:
Ratn.
i, p.
19 [with
Veni.
is
i,
p. 29.
It is
metrical reasons.
II
73 b;
3. 9.
Cf. Levi,
p. 39.
48
(P. 29 a=;
H. 27a-).
udbhedo gudhabhedanam.
'Disclosure
previously hidden.'
(ndbhcda)
is
the
disclosing
of
something
Com.
Notes.
Ex.
Ratn.
i.
23, p.
20 [quoted also
at
DR.
i.
42I
Veni.
i, p.
27-29.
new
sprouting of the
is
Germ and
II
Dhanika as an
Bh.
19.
quoted by
9.
Cf. Levi,
p.
39.
-I. 51]
49
(P. 29 b^; H. 27 b^).
BOOK ONE
15
karanam prakrtarambho.
'Activity
question.'
{karana)
is
the
beginning
of
the
matter
in
Com.
Notes.
Ex.
||
Ratn.
19.
i, p.
19
Veni.
i,
p. 30.
3. 9.
Bh.
50
(P. 29b-;
H. 27b-),
'Incitement
Com.
the
(bheda)
is
Ex.: Venl. i, p. twelve divisions of the Opening following six must always be employed: Suggestion, Enlargement,
[cf.
31-32. Of the
SD.
405,
com.
Prata-
end].
Notes.
as a breach of union.
Bh. and SD., evidently on etymological grounds, explain bheda As an example SD. quotes Veni. i, p. 12, where
'
his alliance with his brothers. The SD. commentary adds bhedah protsahaneti vadanti, some say, however, that the bheda is an urging on' which is clearly a reference to the definition of DR. (cf. my notes on i. 55; 2. 70, 71). Bh. 19. 75 a; SD. 350; Pratapar. 3. 9. Cf. Levi, p. 39, 40.
Bhima breaks
ke
cit tu
II
The
51
(P. 30;
H. 28).
that
[arising]
from
Com. Ex. Ratn. 2, where the love of the king for Sagarika prospers and is impeded in turn Veni. 2. 5, p. 38 Veni. 2. 28, p. 60.
:
; ;
Notes. laksyalaksyatayo Hall p. 38, P; laksyalaksya ivo H, V. terms bindu and prayatna are defined at i. 26, 30. Bh. 19. 38 b, 39 a; SD. 334; Pratapar. 3. 10. Cf. Levi, p. 40.
II
The
l6
52
BOOK ONE
(P. 31, 32a; H. 29, 30a).
[l.
52-
samanarmani
narmadyutih pragamanam nirodhah paryupasanam vajram puspam upanyaso varnasamhara ity api.
*
Amo-
Amusement (narmadyuti)
Response (pragamana), Frustration (nirodha), Courtesy (paryupasana). Thunderbolt (vajra), Gallantry (piispa), Intimation
(tipanydsa), and Combination of the Castes (varnasamhara).'
Notes, pragamanam Hall p. 38, P; pragayanam H, V (Bh. has praganam, pragananam; SD., pragamanam; Pratapar., pragamah). Bh. 19. 59b, 60, 61 a; SD. 351; Pratapar. 3. 11.
II
53
(P.
32b^ H.
3ob^).
'Amorousness
pleasure.'
(vilasa)
is
desire
for
the
object
of
Com.
Notes,
y),
II
Ex.
Ratn.
2, p.
23-24.
ratyartheha H,
(in
the letter th
is
3.
11.
54
b-,
33
a^ H.
30b'-, C^).
drstanastanusarpanam
parisarpo.
'Pursuit
then
lost.'
(parisarpa)
is
the
pursuing of
one
seen
and
Com.
Notes.
Ex.
||
Vcni.
19.
2, p.
34-35
Ratn.
2, p. 47.
3.
Bh.
11.
55
-I. 58]
BOOK ONE
{z'idlnlta)
is
17
'Unrequitedness
to unrequited love].'
Ratn.
2,
p.
28
[with variations]
Vcni.,
in
the case
of
In SD. this
is
(tr.
(ed.
first,
It
is
there defined as
:
commentary adds
vidhrtam syad anitir vidhrta is absence of pleasure tion of DR. (cf. the notes on
II
vadanti,
is
'some
say,
which
i.
50 above).
3.
Bh.
19.
11.
56
(P. 33
a^ H. 30 c^*).
tacchamah samah.
(sama)
the
allaying
'Alleviation
quitedness].'
is
of
this
[Unre-
Com.
Notes.
'
Ex.
Ratn.
2, p.
43.
The SD.
(355) substitutes for this an element named tapana, illustrates by the passage from Ratn. (2, p. 28) quoted
i.
55).
Bh.
19.
77 a; Pratapar.
3.
11.
57
parihasavaco narma.
'Joke
Com.
Notes.
'
(narnian)
:
is
a humorous remark.'
;
Ex.
Ratn.
2, p.
45
Venl.
2, p. 49.
Pleasantry,' defined at
II
79.
3.
Bh.
19.
77 b;
11.
58
'Amusement
Com.
3
(dytiti
= narmadyuti)
[Joke].'
is
considered to be the
Ex.
Ratn.
2,
p. 49.
BOOK ONE
NoTES.
[l.
in the text of
a,
58-
No
definition of the
it
is
Bh. 19
in
the preliminary
enumeration.
that definition
p.
Ms. P of that work defines it directly after narman, and is quoted in the commentary on SD. 357 (of. Levi, pt. 2,
3.
8-9).
USD.
(P.
357; Pratapar.
11.
59
34a- H.
31
b^.
uttara vak
pragamanam.
(pragaiuaua)
2, p.
'Response
Com.
Ex.
:
is
a reply.'
Ratn.
39-44.
Notes, pragamanam Hall p. 38, P; pragayanam H. V (Bh. has pra' ganam, pragananam [Ms. P, pragayana]; SD., pragamanam; Pratapar., pragamah). Bh. 19. 78 a; SD. 358; Pratapar. 3. 11. Cf. Levi, p. 42.
II
60
(P.
34a^ H.
3ib^).
hitarodho nirodhanam.
'Frustration
vention.'
{nirodhana
= nirodha)
is
a beneficial pre-
Com.
Notes.
Ex.
Ratn.
2, p. 50.
division as
HBh.
19.
3.
11.
61
parjmpastir anunayah.
'Courtesy
Com.
Notes.
(paryiipasti
2. 18, p.
= paryupasana)
3.
is
politeness.'
Ex.
||
Ratn.
19.
54.
Bh.
n.
Cf. Levi,
p. 42.
62
'Gallantry
(puspa)
is
remark
in
relation
to
special
[excellent] qualities.'
I.
65]
Ex.
II
:
BOOK ONE
Ratn.
19.
2, p. 49.
19
Com.
Notes.
Bh.
3.
11.
Cf. Levi,
p. 43.
63
(P. 35a^;
H. 32b^).
upanyasas tu sopayam.
'Intimation
stratagem.'
(upanyasa)
is
[a
remark]
embodying
Com.
Notes,
Ex.
Ratn.
2, p. 47.
upanyasas tu sopayam H, V, P; prasadanam upanyaso Hall The variant reading given by p. 38 (= SD. 363, but in inverted order). Hall may be due to some copyist familiar with SD. The SD. commentary quotes
II
Bh.
19.
from some treatise a definition largely identical with Sob; SD. 363; Pratapar. 3. n. Cf. Levi, p. 43.
that of Bh.
64
(P. 35a^;
H. 32b^).
vajram pratyaksanisthuram.
'Thunderbolt
face.'
(vajra)
is
a cruel remark
made
to one's
Com.
Notes.
Ex.: Ratn.
|i
2, p. 53, 54.
Bh.
19.
3.
11.
Cf. Levi,
p. 43.
65
(P.
35b; H. 32c).
isyate.
is
caturvarnyopagamanarn varnasarnhara
(varnasamhdra)
castes.'
re-
Com. Ex. Mahavira. 3. 5, p. 93. The most important divisions of the Progression are Pursuit, Response, Thunderbolt, Intimation, and Gallantry. [The word prasama should evidently be corrected to pragama. Cf. SD. 405, com.; Pratapar. 3. 11, end.]
:
Notes.
the
'
caturvarnyo Hall
'
P; caturvarno H, V. According to Abhinavagupta interpreted varna as chardrawing together.' This close association of by an incident in the second act of the Ratnavali
p. 38,
364,
'
Bh.
19. 81 a;
3.
11.
20
BOOK ONE
[l.
66-
its Subdivisions
H. 33).
muhuh
the
'The
Development
which
[In
it]
(garbJia)
is
searching after
It
Germ
(blja),
is
has twelve
subdivisions.
[else] there
pr(3ptyasd).'
Com.
Notes.
Ex.
Ratn.
3, p. 73.
i.
On
21
i.
31.
Bh. and SD. add a thirteenth subdivision SD. 335 Pratapar. 3. 19. 39 b, 40 a II Bh.
;
;
see
12.
DR.
i.
80, notes.
p. 44. 57.
Cf. Levi,
67
(P. 37,
38a; H.
34,
35a).
abhutaharanam marge rupodaharane kramah sarngrahas canumanarn ca totakadhibale tatha udvegasambhramaksepa laksanarn ca praniyate.
'
The twelve
Mis-
statement
(rupa),
pitiation
{abhntdharana),
Indication
(niarga),
Supposition
Exaggeration
(ndaharana),
Progress
(krama),
Pro-
Consternation (sam-
Notes.
see
II
DR.
Bh.
80, notes.
19.
62 b-64 a
Pratapar.
3.
13.
68
(P. 38b^; H.
35bO.
abhutaharanarn chadma.
'
s-
s t
a
:
mcn
3, p.
(abhutdharana)
56.
:
is
deception.'
Com.
Notes.
Ex.
||
Ratn.
19.
Bh.
82 a: SD. 365 d
Pratapar.
3.
13.
-I. 72]
69
(P.
BOOK ONE
21
38b^
H. 35b=).
margas tattvarthakirtanam.
'Indication {marga)
purpose.'
is
pointing
out
of
one's
real
Com.
Notes.
Ex.: Ratn.
||
3, p.
61
[with variations].
3.
Bh.
19.
82 b;
13.
70
(P. 39a^;
H. 36a^).
'Supposition
hypothesis.'
rupa )
is
remark which
embodies
Com.
Notes.
Ex.: Ratn.
||
3, p. 65.
Bh.
19.
3.
13.
71
(P. 39a-;
H. 36a-).
sotkarsam syad udahrtih.
'Exaggeration
Com.
Ex.
:
(iidahrti=^udaharana)
is
[a
remark]
60.
'
Notes. Levi observes (p. 45): D'apres Bharata et Vi^vanatha, udaharana designe I'extraordinaire, le surnaturel.' I cannot find any warrant for this statement. Bh. and SD. are substantially in accord with DR. on this point, and the example given in the SD. commentary is appropriate. The illustration from the Sakuntala given by Levi was selected by him
in accordance with the statements of the native
p.
5).
II
Bh.
19.
3.
13.
72
(P.
39b- H.
36b^).
kramah sarncintyamanaptir.
'Progress
earnestly about.'
(kraiua)
is
is
thinking
Com.
Ex.
Ratn.
3, p. 67.
22
Notes.
BOOK ONE
For
parallel passages
on the following
section.
73
bhavajnanam athapare.
'Others [say
Com.
it
is]
3,
Ex.: Ratn.
Notes. This is the interpretation of the term krama in Bh. and SD. Levi mentions still another, knowledge of the future,' occurring in a line attributed to Bharata in Jagaddhara's com. on Malatim.
'
11
Bh.
19.
3.
13.
74
(P.
4oa^ H.
37a^).
sarngrahah samadanoktir.
'Propitiation (samgraha)
ciliatory present.'
is
a speech in
making
a con-
Com.
Notes.
Ex.: Ratn.
||
3, p. 61.
Bh.
19.
3.
13.
75
(P. 4oa=;
H. 37a=).
is
an inference
from
Com.
Notes.
Ex.
||
Ratn.
19.
3, p.
72-73.
Bh.
85 a
3.
13.
76
(P. 4obi;
37 b^).
adhibalam abhisarndhih.
'Outwitting
Com.
Ex.: Ratn.
(adhibala)
3, p. 66.
is
a [clever]
deception.'
Notes. For another definition see the com. on the following section. This adhibala must not be confused with the adhibala defined at 3. 20.
The word
correct
II
abhibala in Roer's text of SD. 375 is clearly a misprint. The form adhibala occurs in the preliminary enumeration, SD. 365 c. Bh. 19. 87 a; SD. 375; Pratapar. 3. 13. Cf. Levi, p. 47.
I.
80]
(P. 4ob^; H. 37b^).
BOOK ONE
23
77
'Quarrel
(totaka)
is
an angry speech.'
3.
34-46,
p.
87-93.
Quotation
The
3,
Ex.
Ratn.
[P. 41 b]
samrabdhavacanam yat
is
tu
declared to be the speech of angry persons.' [Or Ex.: Ratn. 3, p. 70; VenT. 4, p. 106-107 [with
Notes.
The first seems to connect (or confuse) this adhibala with the adhibala defined at 3. 20; the second is a mere repetition of the definition of the totaka given by DR. Parab
of the commentary, rather than of the text.
prints
them
19.
in
the
same type
number
41.
In
SD.
called trotaka.
Bh.
3.
13.
78
(P.
42a^38a0.
'rikrta bhitih.
udvego
'Dismay
Com.
Notes.
{udvcga)
Ratn.
19.
3, p.
is
Ex.
||
79 [with variants]
Veni.
3.
4, p. 97.
Bh.
13.
Cf. Levi,
p.
47.
79
(P.
42a^ H.
38a^).
sahkatrasau ca sambhramah.
'Consternation (sambhrama)
Com.
Notes.
Ex.
:
is
Ratn.
3, p.
75 [with variants]
Venl.
94; Veni.
3, p. y^.
This subdivision of the Development is called vidrava and SD. See DR. i. 85 and the notes on that section. Bh. 19. 88 a; SD. 2>77 Pratapar. 3. 13. Cf. Levi, p. 47.
II
',
in
Bh.
80
(P.
42b; H. 38b).
parikirtitah.
garbhabijasamudbhedad aksepah
24
'
BOOK ONE
[l.
[to
80-
Revelation
Ex.: Ratn.
(aksepa)
is
declared
result]
from the
unfolding of the
Com.
Germ
3,
(blja) in the
y;},
Development {garbha):
Veni. 4, p. 105. The most imporDevelopment are: Mis-statement, Indication, Quarrel, Outwitting, and Revelation. The others are employed when possible. [Cf. SD. 405, com.; Pratapar. 3. 13, end.]
p.
78, 80;
Notes. Bh. gives a definition similar to the above, but employs the designation upaksipta (as one must emend, following Levi, p. 47.) In the preliminary summary (Bh. 19. 63 a) it is called aksipta. with the change
kind.
of prefix frequently necessitated by the meter in technical treatises of this The text of Bh. given by Hall, which unfortunately shows evidences
thana -\- aksiptam) in 19. 63 a, and upasthitam (for upak^iptam) in 19. 86 a. The Ms. P of Bh. reads ksipti (Levi, p. 47). SD., under the designation ksipti, gives a somewhat different definition and an obscure example. Pratapar. has the following definition istarthopdyanusaramm akscpah.
Bh.
19.
This
is
inserted
so that those
to
enjoyment or
Benediction
the
from the number of divisions of the Conclusion {nirvahana) may still have the full complement of 64 subdivisions (SD. 27^, com). Bh. 19. 86 a SD. 2,72 Pratapar. 3. 13. Cf Levi, p. 47-48.
(prasasti)
II
; ;
.
its Subdivisions
(P.43;H.
39).
'The
Pause
{avamarsa,
lit.
deliberation)
in
is
that
group of
reflect
subdivisions
(avamrsed)
which has as
in the
subject the
Germ
Development (garbha).'
Ex.: Ratn.
4,
Com.
6.
I,
p. 158.
so 'vamarso 'ngasamgrahah V, P; sang[r'\ahah H; so 'vamarsa smrtah Hall p. 38 (apparently a reminiscence of Bh. 19. 41a). SD. calls this Juncture rimarsa; Bh. (and sometimes DR.), vimarsa. On the use of avavirsed to explain avamarsa see the notes on DR. i. 19. Bh. 19. 40 b, 41a; SD. 336; Pratapar. 3. 14. Cf. Levi, p. 48.
Notes,
iti
II
-I. 85]
82
(P.
BOOK ONE
44.45a; H. 40).
25
tatrapavadasamphetau vidravadravasaktayah
dyutih prasarigas chalanam vyavasayo virodhanam
'The
thirteen
[subdivisions]
of
it
[i.
e.
of the Pause]
are:
(sakti),
Foresight
(adana).'
(prarocana),
(ricalana), and
Notes.
||
Summary
64. 65,
Bh.
19.
66 a; SD. 378
a,
b, c;
Pratapar.
3.
15.
83
(P. 45b^;
H. 4iai).
syat.
is
dosaprakhya 'pavadah
'Censure
another].'
{apavada)
the
proclaiming of a
fault
[of
Com.
Notes.
Ex.: Ratn.
||
4, p.
6, p.
160-161.
3.
Bh.
19.
15.
84
sampheto rosabhasanam.
'Altercation
Com.
Notes.
{samphcta)
6,
p.
is
speaking in anger.'
Ex.: Veni.
||
i68-i6g.
3.
Bh.
19.
15.
85
vidravo vadhabandhadir.
'Tumult
Com.
tions].
(vidrava)
is
and the
like.'
stanza
from
4,
the
p.
14,
p.
99; Ratn.
many
varia-
Notes.
is
samhhrama
DR.
i.
79.
26
the avamarsa
fined at 19.
BOOK ONE
[l 85
Bh. substitutes an element called vyahara, which is deas 'a relating of what one has seen in person'; SD. 385 substitutes khcda, Lassitude,' with an example from Malatlm. 6. For
94b
'
5.
49.
Pratapar.
3.
15.
Cf. Levi,
p.
49.
86
(P. 45
e; H. 41b-).
dravo gurutiraskrtih.
'Contempt
Com.
Notes. Ex.
||
:
(drava)
5.
is
Uttararama.
19.
34, p. 135
Vein.
6, p.
3.
182.
Bh.
15.
Cf. Levi,
p. 50.
87
(P. 46ai;
H. 42 a^.
saktis.
lit.
virodhasamanam
'Placation
greement.'
Com.
Notes.
Bh.
19.
(sakti,
power)
is
the
allaying
of
disa-
Ex.: Ratn.
4.
i,
p.
85; Uttararama.
it
6.
11, p.
142.
From
the examples
agreement of
II
facts,
to
a dis-
15.
88
'Rebuke
feelings.'
(dyuti,
lit.
flash)
is
Com.
Notes.
Ex.
||
Venl.
19.
6, p.
164-167.
3.
Bh.
15.
89
gurukirtanam prasarigas.
'Reverence
Com.
Notes.
(prasanga)
4,
p.
is
mentioning one's
elders.'
10,
p.
Ex.
Ratn.
97
[with
2.
many
4].
variations]
Mrcch.
259
(the stanza
||
is
Bh.
3.
15.
-I. 93]
90
(P. 46b-; H. 42b-).
BOOK ONE
27
chalanam cavamananam.
'Humiliation
to one].'
{chalana,
lit.
deceit)
is
disrespect
[shown
Com. Ratn. 4, p. 87; the abandoning of Sita in the Ramabhyudaya [a drama written by Yasovarman in the latter part of the seventh century,
mentioned also
Notes.
at
SD. 427;
cf.
ZDMG.
36 (1882),
p. 521].
element chadana; Pratapar. calana. For another definition of chalana, cited in the Arthadyotanika, see Levi, pt. 2, p. 9. Cf. Levi, p. 50. 19. 94 a; SD. 390; Pratapar. 3. 15. II Bh.
SD.
calls this
91
(P. 47a'; H.
43aO.
vyavasayah svasaktyuktih.
'Assertion
:
{vyavasdya)
is
mention of one's
own
power.'
Com. Ex. Ratn. 4. 8, 9, p. 91-92 [the words between the stanzas, ahava kim bahuna jampiena, constitute an alternative reading of the opening words of the second stanza] Veni. 6. 6, p. 162.
;
Notes.
||
Bh.
19.
3.
15.
92
sarnrabdhanarn virodhanam.
'Opposition
Com.
Ex.: Veni.
(virodhana)
is
[the
same thing
in the case]
150-152 [quoted
;
in part also at
DR.
3.
20].
Bh. calls Notes, sarnrabdhanarn H, V, P samrambhoktir Hall p. 38. SD. explains it as this virodha and defines it as an exchange of remarks an apprehension of failure. In Pratapar. this is named nirodhana and
;
defined as
II
Bh.
19.
p. 51.
93
(P. 47b;
H.43b).
'Foresight
(prarocana)
is
seeing what
is
to
come because
of an assurance of success.'
28
CoM.
Notes.
BOOK ONE
Ex.: Veni.
||
[l.
93-
6, p.
169-171.
3.
Bh.
19.
15.
94
(P.
48a^ H.
43c^).
vikatthana vicalanam.
'Boastfulness
{vicalana)
is
bragging.'
Com. Ex.: Veni. 5, p. 149-150 [in editions of the text of the play the words api ca lata do not appear, and the following stanza is given to Bhima; quoted in part also at DR. 3. 20] Ratn. 4. 18, p. 105.
;
Notes.
'
SD. 386
Obstruction.'
II
Bh.
19.
93 a; Pratapar.
3.
15.
95
(P.48a=; H.43c=).
adanam karyasamgrahah.
'Summary
Com.
4.
(ddCina)
6, p.
is
Ex.: Veni.
105.
most important divisions of the Pause are: Censure. Placation, Assertion, Foresight, and Summary [cf. SD. 405, com.].
18
c, p.
The
19.
199; Ratn.
p.
loi
Notes.
||
Bh.
3.
15.
its Subdivisions
49a; H. 44).
tat.
'The
Conclusion
{nirvahana)
is
that [Juncture] in
which
in the
Germ
(blja) and
were
Com.
Ex.
Veni.
6, p.
202
Ratn.
4, p.
103.
Notes. In i. 36, where the names of the five Junctures are given, the concluding one, here called nirvahana, is designated as upasaniltrti. The
is
found also
2>2>7;
in
may
19.
be regarded as synonymous.
41 b, 42 a;
Bh.
3.
SD.
(cf.
332,
:!i37),
has niharliana.
Cf. Levi, p. 52.
Bh.
SD.
Pratapar.
16.
-I. 99]
97
(P. 49b, 50; H. 45).
BOOK ONE
29
Junction
Vigilance
(vibodho),
Hint
(gratJiana),
Narration
(ananda),
Deliverance
(saiuaya),
Confirmation
(krti).
= bhdsana),
,
Unforeseen Cir,
cumstance
tion
(upaguhana), Anticipation
{purvabhava)
Termina-
Benediction (prasasti).'
3.
Notes.
Bh.
19.
66
b, 67,
18.
98
(P. 51
a^ H.
46ai).
sarndhir bijopagamanarn.
'Junction
(blja):
(sanidhi)
is
the
Com.
Ex.
45].
Ratn.
4, p.
103
Veni.
i,
p.
25 [the stanza
is
quoted also
at
DR.
I.
Notes. This subdivision of the nirvahana must not be confused with samdhi. 'Juncture': cf. i. 35. Cf. Levi, p. 53. 19. 96 a; SD. 392; Pratapar. 3. 18. II Bh.
99
(P. 51a-;
H. 46a-).
vibodhah karyamarganam.
'Vigilance
(karya).'
(vibodha)
is
seeking
for
the
Denouement
Com.
Notes.
Ex.
Ratn.
4,
p.
103
Veni.
6,
p.
204-205.
(observe that
it
reads niro-
dhana for the virodhana of DR. i. 92), but the same Bh. 19. 96 b; SD. 393; Pratapar. 3. 18. Cf. Levi,
II
definition as
p.
DR.
53.
30
100
(P. 51
BOOK ONE
[l.
100-
b^ H.
46bi).
grathanam tadupaksepo.
'Hint
Com.
Notes.
(grathana)
is
an intimation of
this
[Denouement, as
if attained].'
Ex.
||
Ratn.
19.
4, p.
105
Venl.
6, p.
201.
3.
Bh.
18.
101
'nubhijtakhya tu nirnayah.
'Narration
Com.
Notes.
(ninjaya)
4, p.
is
a relation of experience.'
6,
Ex.: Ratn.
||
106; Veni.
p. 203.
3.
Bh.
19.
18.
102
is
talking
[of
Ex.
Ratn.
4, p.
104-105
Veni.
6, p.
205-206.
19.
3.
18.
103
prasadah paryupasanam.
'
G r ac ou s n e ss
i
(prasada)
105
;
is
courtesy.'
Com.
Notes,
Ex.
jj
Ratn.
19.
4, p.
Veni.
6, p. 205.
3.
Bh.
18.
104
(P. 52
b^ H. 47 b^).
anando vaiichitavaptih.
'Bliss
(d)iajida)
is
I.
I08]
Ex.
:
BOOK ONE
Ratn.
4,
31
text]
;
Com.
p. 206.
p.
107
[differs
Venl.
6,
Notes.
||
Bh.
19.
18.
105
samayo duhkhanirgamah.
'Deliverance
fortune.'
(saniaya^
lit.
occasion)
is
Com.
Notes.
Ex.: Ratn.
||
4, p.
104; VenT.
6, p. 208.
3.
Bh.
19.
18.
106
(P.
krtir
53a^ H. 48a0.
labdharthasamanam.
(krti,
lit.
'Confirmation
result attained.'
fact)
is
substantiation of the
Com.
Notes.
Ex.: Ratn.
4,
p.
107; a passage
209].
from Veni.
18.
[substantially equi-
6. 44, p.
Bh.
19.
3.
Cf. Levi,
p.
55.
107
manadyaptis ca bhasanam.
'Expression of Satisfaction
ment of one's expectations and the
Com.
Notes.
like.'
blulsana)
is
the attain-
Ex.
Ratn.
4, p.
108.
Pratapar.
calls
this
subdivision
praptakaryanumodanam. Bh. has abhasana. Bh. 19. loia; SD. 402; Pratapar. 3. 18.
II
abhasaua
and defines
it
as
108
(P.
53b; H. 48b).
karyadrstyadbhutaprapti piirvabhavopaguhane.
'Anticipation
(purvabhava) and
the
Unforeseen Cirsomething
cumstance
the
wonderful.'
32
CoM.
Notes.
BOOK ONE
Ex.: Ratn.
4, p.
[l.
VenT.
I08-
106-107 (Anticipation)
6, p.
207 (Unfore-
seen Circumstance).
allusion to
II
For the piirvabhava SD. 403 substitutes the purvavakya, or words spoken before. Bh. 19. 100 b, loib; SD. 401; Pratapar. 3. 18. Cf. Levi, p. 56.
109
varaptih kavyasamharah.
'Termination
Com.
p. 95]-
{kdvyasamhdra)
p.
is
obtaining a boon.'
5,
Ex.
Ratn.
4,
108
[cf.
Nagananda
p.
105
Priyadarsika
4,
Notes. The illustrative example here and in SD. shows that this kavyasamhara is merely a designation for the phrase What further can I do for you?' which in many of the dramas precedes the final Benediction. Bh. 19. 102 a; SD. 404; Pratapar. 3. 18. Cf. Levi, p. 56.
'
II
HO
(P. 54a-; H.
48^).
prasastih subhasamsanam.
'Benediction
Com.
Notes.
(prasasti)
210-21 1.
is
prayer
for
good
things.'
Ex.
VenT.
6, p.
The
End
in the
of the
Drama and
named (SD.
II
the Benediction
405, com.).
these
order
Bh.
19.
18.
Ill
(P.
54b; H. 49a).
The
of.
Their
application
Notes.
||
sixfold.'
a
;
SD. 406
Pratapar.
3.
18.
U2
-I. 115]
BOOK ONE
33
to be concealed, disclosing
[what
is
to
and sustaining
||
Notes.
3.
Bh.
19.
48
a,
b, c;
AP.
22,7
24,
25; Pratapar.
18.
H. 50).
dvedha vibhagah kartavyah sarvasyapiha vastunah sucyam eva bhavet kim cid drsyasravyam athaparam.
'And
and the
Notes.
here
[i.
e.
in the play]
subject-matter must be
rest is to
||
is
to be intimated,
Pratapar.
18.
114
drsyas tu madhurodattarasabhavanirantarah.
'
Minute
Senin
it
[merely]
to
be
intimated
in action.'
e.
in the play]
to be
presented
Cf. Levi, p. 57.
The
115
(P. 58;
H. 52).
What
is
to be
make
clear by
means of
the five
Intermediate Scenes
(orthopakscpaka).
34
[namely]
:
BOOK ONE
the Explanatory Scene (viskambha)
,
[ I.
115 -
the Intimation-
Scene
(prave-
Bh.
19.
109;
SD.
3.
18.
116
'The
which
is
Explanatory Scene
(viska)ubiia
= viskambhaka),
for the purpose
is
dramas
p.
77) quotes Bh. 18. 35. 19. no; 18. 34, 51; SD. 308c, d; Pratapar. II Bh.
3.
19.
117
pure (siiddha)
[is called]
or more persons [of one class], it when by inferior and middling [char-
acters],
it
mixed (samknna).'
is
Notes.
is
The pure
variety
and
presented by one or two middle-class characters the mixed variety is in Prakrit and is presented by middling and inferior characters together
Bh.
19.
Ill;
18. 35,
e,
f;
Pratapar.
3.
19.
118
(P. 60b, 61 a;
li.
54).
The
is
Introductory
quite similar
Scene
pravcsa
= pravcsaka
which
and
is
performed by
I.
120 ]
in
BOOK ONE
lans^uagfe
35
is
inferior characters
that
acts
'
first act.
'nkadvayasyantah H, V, P; nte Hall p. 38. The pravesaka, from the viskambhaka, is always in Prakrit. Gray, JAOS. inter25. 205, note I, rightly protests against the misleading translation lude,' which has an entirely different connotation in English.
as distinguished
'
II
Bh.
19. 113,
14:=
18. 30,
31;
3. 22.
119
(P.
6lb; H. 55a).
'The
Intimation-scene
Ex.
Uttararama.
2, p.
{ciilikd)
is
an explanation of
47
Mahavira.
4, p. 125.
antaryavanika H,
V;
antarjavanika" Hall
p.
p. 38,
P.
On
the
curtain in the
II
Hindu
112;
120
'The
Anticipatory Scene
(aiikasya)
[is
so called] be-
cause of the allusion by characters at the end of an Act to the subject of the following Act [lit. of an Act that is detached
(from
Com.
it)].'
Ex.
Mahavira.
2, p.
87
3, p. 89.
Notes.
is
called
-\-
asya).
SD.
gives, in addition
ing act (313), another interpretation (312) as a part of an act in which the subject of all the acts is intimated. The former is included on the
authority of Dhanika; the latter seems to be an original interpretation intended to differentiate the ankamukha more clearly from the ankavatara,
it
was
Bh.
19.
116;
SD.
312, 313;
Pratapar.
3.
21.
36
121
BOOK ONE
(P. 62b, 63a; H. 56).
[l.
121-
'The
tion
Continuation-scene
it.
{ankavatara)
is
the occur-
from
By
just
to be intimated;
[but]
what
is
means of
the acts
[themselves].'
Com.
Notes,
i,
p.
21
[with variants].
p.
38.
The
Con-
tinuation-scene
evidently
a continuation
same
A remarkable instance of the application of on the modern stage is to be found in a drama by Charles Rann Kennedy, The Servant in the House (published at New York, 1908), in which every act is thus continued in the following one. The Continuation-scene does not seem to belong properly in the category' of Intermediate
separation between the acts.
this device
Scenes, according to the definition of these in the latter part of this section;
it
is
not clear
115;
how
it
114).
3.
Bh.
19.
23.
63b; H. 57a).
tridhesyate.
is
further declared to be
and
128.
Cf.
Levi, p. 61.
123
(P.
64a; H. 57b).
Of
the matter in
all.'
hand some
is
to be
heard by
all,
some
is
not
to be heard bv
-I. 127]
Notes.
Levi, p. 61.
BOOK ONE
The
technical
37
in
Cf.
124
(P.
64b; H. 58a).
What
is
is
to be
heard by
all is
[called]
an
ou d
(prakasa)
what
all] is
known
as an
Aside
(svagata).'
Notes.
An
Aside
b.
is
The
gatam and
USD.
125
4253,
(P.
65a; H. 58b).
There
is
is
twofold
Per-
126
anyonyamantranam yat
'Personal Address
in the
(jandntika)
is
mutual conversation
in the
(tripatdkd).'
Notes.
section
The word
in
and
detail
Bh.
9.
28-38,
designates
the
As
stage.
6.
24 -f
P-
SD. 425
d, e.
Cf. Levi,
127
(P.
66b; H. 59c).
38
BOOK ONE
(apavarita)
is
[l.
127-
'A Confidence
by turning around
Notes.
addressed.
[to him].'
is
The
apavarita
USD. 425b,
c.
128
evam
ityadi vina
tat
When
[one actor]
'
alone, without
'
actor
[on the
stage] says
Do you
say so?
or the
like,
is
hearing something,
though
it is
[called]
Conversation
.'
akasabhasifa )
Com. Some persons name other dramatic rules besides, such as prathamakalpa [cf. Levi, pt. 2, p. 12], etc., but no definition of them is given in this work, because they are not ordained by Bharata, are not mentioned in lexicons, consist in the use of dialect by some characters, and are really
not dramatic rules at
all.'
Notes.
logue; see
This device
is
DR.
3.
53.
An
use
is
found
at
For an Occidental
5,
act 3 (ed.
108-109).
g.
SD. 425
Ramayanadi
citrarn
ca vibhavya
Brhatkatham ca
katham ucitacaruvacahprapaficaih.
'After examining the entire body of divisions of the subjectmatter here [presented]
in
[sections],
I.
129]
BOOK ONE
Ramayana and
the like,
39
as well as the
tions of appropriate
Com. As, for example, the drama Mudraraksasa, which is based on the Brhatkatha; or the story of Rama, originally told in the Ramayana. [The mention of the Brhatkatha is followed, in the text of the commentary, by two slokas from Ksemendra's Brhatkathamanjari (2. 216, 217). These are doubtless to be regarded as an interpolation see my Introduction, page
;
xxxiii.]
Notes.
Meter: vasantatilaka.
BOOK TWO
Characteristics of the Hero
1
(P. 1,2; H.
I,
2a, b).
buddhyutsahasmrtiprajnakalamanasamanvitah
suro drdhas ca tejasvi sastracaksus ca dharmikah.
'
The
Hero
liberal,
clever,
intelligence, energy,
memory, wisdom,
arts,
(gentle)
16]
4. 21, p. 146 (well-bred); Mahavira. 2. 36, p. 75 Spr. 1547 (liberal) Mahavira. i. 53, p. 2,7 [quoted also at DR. (clever) Mahavira. 2. 35, p. 75 (affable) Mahavira. 4. 44. p. 164
; ; ;
Ex.: Mahavira.
(popular)
Raghuvarnsa
4.
16.
8 (upright)
;
ramayana
(resolute)
60,
;
p.
108]
(eloquent)
3. 8, p.
exalted lineage)
;
Mahavira.
Bhartrhari, Nitis.
27^
123 (of 95 [quoted also at DR. 2. 20 and 4. 22] Spr. 4342 (resolute) Malav. i. 5. p. 8
3.
Mahanataka 2. Anargharaghava
;
14, p.
52
p.
[=Bala-
21,
(possessed of knowledge).
Notes.
5.
i-
12. 7,
8; Sarasv.
B.
S.
104
a,
Vagbhatal.
7;
Vagbh. Kavyan.
5, p.
sekhara
p.
20.
6; Kamasutra, p. 308-309;
Cf. Schmidt,
p.
109-111)
Levi,
of Hero
He
[i.
c.
the
Hero]
is
of
(lalita),
calm
vehement (iiddhata).'
40
-2. 5]
Notes.
in
BOOK TWO
41
santa,
etc.
has prefixed to
it
the
word
the heroine,
control.
The
;
Sahityasara
three types.
Bh. 24. 3, 4; SD. 65; AP. 338. 37 b. 38 a; Sarasv. 5. 109 a (ed. B. 5. iioa) Hem. Kavyan. 7, p. 299; Vagbh. Kavyan. 5, p. 61 Pratapar. i. 27; Sahityasara 11. 2.
;
(P.
3b; H. 3a).
mrduh.
[Hero]
(dli'ira-
'The
self-controlled
and
light-hearted
lalita) is free
Ex.: Ratn.
j|
i.
9,
p.
6 [quoted also
at
5.
DR.
4.
14].
Bh.
24.
5 a;
Kavyan.
7, p.
299; Pratapar.
556 (ed. B. p. 342); Hem. 32; Sahityasara 11. 4. Cf. Levi, p. 64.
(P.
4a; H.3b).
and
calm
p.
[Hero]
(dhirasdnta)
is
Brahman or
Com.
at
Ex.
I.
Malatim.
2.
10,
73
Mrcch.
10.
12,
p.
DR.
89].
||
Notes.
Bh.
24.
Kavyan.
5
7, p.
299; Pratapar.
5. 557 (ed. B. p. 343); Hem. Cf. Levi, p. 64. 33; Sahityasara 11. 5.
(P. 4b,
5a; H. 4).
'The
self-controlled
and
exalted
[Hero]
(dhlrodatta)
is
Ex. Xagan. 5. 15, p. 89 [quoted also at DR. 2. 23] Mahanataka 97 [quoted also at DR. 2. 19]. The objection may be raised by some that Jimutavahana, the hero of the Nagananda, belongs more properly in
Com.
3- 25, p.
i.
6,
p.
42
and
I.
BOOK TWO
4, p. 3.
[2.
5-
is
really
of his great tranquillity, profound sympathy, and lack of passion, and his
due
158
5.
7,
p.
(=
Spr. 7328).
p. 65-66.]
Bh.
24.
5 b;
5.
558 (ed. B.
11. 3.
p.
343);
p.
Hem.
Kavyan.
7, p.
299; Pratapar.
28; Sahityasara
Cf. Levi,
65-66.
darpamatsaryabhuyistho mayachadmaparayanah
dhiroddhatas tv ahamkarl calas cando vikatthanah.
'
The
self-controlled
and
vehement
[Hero] (dhlroddhata)
is
self-assertive,
fickle,
irascible,
and
Com.
sage].
Ex.: Mahavira.
2.
16, p.
57; trailokyaisvarya
[unidentified pas-
must be of one of the four kinds just defined throughout the drama, to insure unity; a secondary hero may, however, evince varying characteristics under different circumstances, as in the case of Parasurama in the Mahavlracarita, who appears as exalted in 2. 10, as 'vehement' p. 51 [quoted also at DR. 4. 23 and Kavyapradlpa 5, p. 169] and as calm in 4. 22, p. 147 [quoted also in 2. 16, p. 57 [quoted above] [For details of the argument see Levi, p. 67-68.] at DR. 2. 89].
principal hero
' '
;
The
'
'
Notes. Kavyan. 7,
||
Bh.
24.
5.
555
p.
(ed.
B. p. 342);
Hem.
p.
299; Pratapar.
30.
Cf. Levi,
66-68.
The Hero
7
as Lover
(P.6b; H.6a).
sa daksinah satho dhrstah
'
hrtah.
When
be]
may
{daksina),
deceitful
[love].'
(satJia),
or
shameless
(dlirsta)
Notes. USD. 70; Rudr. Smg. i. 28; Rudr. Kavyal. 12. 9a; AP. 338. 38b; Sarasv. 5. 109b (ed. B. 5. nob) Hem. Kavyan. 7, p. 299; Vagbhatal. Pratapar. i. 34; 5. 8; Vagbh. Kavyan. 5, p. 61; Rasamanjarl, p. 208;
;
Alanikarasekhara
Schmidt,
p.
20.
7;
Ratirahasya
ed., p.
2.
82
(ZDMG.
57,
p.
728).
Cf.
152-153 (2d
112-113).
2.
10
BOOK TWO
43
(P.
7a^ H.
6b^).
(daksina)
is
[one that
is]
kind to her
e.
Com.
Notes.
3. 3, p.
40=
Spr. 1158.
5.
Srfig.
i.
12.
10; Sarasv.
562 (ed. B.
Kavyan.
20.
ed., p.
5, p.
Hem. Kavyan. 7, p. 300; Vagbhatal. 5. 9b; Vagbh. 343) 61; Rasamanjari, p. 210; Pratapar. i. 36; Alamkarasekhara
Cf.
Schmidt,
p.
154-155
(2d
Levi, p. 68.
(P. 72?;
H. 6b^).
giadhavipriyakrc chathah.
(satha)
[is
Spr. 6357 [quoted also at SD. 74]. Com. Ex.: Amaru 73 'clever' hero, although equally unfaithful, differs from a 'deceitful' hero
in that
A
11;
he
is
Notes.
Sarasv.
5.
559 (ed. B.
5,
p.
Vagbh. Kavyan.
karasekhara
20.
p.
SD. 74; Rudr. Srfig. i. 33; Rudr. Kavyal. 343) Hem. Kavyan. 7, p. 301; Vagbhatal. 61; Rasamanjari, p. 213; Pratapar. i. 39;
;
12.
5.
10 a;
Alam2.
84
(ZDMG.
p.
57, p. 728).
Levi,
68.
10
vyaktangavaikrto dhrsto.
'A shameless
Com.
Ex.
[Hero]
(dhrsta)
[is
one that]
lets
the
Amaru
71
= Spr.
5844.
Notes. On the bodily disfigurements, chiefly marks made by the nails and teeth, see DR. 2. 40 and Schmidt, p. 478, 496 (2d ed.. p. 356, 369). USD. 72-, Rudr. Srrig. i. 36; Rudr. Kavyal. 12. 12; Sarasv. 5. 560 (ed.
B.
p. 5, p.
Hem. Kavyan. 7, p. 300; Vagbhatal. 5. 10 b; Vagbh. Kavyan. 343) 61; Rasamanjari, p. 211; Pratapar. i. 38; Alarnkarasekhara 20. 9b;
;
2.
85
(ZDMG.
57, p. 728).
Levi, p. 68.
44
11
BOOK TWO
(P.
[2.
II-
7b^
H. 6c2).
'nukulas tv ekanayikah.
[is
Com.
Ex.: Uttararama.
first
i.
39,
p.
37.
The
King Vatsa
who
are at
faithful
'
and
They
are not
first
to be regarded as
deceitful
and
'
some
quoted also at SD. 71]) and from Bharata (Bh. hero is to be regarded as clever.'
'
23. 54).
Hence such
[produced by the combination of in sections \\'\\.h. those mentioned 8-11] may be superior, intermediate, or inferior, there are 48 varieties of hero [cf. Bh. 24. 2; SD. 75; Kumarasvamin on Pratapar. i. 27; Sukaand see Schmidt, p. 158-160]. saptati, text, simpl. 57 (p. 162, 1. 4-9)
the four kinds mentioned in sections
z-(^
;
Notes.
561
(ed. B.
SD. y^; Rudr. rng. i. 29; Rudr. Kavyal. 12. 9b; Sarasv. 5. p. 343); Hem. Kavyan. 7, p. 301; Vagbhatal. 5- 9a; Vagbh.
61; Rasamaiijari,
p.
Kavyan.
20.
p.
5, p.
208; Pratapar.
i.
35; Alanikarasekhara
2.
83
(ZDMG.
57,
Levi, p. 69.
The Hero of
e.
the
Episode
(patdkd)
,
is
a separate
person,
[called]
[i.
Attendant
{plthamarda)
intelligent, assisting
him
[to
Com.
Sugrlva
Notes.
338. 39,
Such
in
are,
[the
for example, Makaranda in the Malatimadhava, and dramas based on] the Ramayana.
USD.
i.
39, 40;
Rudr. Kavyal.
12.
13,
14;
AP.
40 a; Sarasv. 5. 597 (ed. B. p. 348); Vagbh. Kavyan. 5, p. 62; Rasamanjarl, p. 227; Pratapar. i. 40; Rasaratn. 53 a; Kamasiatra, p. 5758; Kandarpaciidamani and Paficasayaka, cited by Schmidt. Cf. Schmidt,
197-200 (2d
ed., p.
p.
142-144)
Levi, p. 72.
-2. 15]
13
BOOK TWO
45
the
Parasite Jester
(I'ita),
who
has
(ridusaka),
who
Com.
saka
is
An example
||
of the vita
i. 41; Rudr. 599 (ed. B. 5. I70^ 170, p. 348) Vagbh. Kavyan. 5, p. 62; Rasamanjarl, p. 227; Pratapar. i. 40; Rasaratn. 53 b. 55 a [by an oversight no section was numbered 54 in the printed edition]; Kamasiitra, p. 58, 59; Ratirahasya i. 21-26 (ZDMG. 57, p. 712-
Notes.
Bh.
24. 105,
Kavyal.
12.
15;
AP.
598,
713).
p.
144-146)
Levi,
p.
122-123.
The Opponent
14
(P.
of the Hero
9b; H. 8b).
'The
criminal,
Opponent
and
vicious.'
[of the
Hero]
is
Com.
Notes.
'
is
the opponent of
The
pratinayaka,
counter-hero.'
The use
Kavyan.
5.
of the
(7, p.
word
ripu here
is
gencies.
Hem.
p.
to the heroine.
USD.
Cf. Levi,
159; Sarasv.
72.
7,
p.
301.
'The
eight
manly
Beauty of Character
(sobha),
Vivacity
Equanimity
46
(
BOOK TWO
,
[2.15-
madhurya)
.'
Honor
(tejas),
Lightheartedness
(lalita),
and
Magnanimity
(audarya)
Notes.
dhairya).
this plain
sthairya Hall
p. 38,
Hall remarks
stanza,
is
(p.
16, n.
P; dhairya H, V (Bh. has sthairya; SD., 3): 'The dhairya of my printed text,
In spite of
in the ninth
DR.
;
2.
20,
sattvajah H, V, P sattvikah marks on that edition in the Introduction. Hall p. 38 (SD. has sattvajah). Five of these technical terms reappear below in the enumeration of the graces of women: sobha (2. 53), vilasa (2. 61), madhurya (2. 55), lalita In their application to feminine charms they (2. 68), audarya (2. 58). have a different meaning, and they are therefore rendered in that con-
my
re-
Hem. Kavyan.
7,
p.
296.
16
(P. II a; H. loa).
sobhayam sauryadaksate.
(Jobhd) [are comprised] com-
'In
Beauty of Character
Com.
Ex.
Mahavlra.
stanza,
[tr.
tr.
i.
2>7>
P-
27
70]
(compassion)
(emulation)
; ;
[unidentified
Levi,
p.
p.
by Dhanika
2>7
= Sarhg.
also at
3973
2.
Levi,
70]
(heroism)
Mahavlra.
53, p.
[quoted
DR.
||
i]
(cleverness).
Notes.
Cf. Levi,
AP.
338. 48;
Hem. Kavyan.
7,
p.
296.
p. 70.
17
'Vivacity
laughing voice.'
Com.
Notes.
(vilasa)
Ex.
||
Uttararama.
;
6.
19, p. 147.
Bh. 22. ^3
SD.
91
Hem. Kavyan.
7, p. 297.
Cf. Levi,
p. 70.
-2. 2l]
i8
(P. 12a; H. iia).
BOOK TWO
47
slaksno vikaro
api.
'Equanimity
meanor even
Com.
Notes.
in
[means]
slight
change of de-
Ex.: Mahanataka
||
54, p.
Ii4=:arng. 3990
7, p.
[tr.
Levi, p. 70].
Hem. Kavyan.
297.
Cf. Levi,
p. 70.
19
'Poise
in
{gambh'irya)
[means]
that,
because of strength of
is
character, no change of
demeanor whatsoever
observed [even
jMahanafaka
3.
25,
p.
97
[quoted also at
DR.
2.
5;
tr.
Levi, p. 65].
|I
Hem. Kavyan.
7, p. 298.
20
(P. 13 a; H. 12a).
api.
'Firmness
Com.
Notes.
3. 8, p.
95 [quoted also at
DR.
2.
and
4.
22].
Bh.
22. 35;
7, p. 298.
21
api.
'Sense of Honor
Com.
Notes.
3)
n.
(tejas)
is
and
life.'
Sarng. 262.
section of Bh., recorded by Hall (p. 16, by Ksirasvamin and by Rayamukutamani in their commentaries on the Amarakosa, is found also in the com. on Hemacandra's Anekarthasarngraha 2. 371 and 2. 569 (ed Zachariae, Vienna, 1893, ExSD. repeats the defitracts from the Com., p. 58, top, and p. 83, middle).
The corresponding
as cited
Bh.
22.
39; SD. 95
a,
b;
Hem. Kavyan.
7,
p. 298.
48
22
(P. 14a;
BOOK TWO
H. 13a).
[ 2.
22
'Light heartedness
ance and demeanor of
Com.
Notes.
love.'
lalita
is
[tr.
Levi,
p. 71].
p. 71.
Bh.
22. 37;
SD. 95
c;
Hem. Kavyan.
7, p.
297.
Cf. Levi,
23
priyoktya jivitad
'Magnanimity
much
as
the giving
up of even as
also at
DR.
2.
5];
Kumara-H
(instrumental)
Cf. Levi,
Hem. Kavyan.
7, p.
298.
p.
71.
of Heroine
H. 14a).
'ti
is
of three kinds:
is]
[a
woman who
;
another's (anya), or a
his
[
own common
Hero's]
woman
Notes.
(sddJidranastrJ)
i.
e.
the
qualities.'
diagram
illustrating
p.
Dhanamjaya's
149.
Bh.
:
24.
dir'ya,
Rudr. Kavyal. 12. 16; AP. 338. 41; Sarasv. 5. ma, 112b (ed. B. 5. 112a, 113b); Hem. Kavyan. 7, p. 301; Vagbhatal. 5. 11; Vagbh. Kavyan. 5, p. 62; Rasamanjari, p. 11; Alarnkarasekhara 20. 2b, c; Rasaratn. 8b; Sahityasara 10. 2a; Bhasabhusana Cf. Schmidt, p. 256-258 (2d 10; Ratirahasya i. 27 (ZDMG. 57, p. 7^3)
USD.
96;
Rudr.
Snig-
i-
46;
ed., p.
186-187)
Levi, p. 72.
-2. 27]
BOOK TWO
49
The
25
(P. isb;
Hero's
Wife
as Heroine
H. 14b).
pragalbheti sviya silarjavadiyuk.
(sv~iyd=^sz'd),
mugdha madhya
'
[The Hero's]
own wife
who
is
possessed
be]
[may
inex-
perienced
enced {pragalbhd).'
Com. Ex.: Hala 871 (good character) 866 [quoted also at SD. 97] (modesty).
Notes,
sz'iya
;
Hala
H, V, P
sva
'pi
Hall
p.
This
type of heroine
is
Rudr. Srng. i. 47; Rudr. Kavyal. 12. 17; Sarasv. 5. iiob iiib); Hem. Kavyan. 7, p. 301; Vagbhatal. 5. 12, 13; Vagbh. Kavyan. 5, p. 62; Rasamanjari, p. 11-12, 16; Pratapar. i. 56;
USD.
97, 98;
5.
(ed.
B.
Alarnkarasekhara
28
20. 3, 4;
p.
(ZDMG.
57,
713).
Cf.
Levi, p. 72.
26
mugdha navavayahkama
'The
desire of
ratau
vama mrduh
krudhi.
the
inexperienced
new
youth,
is
[kind of wife]
{mugdha) has
in anger.'
coy
in love
;
and gentle
,
Com.
drslih salasa
DR.
2.
50]
(desire)
Kumarasambhava
[unidentified
[quoted also at
;
DR.
61]
(coyness in rati)
In most rhetorical treatises the mugdha is not further subdivided (cf. DR. 2. 31, com.: mugdha tv ekarilpaiva; see also Schmidt, p. 262-263; 2d ed., p. 191), but Rasamanjari, Rasaratnahara, and Bhasa-
Notes.
bhusana mention two varieties of mugdha. USD. 99; Rudr. Sriig. i. 48, 52, 54, 56; Rudr. Kavyal. 12. 18-20; Sarasv. Rasamanjari, p. 16-17; Pratapar. i. 56; Rasaratn. 5. 566 (ed. B. p. 344) Cf. 10, II a; Bhasabhusana 11; Ratirahasya i. 9-11 (ZDMG. 57, p. 7io).
;
Schmidt,
p.
260-262 (2d
ed., p.
189-191)
Levi, p. 7^-72,-
27
(P. l6b;
H. 15b).
madhyodyadyauvananahga mohantasurataksama.
5
50
'
BOOK TWO
The partly experienced [kind
rising
[2.
27-
the love of
fainting.'
indulgence even to
Com.
(love)
;
Ex.
alapan
bhn'i
[unidentified
stanza]
(youth)
Amaru
60
Hala
5 {satnbhoga).
ydvananangd H, V, P; clearly a mistake for yaiivanananga, The term madhya is here used to designate the kind of wife intermediate between the mugdha and the pragalbha. For another
Notes.
I
which
adopt.
2.
30, notes.
i. 58, 63; Rudr. Kavyal. 12. 21, 22; Sarasv. 5567 (ed. B. p. 344) Vagbh. Kavyan. 5, p. 62; Rasamanjarl, p. 31 Pratapar. I. 56; Rasaratn. lib, 12a; Bhasabhusana 12a; Ratirahasya i. 12, 13 (ZDMG. 57, p. 710). Cf. Schmidt, p. 263-264 (2d ed., p. 191-192) Levi,
USD.
P-
73-
28
(P. 17;
H.
16).
who
is]
self-con-
trolled
indirect
speech;
one that
is
partly
self-controlled
(madhya)
Ex.:
Magha
7.
;
(partly self-controlled)
Notes.
SD.
102, 103;
Rudr. mg.
p.
Kavyan.
269 (2d
7, p.
ed.,
i. 65; Rudr. Kavyal. 12. 23; Hem. 42; Rasaratn. 16. Cf. Schmidt, p. 266-
p. 73.
29
experienced
[kind of wife]
(pragalbha)
is
blinded
by youth, crazed with love, infatuated, and clinging, as it were, to the body of her husband for joy even at the beginning of love's
pleasures.'
-2. 30]
Com.
{rati);
BOOK TWO
Ex.: abhyunnata
; ,
51
[tr. Levi, p. 74] Spr. 3246 (emotion)
;
stanza by Dhanika
(youth)
Amaru
2. 63, p.
128=
Amaru
97
Amaru
:
For pragalbha Sahityasara substitutes the term adhya (the adhyatvam pragalbliyam eva) com. explains Pratapar. and Vagbh. Kavyan. employ the synonymous designation praudha.
Notes.
;
Rudr. Srfig. i. 69, 74; Rudr. Kavyal. 12. 24, 25; Sarasv. 5. 344) Vagbh. Kavyan. 5, p. 62; Rasamanjari, p. 34; Pratapar. I. 56; Rasaratn. 12b; Bhasabhusana 12 b; Ratirahasya i. 14, 15 (ZD^MG. Cf. Schmidt, p. 264-266 (2d ed., p. 192-194) Levi, p. 74. 57, p. 711).
loi
;
USD.
568 (ed. B.
p.
30
(P. 19;
H. l8a, b).
In her anger an
is
[experienced wife
who
is]
self -controlled
is
(dhlra)
indifis
e.
one
who
is
is
wont
to scold
and
strike [her
husband]
one who
is
partly self-controlled
{madhya)
wont
to speak to
him
like a partly
experienced [wife]
who
is
lacking
in self-control
(niadhyddJfira).'
Spr. 1363 (pretended respect)
10
;
Com.
33
Ex.:
difference to
Amaru
;
= Spr.
63 (in-
Amaru
= Spr.
Notes,
madhya H, V, P; kantam Hall p. 38.A further threefold madhya and the pragalbha not otherwise referred to in the present work is implied in sections 28 and 30. In the expression of their anger heroines of these two varieties may be self-controlled (dhlra),
division of the
madhya, as in the second line above, or dhlradhlra (dhlra -\- adhira), as Dhanika's commentary and several of the other treatises (cf. Rasap.
manjari,
Both of these designations of the intermediate tj-pe cause occasional obscurity. The term madhya is easily confused with the madhya that denotes the intermediate between miigdha and pragalbha (see DR. 2. 27). The term dhlradhlra, which avoids this duplication of terms, is a source of difficulties of another kind. In Hem. Kavyan. 7, p. 303, for example, we find the remarkable statement dhlradhlradhlradhirabhcddd antyc t red ha, which seems unintelligible until the first element is analyzed as dhlra -(dhlra-adhlra -f adhira.
Similarly
in
Rasaratn.
14 a
dhlradhlra
tatha
52
dhiradhlrefi
trividhe
sfriyau.
BOOK TWO
[2.
30-
In
i.
the
word madhyadhlra
2.
{madhya-\-
adhlra) in the second line of the text above, the former element designates
the 'partly experienced' type of wife (see
27, notes).
12.
USD.
Kavyan.
p.
76, 79;
Rudr. Ka\'yal.
17,
26, 27;
Hem.
18.
Cf. Schmidt,
31
[The
varieties of wife-heroine]
of two
Com.
There
is
The
three kinds of
madhya
28) and the three kinds of pragalbha (2. 30)] Ex.: Amaru 18= Spr. 2937 [quoted also at DR. 2. 82]
Vasavadatta and Ratnavali in the drama Ratnavall. mugdlia there are thus twelve varieties [cf. SD. 108 a,
Notes.
5.
\\
; ;
Aside
b].
from the
SD. 107 Rudr. Srng. i. 83 Rudr. Kavyal. 12. 28 Sarasv. iiib (ed. B. 5. 112b); Hem. Kavyan. 7, p. 303; Rasamaiijari, p. 57;
;
Rasaratn.
13.
Levi.
p.
75.
A Maiden
32
or Another's
Wife
as Heroine
A woman who
is
or a married
woman.
Com.
Ex.: Sariig. 3769 (love for the wife of another); the love of
the hero for Sagarika in the Ratnavali, and that of the hero for Malayavatl in the
Nagananda
Notes,
The
usual designa-
On
38;
52.
USD.
108
c,
109,
no; Rudr.
r"g-
i-
?7
Rudr. Kavyal.
12.
30; Sarasv.
-2. 35]
5.
EOOK TWO
(ed.
53
5.
nib
B.
5.
Vagbh. Kavyan.
Rasaratn. 20-22.
5,
62; Rasamafijari,
p.
14;
A
33
Courtezan as Heroine
(P. 21 b; H. 20a).
'A
common woman
For
{sadhdrauastrl)
is
courtezan,
and cunning.'
on section
Notes.
34.
Levi,
p. 75.
34
channakamasukharthajnasvatantraharnyupandakan
rakteva rafijayed adhyan nihsvan matra vivasayet.
'
She
gratifies, as if she
were
in love
ceal their
the foolish,
the self-willed, the selfish, and the impotent, as long as they have
money
when they
ed., p. 203-20,5)
Levi, p. 75.
35
(P. 23 a; H. 21 b).
Hero] except
in a
a drama concerned
54
CoM.
Except
in
BOOK TWO
a Prahasana, a courtezan maj' be
[2.
35-
enamored of the
not be in love, for the sake of the comic effect. She must not be introduced in a drama whose hero is a celestial king.
Notes.
Text
as
above, H, V,
hasanetare Hall
p. 38.
Cf.
Levi,
75-76.
23b; H. 22a).
Of
these
[types of Heroine]
there
may
be eight [varieties
[in
"one
husband
in subjection"
and so
on.'
i.
p.
Bh. 22. 197, 198; SD. 112; Rudr. Srhg. 154 (supposed interpolation); Sarasv.
7, p.
i.
5.
114b)
p.
Hem. Kavyan.
10. 21.
105; Pratapar.
Sahityasara
305-306; Vagbh. Kavyan. 5, p. Alarnkarasekhara 20, p. 70; Rasaratn. 27; Cf. Schmidt, p. 284-287 (2d ed., p. 208-209) Levi, p.
41, 42;
;
76.
37
'"One
is
is
at her service,
and who
Com.
Notes.
is
Ex.:
Amaru
55, p.
141
type of heroine
called svadh'inapatika.
22. 201; SD. 113; Rudr. Srng. r. 133; Rudr. Kavyal. 12, p. 154 II Bh. (supposed interpolation); 12. 45; Sarasv. 5. 118 (ed. B. 5. 119); Hem. Kavyan. 7, p. 306; Vagbh. Kavyan. 5, p. 63; Rasamanjarl, p. 163; Pratapar. I. 43; Rasaratn. 38 a; Bhasabhusana 20 a; Anaiigaranga, Pancasayaka.
(2d
ed.,
p.
Levi,
p.
76.
38
(P.
24b; H. 23
a).
muda
vasakasajja
svam mandayaty
esyati priye.
-2. 40]
BOOK TWO
that
is
55
[is
"'One
Com.
Notes.
sajjifa.
one
who] adorns
when her
is
lover
Ex.:
is
about to come.'
g. 52.
She adorns
Magha
and vasaka-
22. 199; SD. 120; Rudr. Sriig. i. 137; Rudr. Kavyal. 12, p. 154 II Bh. (supposed interpolation); Sarasv. 5. 117 (ed. B. 5. 118); Hem. Kavyan. 7, P- 307; Vagbh. Kavj-an. 5, p. 63; RasamafijarT, p. 154; Pratapar. i. 44; Rasaratn. 38 b, 39 a; Bhasabhusana 19 b; Anarigaranga, Pancasayaka, and
Levi,
p. 76.
39
(P-
25a; H. 23b).
'"One
that
is
distressed
at
is
[her
lover's]
absence"
(vira-
hotkanthita)
[is
one who]
disturbed
(uniiiajias)
when he
Com.
XoTES.
2,^.
Ex.: sakhi sa
This
Bh.
22.
and
iitkanthita.
12, p.
11
154
(supposed interpolation) Sarasv. 5. 120 (ed. B. 5. 121) Hem. Kavyan. 7, p. 307; Vagbh. Kavyan. 5, p. 63; Rasamafijari, p. 145; Pratapar. i. 46; Rasaratn. 39 b; Bhasabhiisana 18; Anangaraiiga, Paiicasayaka, and Smaradlpika, cited
by Schmidt.
(2d
ed.,
p.
211-213)
Levi,
p.
76.
40
(P.
25b; H. 24a).
'"One
that
is
enraged" (khanditd)
[is
one who]
is filled
with
Com. Ex.: Magha 11. 34=Spr. 3413 [quoted also at DR. 4. 67 and SD. 219; Bohtlingk did not record in Spr. the ultimate source of this
stanza].
Notes.
*
The hero
'
;
show
is
called
shameless
see
2.
10.
nails
56
BOOK TWO
[2.
40-
22. 203; SD. 114; Rudr. Srrig. i. 143; Rudr. Kavyal. 12, p. 155 II Bh. (supposed interpolation); 12. 44; Sarasv. 5. 114 (ed. B. 5. 115); Hem. Kavyan. 7, p. 306; Vagbh. Kavyan. 5, p. 64; Rasamanjari, p. 118; Pratapar. I. 49; Rasaratn. 41 a; Bhasabhusana 17a; Anangaranga, Pancasayaka, and
(2d
ed., p.
219-
Levi, p. 76.
41
(P.
26a; H. 24b).
'"One
that
is
separated
by a quarrel"
re-
{kalahantarita)
[is
Amaru
98
^ Sarng.
;
3543.
Notes, vidhide H, V, P vibhilte Hall p. 38. In Rudr. Sriig. and Rudr. Kavyal. this type of heroine is called abhisamdhiia; the Smaradlpika uses the term kupita. 139; Rudr. Kavyal. 12, p. 154 II Bh. 22. 202; SD. 117 e, f; Rudr. Srng. i. (supposed interpolation) Sarasv. 5. 115 (ed. B. 5. 116) Hem. Kavyan. 7, p. 306; Vagbh. Kavyan. 5, p. 63; Rasamanjari, p. 125; Pratapar. i. 51; Anangaranga, Pancasayaka, and Bhasabhusana 16 b Rasaratn. 41 b Smaradlpika, cited by Schmidt. Cf. Schmicjt, p. 294-297 (2d ed., p. 216;
217)
Levi, p. 77.
42
(P.
26b; H. 25a).
'tivimanita.
[is
vipralabdhoktasamayam aprapte
'"One
upon.'
that
is
deceived" {vipralahdha)
one who]
is
greatly
offended that [her lover] has not come to the rendezvous agreed
Com.
Notes.
p.
Ex.: Subhasitavali
||
1940=
;
Spr. 1191
Bh.
22. 204;
SD.
116
p.
B.
5.
117)
Hem.
133;
5,
64; Rasamaiijari,
p.
Pratapar.
i.
47;
Rasaratn. 40 b;
Levi,
p.
77.
43
(P. 27a;
H. 25b).
2.
45]
beloved
BOOK TWO
is
57
(prositapriyCi)
is
'"One whose
lover
is in
away"
one whose
Com.
Notes.
bhartrka
Ex.
Amaru
DR.
4.
91
70.
treatises this type is called proUaRudr. Srng., prositapreyast in Rudr. Kavyal., proitandthd. These names are all synonymous and the variation has no significance. Rasamanjarl (p. 184-185), Rasaratnahara (42 b), and Bhasabhusana (20 b) mention an additional type called prosyatpatikd or pravatsyatpatika, one whose husband is about to depart.' Cf. Schmidt, p. 307-309 (2d ed.,
Cf.
in
'
p.
226-228).
II
Bh. 22. 205; SD. 119; Rudr. Srfig. i. 147; Rudr. Kavyal. 12, p. 155 (supposed interpolation); 12. 46; Sarasv. 5. 119b (ed. B. 5. 120b) Hem. Kavj'an. 7, p. 306; Vagbh. Kavyan. 5, p. 63; Rasamanjarl, p. 108; Pratapar. I. 53; Rasaratn. 42a; Bhasabhusana 16 a; Anaiigaranga, Pancasayaka, and Smaradipika, cited by Schmidt. Cf. Schmidt, p. 305-307 (2d ed., p.
;
224-226)
Levi, p. 77.
44
'bhisarika.
[is
"
One
one who],
to her.'
Com.
Notes.
Ex.:
||
Amaru
22.
56.
Bh.
154 (supposed interpolation) 12. 42; Sarasv. 5. 119 a (ed. B. 5. 120 a) Hem. Kavj-an. 7, p. 308; Vagbh. Kavyan. 5, p. 64; Rasamanjarl, p. 171; Pratapar. I. 54; Rasaratn. 40 a; Bhasabhusana 17 b; Anarigarahga, Pancasayaka, and Smaradipika, cited by Schmidt. Cf. Schmidt, p. 302-304 (2d ed., p. 222223)
;
Levi,
p.
77-
45
cintanihsvasakhedasruvaivarnyaglanyabhiisanaih
Heroines of the
absence of ornaments
fulness, radiance,
two
varieties,
by play-
and
joy.'
Com.
p. 79, etc.,
can not be of
these varieties.
ment
58
Notes.
BOOK TWO
For
a
still
[ 2.
45 -
According to the passages cited there to each which might be added Sarasv. 5. 107, iioa (ed. B. 5. 108, in a) of the varieties thus far enumerated may be either uttamd, madhyama, or adhama. We thus arrive, by successive muhiplication, at the grand total of 384 varieties (see SD. 122; Rudr. Srhg. i. 154, 155; Rudr. Kavyal. 12, p. 155 [supposed interpolation]; Rasamanjari, p. 105; and cf. Schmidt, The DR. does not mention this last differentiation p. 315; 2d ed., p. 232). (except in a general viray at 2. 75) and so admits of but 128 varieties. Rasamanjari (p. 106) adds: yat tv ctasam divyadivyobhayabhcdcna gananaya dvipancasadadhikasatayntam sahasram bhcda bhavanti, thus claim310-314 (2d
ed., p.
228-232).
p.
H. 27).
svam ca netrmitragunanvitah.
[the
'As messengers
own
self:
[all
of these]
Com.
stanza]
Ex.: INIalatim.
3.
11,
p.
(friend as messenger);
88r=Spr. 6451; mrgasisu [unidentified Hala 12; Hala 877 [with variations]
(heroine as her
own messenger).
'
Notes.
On
the
2.
12, 13.
2.
USD.
Vagbh. Kavyan.
5, p.
63; Pratapar.
i.
55;
Rasaratn. 46 b, 47 a; Kamasiitra, p. 287; Ratirahasya (of Kokkoka), Anafigaranga, Pancasayaka, and Smaradipika, cited by Schmidt. Cf. Schmidt,
p.
777-779 (2d
ed., p.
564-566)
Levi.
p.
123.
of the Heroine
The
natural graces of
women
in the
[in
number].'
-2. 49]
Notes.
58
b,
II
BOOK TWO
Bh.
22.
4.
59
7,
5;
p.
308; Rasaratn.
59
a.
48
H. 28b, 29).
bhavo havas ca hela ca trayas tatra sarirajah sobha kantis ca diptis ca madhuryam ca pragalbhata audaryam dhairyam ity ete sapta bhava ayatnajah.
'Three
(haz'a),
of
FeeHng
(bhava),
Emotion
their
own
accord:
Radiance
,
(dipti),
Dig-
nity (audarya),
Notes.
The
the seven
components of the second group, which are inherent characteristics of the heroine, are treated in sections 53-59; the members of the third group are enumerated in the following section (49). The terms sobhd, madhnrya, and audarya occur also in the list of qualities of the hero; see DR. 2. 15 and the notes on that section. Pratapar. omits sobha, kanti, dlpti, pragalbhya, and audarya; it adds, however, three other qualities named kutuhala. cakita, and hasita (4. 65, The list in 66, 68, p. 269-270), thus bringing the number up to eighteen. Sarasv. shows similar variations. In the Alanikarasekhara these qualities are enumerated as Consequents (see DR. 4. 3). 24; SD. 125 b, c, d; AP. 338. 49, 50 a; Sarasv. 5. 364, 365 a II Bh. 22. 6, (ed. B. 5. 168, 169a, p. 310) Hem. Kavyan. 7, p. 309, 314; Pratapar. 4. 53;
Alarnkarasekhara
20.
33,
34; Rasaratn. 59
b,
60.
49
vilaso vicchittir
vibhramah kilakincitam
bhavah svabhavajah.
from one's disposition are con-
The
sidered to be:
Sportiveness
Mood
(kila-
Manifestation
of
Affection
(inoffdyifa),
Pretended
Lolling
Indifference
(bibboka).
60
NoTES.
vildsa
BOOK TWO
These
lalita
[2.
sections
60-69.
49-
qualities
are
defined
in
The terms
2.
and
occur also
hero; see
15
and the notes on that section. SD. mentions and defines eight additional qualities; see SD. 125 f-h, 145, 147-153, and Levi, p. 83-84. Bh. 22. 12, 13; SD. 125 e-g; AP. 340. 2, 3 a; Sarasv. 5. 41, 42 a; Hem. Kavyan. 7, p. 311; Rasatar. 6, p. 58; Pratapar. 4. 53; AlarnkaraseII
khara
20. 33,
50
(P.
33b; H. 31a).
'Feeling
that
(bhdva)
is
was [previously]
:
unaffected.'
;
Com. Ex. Kumarasambhava 3. 40 drstih salasa [unidentified stanza, quoted also at DR. 2. 26] Kumarasambhava 3. 67 [quoted also at Kavyapradipa 5, p. 168] tarn ccia vaa, stanza by Dhanika.
;
Notes.
Pratapar.
||
Bh. 22.
7,
8;
338.
7, p.
310;
4.
53; Rasaratn. 63
51
(P.
34a; H. 31b).
'Emotion
in eyes
(hdva)
is
and brows.'
Ex.
:
Com.
Notes,
Bh.
jam
by Dhanika.
p.
38.
The
expression
22. 7, 10;
SD.
127;
AP.
338. 50 b; Sarasv.
4. 54, p.
Hem. Kavyan.
p. 79.
7, p.
310; Pratapar.
52
(P.
34b; H. 32a).
'That
[i.
e.
Emotion]
is
Passion
(liclCi),
wlien
it
is
a very
Com.
Notes.
Ex.
some
variations, at
|I
SD.
128].
Bh.
22. 7,
SD.
4.
128; Sarasv.
54, p.
5-
35i
(ed. B. p. 308)
b.
Hem.
Kavyan.
7, p.
310; Pratapar.
263; Rasaratn. 64
-2. 56]
53
(P.
BOOK TWO
35a; H. 32b).
'Beauty
Com.
Notes.
Cf. Levi,
(sobha)
is
handsome form,
7.
13; Sakuntala
2.
10, p.
72
= Spr.
271.
Bh.
79.
22.
25;
7, p.
p.
54
(P.
35b; H. 33a).
iti
smrta.
to the touch of
'Loveliness
beauty imparted by
:
(kduti)
love.'
is
the
name given
Com. Ex. unmiladvadan [unidentified stanza, tr. Levi, be seen in the Mahasvetavarnanavasara of Bhatta Bana.
Notes.
p.
79]
as can
p.
38-
II
higher degree of this quality is called dipti (see 2. 56). Bh. 22. 26 a; SD. 130; Hem. Kavyan. 7, p. 314; Rasaratn. 65
b.
Cf.
Levi, p. 79.
55
(P. 36a^;
H. 33bi).
anulbanatvam madhuryarn.
'Sweetness (madhurya)
Com.
Notes.
p.
is
Ex.: Sakuntala
||
i.
17, p.
28
= Spr.
263 [59
is
Bh. 22. 27; SD. 132; Hem. Kavyan. Rasaratn. 66 b. a misprint for 55]
;
315; Pratapar.
4. 55,
56
'Radiance
Com.
Notes.
66
a.
(dlpti)
is
Ex.
Dhvanyaloka
i.
com.,
p. 22.
7,
<|Bh. 22. 26 b;
p.
314; Rasaratn.
62
57
(P. 36b^; H. 34a^).
BOOK TWO
[2. 57-
nihsadhvasatvam pragalbhyam.
'Courage
becoming
Com.
Notes.
67
a.
{prdgalbhya^= pragalbhata)
is
agitated.'
[tr.
Levi,
7,
p.
80].
Hem.
Ka\'yan.
p.
316; Rasaratn.
Cf. Levi,
58
(P.
36b^ H.
34a^).
audaryam prasrayah
sada.
'Dignity
Com.
Notes.
67
a.
(aiiddrya)
is
courteous bearing at
2.
all
times.'
19, p. 55.
Hem. Kavyan.
7,
p.
315; Rasaratn.
59
(P.
37a; H. 34b).
'Self-control
(dliairya)
is
a state of
mind not
affected
by
Malatim.
2.
2, p. 62.
7, p.
Notes. ||Bh. 22. 28; SD. 135; Hem. Kavyan. Rasaratn. 67 b. Cf. Levi, p. 80.
315; Pratapar.
4.
56;
60
(P.
37b; H. 35a).
lila
priyanukaranarn
*
madhurahgavicestitaih.
is
S po
e s s
(/7/c7)
stanza by Dhanika
tcnoditam
Notes.
;
AP.
340. 3 b; Sarasv.
p.
5.
307) Hem. Kavyan. 7, p. 311; Rasatar. 6, 68; Bhasabhiisana 27a. Cf. Levi, p. 81.
58; Pratapar.
4.
-2. 64]
61
(P. 38a;
BOOK TWO
H. 35b).
63
'Delight
actions,
(I'ildsa)
is
an immediate change
in
appearance,
Com.
Notes.
Malatim.
29, p. 32.
kriyadisu H, V, P;
knyoktisu Hall
p.
38.
The
words
in
Bh. 22. 15; SD. 137; AP. 340. 4a; Sarasv. 5. 341 (ed. B. p. 307) Hem. Kavyan. 7, p. 311, (313) Rasatar. 6, p. 58; Pratapar. 4. 59; Rasaratn. 69; Bhasabhusana 28 a. Cf. Levi, p. 81.
II
;
62
(P.
38b; H. 36a).
'Ipa 'pi vicchittih kantiposakrt.
akalparacana
'Tastefulness
slight,
(vicchitti)
is
an
arrangement,
though
Com.
XoTES.
7.
17.
Kavyan. 7, Bhasabhusana 29
Bh. 22. 16; SD. 138; Sarasv. 5. 342 (ed. B. p. 307); Hem. p. 311; Rasatar. 6, p. 58; Pratapar. 4. 58; Rasaratn. 70 a;
a.
Cf. Levi,
p.
81.
63
'Confusion
in haste
on some occasion.'
Ex.
:
Com.
XoTES.
Spr. 6576,
17:
5.
343
4.
(ed. B. p. 307);
Hem.
Kavyan. 7, bhusana 29
312; Rasatar.
58; Pratapar.
64
'Hysterical ]\Iood
{kilakincita)
like.'
is
combination of
64
CoM.
Notes.
;
BOOK TWO
Ex.:
||
[2.64[tr.
ratikr'ida,
stanza by Dhanika
Levi, p. 81].
Bh. 22. 18; SD. 140; AP. 340. 4b; Sarasv. 5. 344 (ed. B. p. Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 60; Rasaratn.
a.
65
(P.
40a; H. 37b).
mottayitam tu tadbhavabhavanestakathadisu.
'Manifestation of Affection
absorbed in thought of him
[i.
(mottayita)
is
being
e.
him or the
:
hke.'
;
Com. Ex. Padmagupta, Navasahasahkacarita 6. 42 [tr. Levi, p. 82] matah kam hrd [unidentified stanza] smaradaz'athu stanza by Dhanika.
; ,
Notes. U Bh. 22. 19; SD. 141; Sarasv. 5. 345 (ed. B. p. 307); Hem. Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 61; Rasaratn. 72; Bhasabhusana 32. Cf. Levi, p. 82.
66
(P.
40b; H. 38a).
'Pretended Anger
(kuttamita)
filled
lip.'
[is
with joy,
angry
at
[her
Com.
Notes.
tr.
Levi, p. 82].
346 (ed. B. p. 307); Hem. 58; Pratapar. 4. 62; Rasaratn. 73; Bhasa5.
82.
67
(P.
41a; H. 38b).
iste
'pi
garvabhimanad
bibboko 'nadarakriya.
(
'Affected Indifference
havior, even toward one that
is
bihboka )
is
neglectful
be-
due to
Com.
pride.'
Ex.
savyajam
tilakd, stanza
by Dhanika.
Notes. Owing to dialectic preference for z\ this quality is called vivvoka in SD. SD. 139; AP. 340. 5a; Sarasv. 5. 347 (ed. B. p. 308) Hem. 11 Bh. 22. 21 Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 63; Rasaratn. 70 b; Bhasa;
;
bhusana
31.
Cf. Levi,
p.
82.
-2. 71
68
BOOK TWO
41b; H. 39a).
65
(P.
'Lolling
Com.
Notes.
308)
75 a
;
;
{lalita)
is
Ex.
||
Bh.
Hem. Kavyan.
22; SD. 144; AP. 340. 5 a; Sarasv. 5. 34S (cd. B. p. 7, p. 313; Rasatar. 6, p. 58; Pratapar. 4. 64; Rasaratn.
b.
Bhasabhusana 28
(P.
69
42a; H. 39b).
tat.
'Bash fulness
esty,
(vihrta)
is
is
mod-
[even]
Ex.:
when
3463
is
there
136
Levi,
an opportunity.'
Bombay,
in
Com.
i377
Amaru
[tr.
(ed.
1889,
p.
80)
= Subhasitavali
:
= Sarhg.
p. 83].
Notes.
This
called
vikrta
SD.,
which
defines
vaktavyakale
matam.
7, p.
Bh. 22. 2s; SD. 146; Sarasv. 5. 349 (ed. B. p. 308); Hem. Kavyan. 313; Rasatar. 6, p. 59; Pratapar. 4. 67; Rasaratn. 76 a; Bhasabhusana
Cf. Levi,
p. 82.
27
b.
when
a King
42b; H. 40a).
'pi
'A minister
[together]
{mantrin),
[i.
[or the
are his
e.
the Hero's]
assistants in deliberations
on
affairs of state.'
Notes.
This section
it
ground
that
is criticized by Visvanatha, SD. 80, com., on the belongs rather to a treatment of the means of handling
affairs of state
than to an account of assistants in that task; and that, The minister is the assistant in delibera' '
on
affairs of state
would have
80.
sufficed to
show
the participation of
the hero.
II
Bh.
24.
70
b,
71a; SD.
71
(P.
43a; H. 40b).
lalitah sesa
mantrina
6
mantrisvayattasiddhayah.
66
BOOK TWO
[of the kind
[2.
71-
'A Hero
known
attended to by a minister;
ministers and themselves.'
Notes.
This section
is
criticized
by Visvanatha, SD.
'
80, com.,
on the
'
ground
it is
that,
light-hearted
hero,
And,
all,
if
that
72
(P.
43b; H. 41a).
Hero
are]
his
Notes.
SD.
83.
73
(P.
44a; H. 41b).
In the matter of
[inflicting]
the
Hero
are]
his
friends,
princes,
and
soldiers.'
Notes.
||
SD.
82.
74
(P. 44b, 45 a;
H. 42).
mlecchabhirasakaradyah svasvakaryopayoginah.
'
In the
harem
Hero
are] eunuchs,
moun-
taineers,
a concubine
such persons
each
being charged
with his
Notes.
own
||
particular task.'
81.
SD.
-2.77]
BOOK TWO
6"]
46a; H. 43
a,
b).
All
and
their
relative
supremacy
[is
deterin
Bh.
24. 2 b, 86;
SD.
84, 85.
76
(P.
46b; H. 43c).
saparicchadah.
In such
manner
are the
Hero and
sented in a drama.'
Notes,
saparicchadah H, V,
saparigrahah Hall
p. 38.
of Procedure
H. 44a, b).
vrttis
tadvyaparatmika
gitanrtyavilasadyair
mrduh
'The
Hero's]
Style
of Procedure which
is
based on his
these
is
[i.
e.
the
conduct
the
of four kinds.
Of
[four Styles of
Procedure]
its
Gay Style
(kaisiki)
delightful
through
outward expressions of
like.'
and the
Notes.
On
87-89.
The four
20. 45;
and bharatt
5)
;
(3.
5).
25; (18.
4,
SD.
Smg.
i.
19;
35.
52-54;
AP.
339. 5; Sarasv. 2.
;
64-66 a (ed. B.
a.
34-36 a)
S-
733 (ed. B.
194. P- 37'^)
Pratapar.
2.
15
Cf. Levi,
p.
89.
68
78
(P.
BOOK TWO
48a; H. 44c).
[2.
78-
narmatatsphurjatatsphotatadgarbhais caturahgika.
'[The Gay Style
is]
of four varieties:
Pleasantry (nannan),
{narma-
garbha).'
Notes.
sphurja {sphanja, sphinja), with reference to these readings
HBh.
20. 46;
SD. 411
e,
f; Sarasv.
5-
746 (ed. B.
p.
380).
79
(P.
48b-5o; H.
45, 46).
suddham ahgam bhayam dvedha tredha vagvesacestitaih sarvarn sahasyam ity evam narmastadasadhoditam.
'Pleasantry (narman)
ciliate
is
the beloved.
in fun, or
It is
is
done
by
merely
[Pleasantry]
ment].
as a
whole
is
[furthermore] of three
Con-
sequently Pleasantry
said to be eighteenfold.'
;
Com. Ex.: Kumarasambhava 7. 19 (Pleasantry in words) the incident in of the vidusaka and Sekharaka in Nagan. (Pleasantry in costume)
;
Malav., the
a stick
vidusaka,
who
to be a snake (Pleasantry in
gama
[unidentified stanza]
;
Hala 130 (manifestation of desire for pleasure) Magha 11. 33 (show of jealousy) Ratn. 2, p. 46 [with variations] (Pleasantry conabhivyaktalikah sakala stanza by Dhanika [quoted nected with fear) also at DR. 4. 69] (Pleasantry connected with fear subordinate to love).
oneself)
;
2.
82
BOOK TWO
69
Notes.
'
Joke,' defined at
II
57.
5.
747 (ed. B.
p.
380).
Cf. Levi,
p.
89-90.
80
(P. 51 a;
H. 47a).
'Outburst of Affection
meeting [of lovers]
is
(narmasphilrja) at the
first
Com.
Notes,
Ex.: Malav.
4.
13
+,
p.
78 [the stanza
= Spr.
6234].
narmasphurjah, correct reading adopted on the authority of BR. S. 1537 (s. V.) 7. 1369 (s. V. sphanja) 7. 1372 (s. v. sphinja: wohl nur fehlerhaft fiir sphurja'); narmasphinjah H, V, P; narmasphanjah Hall p. 38, p. 21 note 3 (Bh., ed. Sivadatta and Parab, 20. 48, 51, has narmaspunja; Bh., ed. Hall, 20. 46, 49, narmasphanja; SD. 411, 413, narma'
sphurjja; Sarasv.
II
5.
748 (ed. B.
p.
380).
81
(P.
51b; H. 47b).
lavaih.
is
'Disclosure of Affection
Com.
Notes.
ally
II
'
(narinaspJiota)
moderate
Malatim.
i.
20, p. 22.
'
The word
slight expression,'
means
liter-
particle.'
20. 50;
Bh.
5-
749 (ed. B.
p.
380).
Cf. Levi,
p.
90.
82
'tra
kaisiku
is
"Development of Affection
coming up of the hidden
purpose.
(narmagarbha)
the
the
his
Hero
for
attainment
of
These
Gay
Style.'
70
CoM.
[error!
in the
BOOK TWO
Ex.:
[2.
82-
Amaru
18
= Spr.
DR.
2.
31]; as in
Susamgata
XoTES.
lexicon
II
;
The word
I
praticara
it
is
have taken
;
as an equivalent of prati-cdra,
5.
approach.'
Cf. Levi, p. 90.
Bh.
20. 51
750 (ed. B.
p.
380).
of Procedure
H.49)-
'The
[and
is
Grandiose Style
characterized]
(sattzvtl)
is
free
from grief
self-
sacrifice,
in
it
are Discourse
(samlapa^samldpaka), Challenge
,
V, P.
The
latter
reading
The word arjava is far more appropriate to the passage than Java, the last component of the compound in the printed texts. The gloss of the comHall's text, copied without change in the later editions of the text.
3.
63, 64;
2.
Sarasv.
b.
2.
67 b (ed.
B.
2.
5.
734 (ed. B.
5.
195, p. 378)
Pratapar.
16
84
'Discourse
Com.
Notes.
reading
II
(samlapaka)
is
Mahavira.
2, p.
72-74.
p.
38.
The former
is
Bh.
20.
5.
753 (ed. B.
p.
381).
-2. 88]
85
(P.
BOOK TWO
54b; H. 50b).
71
'Challenge
outset,
(uttlidpaka)
is
[a situation]
in
which, at the
Com.
Notes.
Mahavlra.
5. 49, p.
75i
(eel.
B.
p.
381).
Cf.
Levi, p. 91.
86
(P. 55a;
H. 51a).
'Breach of Alliance
Com.
desire
(sdmghdtya)
is
a violation of
alli-
As
in the
;
for gain)
[stories
(under the
influence of fate).
Notes.
This
is
called sanghatya
and sanghataka
754 (ed- B.
p.
in
Bh.
samhaiya
in
SD.
II
5-
381).
87
(P.
55b; H. 51b).
prarabdhotthanakaryanyakaranat parivartakah.
'Change of Action
something
begun.'
else than the
(parivartaka)
[arises]
from doing
is
already
Com.
Notes.
p.
Ex.
\\
Mahavira.
20.
2.
37
-\-,
p. 76.
5.
Bh.
752 (ed. B.
p.
381).
Cf. Levi,
91.
The
88
punah
mayendrajalasamgramakrodhodbhrantadicestitaih
samksiptika syat sampheto vastutthanavapatane.
72
'
BOOK TWO
[2.
88-
Style
fourfold.
The
and the
Horrific Style
like.
(arabhatl),
on
[consists of]
rage, frenzy,
Com-
pression
Tumul-
= az'apata)
.'
10 b, c; Sarasv.
2.
Bh. 20. 53-55; SD. 420 a-d; Rudr. Srag- 32. 66 b (ed. B. 2. 36 b); 5. 732 (ed. B.
Cf. Levi, p. 92.
58,
5.
59;
AP.
339.
193, p.
378);
15 b.
89
H. 53).
'Compression
cisely
(samksipti)
is
Ex.: Mahavira.
parigraham,
4.
22, p.
147
in
[quoted also at
DR.
the
2.
6].
corrected
accordance
;
with
commentary
P.
p. 92.
{ parigrahain
il
parigrahah
H, V,
20. 56;
5.
743 (ed. B.
p.
379).
Cf. Levi,
90
(P.
58b; H. 54a).
'Conflict {sampheta)
excited persons.'
is
Com. As the encounter between Madhava and Aghoraghanta in tlie Malatlmadhava, and between Indrajit and Lak.smana in plots based on the
Ramayana.
Notes.
Levi,
p.
11
5.
746
(ed.
B.
p.
380).
Cf.
93.
91
(P. 59a;
H. 54b).
'Production of
Matter
{vastuitJulpaiia)
is
the
name
-2. 94]
BOOK TWO
[is]
73
Com.
[a
Ex.: jlyaiitc jayi, stanza from the Udattaraghava of Mayuraja drama apparently not extant; the lines are quoted also at SD. 420].
||
Notes.
p. 92.
5.
745 (ed. B.
p.
380).
Cf. Levi,
92
avapatas tu niskramapravesatrasavidravaih.
'Tumultuous Disturbance
ized]
{avapata)
flight.'
[is
character-
29 [quoted also at
DR.
379).
4.
861
the
Bh.
20. 57;
744 (ed. B.
p.
Cf. Levi,
93
(P. 60 a^;
H. 55
a^).
this
[Horrific Style]
is
fourfold.'
61; H. 55
a', b,
56).
vacya natakalaksane
arabhatim
iti
[three].
The fourth
of Udbhata,
That, how-
The
followers
when mentioning
and the
The
bharati,
which
differs
it
at
74
3.
BOOK TWO
[2.
94-
On the rhetorician Udbhata (fl. c. 800 a. d.) see Jacob, 'Notes on 5. Alankara Literature,' JRAS. 1897, p. 286-287, 829-847. the parallel passages listed at 2. -j-j and 3. 5. Cf. Levi, p. 93. II See
[is
to be used]
in in
[expressing] [expressing]
Grandiose
Style
Heroic
Sentiments;
everywhere.'
Notes.
(cf. for
The word
word being
omitted, as
is
example Manavadharmasastra 3. 20; 9. 322). Mitra (SD. tr. p. 219) mistranslates SD. 410, which is identical with this section of DR. According to Bh., each of the Styles may be employed in connection with three of the Sentiments the Gay Style in the Comic, Erotic and Pathetic the Grandiose Style in the Heroic, Furious, and Marvelous the Horrific Style in the Terrible, Odious, and Furious the Eloquent Style in the Heroic, Furious, and Marvelous. (On these Sentiments see
: ; ;
DR.
II
4-
56-57, 7(>S7.)
20. 61,
Bh.
a, b.
costume of a
[the dramatist]
life.'
is
to
employ these
suitably, taking
Notes.
print)
;
cvavagamy H, P; evagamy
p.
for the verbal prefix ava-, the variants adhi-, upa-, and a)iu- also
38.
b.
occur. Hall
II
Bh.
17.
63
-2. 99]
BOOK TWO
75
pathyam tu samskrtam nfnam anicanam krtatmanam lihgininam mahadevya mantrijavesyayoh kva cit.
'Sanskrit
is
to be
in
by devotees, and
by the chief
Bh.
17. 31,
n,
40, 41
SD. 432
a,
r,
s.
98
(P.
65a; H. 60 a).
strlnarn tu
ca.
'Prakrit
Notes,
is
women, and
p.
p. 38,
P; suraseny H, V.
of readings given by Hall on pages 38 and 39, it is necessary to bear in mind that he always records variants in their pause-form,
(In using the
Bh.
17.
35, 26,
b,
m,
n, o.
Cf. Pischel,
Grammatik dcr
Prakrit-Sprachcn,
p.
Levi, p. 130.
99
In like
manner
i I
speak
Pa sac
and
Magadhi.
Of whatever
region
an
inferior character
may may
language to be.
For a
and subse-
quent characters
be changed.'
Notes. An interesting example of change of language is found in the second act of the Mudraraksasa, where Viradhagupta, in his disguise as a snake-charmer, speaks Prakrit, reverting to the usual Sanskrit in asides.
II
Bh.
17.
50 a;
SD. 432
d,
1,
t,
u.
Cf. Levi,
p.
130-13 1.
76
BOOK TWO
Prescribed Modes of Address
[2.
100-
100
(P. 67;
H. 62).
sages,
Brahmans,
as]
"sir"
mode
j,
of address].'
f.
Bh.
17.
82 b;
SD. 431
d,
loi
(P. 68;
H. 63).
rathi sutena
sugrhltabhidhas tu
taih.
*A
chariot-rider
;
[is to
one" (ayusmant)
called]
[is to
be
a venerable person
or
"
thou of auspicious
name"
Com.
The term
Bh.
17.
tata
may
77;
Notes.
||
74
a,
SD. 431
I,
m,
n.
102
(P.
69a; H. 64a).
sutri ca
bhavo 'nugena
marsety etena so
[is to
'pi ca.
'The Stage-manager
(sutrin)
latter [is to
Notes. For vidrsa SD. has niarisa. See also DR. on that section. Cf. Levi, p. 380. 17. 73; SD. 431 g, liII Bh.
3-
-2.105]
103
(P. 69b,
BOOK TWO
70a; H. 64b, 65a).
J"]
devah svami
'A
by
king
[is to
his
servants,
Women
Notes.
Bh.
17.
a, v.
Cf. Levi,
p.
129.
104
sama
sabdyate.
to be addressed with the
[Among
the
women] an
(hald)
; ;
equal
[is
word]
"friend!"
serving-maid,
[is
[with
the
word]
by her
"servant!" {hanjc)
(ajjukd).
followers,
a courtezan
[is to
to be called]
"mistress"
bawd
[all]
be called]
"madam" {ambd)
[is
also to be called
"madam"] by
Notes,
The
{ceti),\s addressed as
vcsyajjukd H, V, P vesydrjaka Hall p. 38. Line 2 as above H, V, P; kuttiny anugataih pujyd anibeti yuvatl janaih (observe the hiatus!) Hall p. 38. rajm H, V, P; rdjfia Hall p. 38. The word iti in
a,
the last line has been forced from the expected position after bhavati by
the requirements of the meter.
II
Bh.
17.
81
a,
85
89, 90;
SD. 431 w,
X, k.
cestagunodahrtisattvabhavan
asesato
netrdasavibhinnan
78
BOOK TWO
[2.
is
105able
'Who
to
qualities,
The
idea
is,
the present
work
is
Notes.
(see
2.
2.
2)
3^).
]\Ieter:
mentioned
in 2. 25;
two
in
upajati.
BOOK THREE
The Nataka
I
Drama
(P.
i;H.
I).
'The
type of
Nataka
all
is
spoken of
first,
because of
its
being the
its
comprising
the Sentiments
fulfils
(rasa), and
[also]
because of
Sections 1-43 of
Book
the typical variety of Hindu dramatic composition and the one that best exemplifies the rules laid down for such works. The other varieties of drama are then briefly defined (in
from the nataka. (Cf., for example, the phrase scsam natakavat, For a brief definition of the nataka see SD. 277; Pratapar. 3.
3.
44 d.)
^:i.
32,
The Beginning
2
of a Play
(P. 2;
H.
2).
kavyam asthapayen
{sutradhdra)
natah.
When
the Stage-manager
{purvarahga)
the beginning
[of the play], another actor, entering in like manner, shall intro-
is,
etc.
Bh.
5.
165 a].
is
From
and
in-
dicating
what
to come, he
Notes. The word pilrvarafiga is the technical name for the ceremonies preliminary to a dramatic performance, which are described in detail at
79
80
Bh.
5.
BOOK THREE
1-175.
is
[ 3
No mention
found
in
is
made
known
12').
plays; he
action, however,
the Karpuramanjari
(i.
See the edition of Konow and Lanman, Cambridge, Mass., 1901, p. Bh. 5. 163, 164; SD. 283 a, b; cf. AP. 337- 8. Cf. Levi, p. 135,
II
196.
3/6.
(P. 3; H. 3).
mukham patram
athapi va,
[A
[a play
form [i. e. divine or human, respectively] whose characters are gods and mortals] commingled,
;
He
Subject-matter
(vastu), or the
Germ
{hlja),
or the Opening
(mukha), or
:
to
Com. Ex. ramo murdhni nidha, stanza from the Udattaraghava of Mayuraja [a drama apparently not extant] (allusion to the subjectmatter)
;
Ratn.
i.
6, p.
= Spr.
;
(allusion
to the
p.
(allusion to the
5, p.
DR.
3.
12]
(allu-
sion to a character).
Notes.
Il
Bh.
5.
169, 170;
SD. 283
c, d.
Cf. Levi,
p.
379.
(P. 4;
H.4).
rahgam prasadya madhuraih slokaih kavyarthasucakaih rtum kam cid upadaya bharatirp vrttim asrayet.
'
(bharatJ)
in describing
i.
some
i
season.'
7,
Com.
Notes.
Ex.: Ratn.
2,
p.
p. 315]-
The
first line
consisting of one or
more
No
5.
special
DR.;
see Bh.
106-111;
This section is quoted SD. 282; Pratapar. 3. 34. Bh. S- 167; SD. 284; Pratapar. 3. 35, p. 124.
II
Cf. Levi,
p.
137; pt.
2,
p. 27.
-3-7]
BOOK THREE
(P.5;H.5).
bharati samskrtaprayo vagvyaparo natasrayah
'The
tresses],
Eloquent Style
which has as
\^IthI,
.''
(bharati)
is
manner of speaking,
[i.
chiefly in Sanskrit,
e.
not by ac-
{prarocana), the
the
Prahasana,
{aniukha)
Notes.
AP. has
is
'
women
II
it
in Prakrit.'
On
by-
83,
3.
5.
69,
70;
AP.
7;
Sarasv.
2.
67 a (ed. B.
2.
37 a);
5.
731
(ed. B.
192, p.
378); Pratapar.
16
a.
(P.
6a; H. 6a).
'Among
in hand].'
Laudation
{prarocana)
is
i.
5,
p.
= Priyadarsika
AP.
i.
3,
3].
Bh.
20.
p.
5.
735 (ed. B.
p.
Cf. Levi,
(P. 6b,
7a; H. 6b,
c).
svaprasahge 'bhidhasyate
'traiva tat
punah.
also, will
be mentioned, [each]
however
form sub-
82
BOOK THREE
[ 3-
7"
Notes. For the subsidiary parts of the vJthJ see 3. 13. -DR. seems to confuse the vtthl and prahasana as varieties of the Eloquent Style with the types of drama known by those names (cf. DR. 3. 62; 55-58). See
Sarasv.
II
5.
where these
p.
Bh.
20. 35;
Pratapar.
3.
30
a.
Cf. Levi,
137.
its
Various Forms
7,
8a^).
prastavana va.
'The
stavana),
Introduction (amukha)
is
or
Induction
in
(pra-
that
which the
his
own,
SD.
matter in progress.'
Notes.
On marsa
see
DR.
2.
102.
The assignment of a female role term pariparsvika. to an actress {nafi) is substantiated by Karpuramaiijari i. 12* (see the ed. of Konow and Lanman, Cambridge, Mass., 1901, p. 196). Bh. 20. 28, 29 a; SD. 287; AP. 2,2,7- iib-i3a; Sarasv. 5. 736 (ed. B.
substitutes the
II
In
its
p.
378)
Pratapar.
3. 25,
26
a.
Cf. Levi,
p.
138.
(P.
8b^9a; H.
8a-, b).
tatra
Of
[three forms]
the
The
subdivisions
the
The words vlthyangani trayodasa are somewhat out of place One would expect them to come directly before the enumeration of subdivisions (3. 13), as in AP. 339. 7-9. SD. mentions five forms
(DR.
3.
14)
3.
15)
among
.A.P.
(SD.
3. 26.
b.
;
Bh.
29
b,
30 a
SD. 288;
337. 13 b. 14 a
339. 7 b
Pratapar.
-3-12]
10
(P. 9b, loa;
BOOK THREE
H.
9).
83
'The Opening of the Story (kathodghata) [is that form of the Induction] in which a character enters taking up a remark of the Stage-manager or the meaning [of such a remark], which corresponds with some incident connected with
himself.
It
is
of two kinds.'
Spr. 3026 [quoted also at DR. i. 39 and 3. Ex.: Ratn. i. 6, p. 4 Veni. i. 7, p. 10 [spoken by the stage-manager, 3] (taking up of a remark) but here erroneously assigned to Bhima; quoted also at Kavyapradipa 7,
Com.
p.
302]
and
I.
8, p.
11
4.
81]
ing of a remark).
vakyam vakyartham atha va Notes. Line i, as above, H, V, P The word sutrin is used for prastutam yatra sutrinah Hall p. 39. The kathodghata is of sutradhara because of metrical requirements. two kinds, since either the very words of the sutradhara or the purport of his remarks may be taken up by the entering character.
;
II
Bh.
p.
20.
2>Z7-
15 b, 16 a;
Pratapar.
3.
27.
Cf.
Levi,
138.
11
(P. lob;
H. loa).
The
Entrance of
Character
(pravrttaka )
is
tlie
Com.
DR.
3.
Ex. asadita [unidentified stanza from a drama, quoted also and SD. 283; tr. Levi, p. 139].
:
at
Notes.
Bh.
is
called pravartaka in
3. 4.
SD.
On
28.
the
20. 33 b,
AP.
2,2,7-
14
b,
15 a; Pratapar.
3.
Cf.
Levi, p. 139.
12
(P. 11;
H. lob,
c).
84
BOOK THREE
(proyogatisaya,
[3.
lit.
12-
'Particular Presentation
of representation)
is
excess
that
in
which a
him]
by
[to
in
(prayogatas)
the
Stage-manager
(sutradlidra)
the
words
"Here he
Com.
is."
:
Ex.
3].
||
Sakuntala
i.
5 b, p.
14
[this
stanza
is
quoted in
full
at
DR.
29.
3.
Notes.
Bh. 20. 32
b,
33 a;
237. 16 b, 17 a; Pratapar.
3.
The
13
H.
gandam avasyanditanalike
Abrupt DiaCompliment
(chala),
asatpralapavyaharamrdavani trayodasa.
'The
logue
thirteen
Continuance
(avalagifa),
(trigata),
Deception
Repartee
(ganda),
(vakkell),
Outvying
(adhibala),
,
Abrupt
Remark
(uijlika),
Re-interpretation
(avasyandita)
Enigma
The
v'lthT itself
is
defined at
3.
62.
3.
and
II
3.
9.
Bh.
18. 104,
105;
339. 8, 9; Pratapar.
30
b, 31.
14
H.
12).
'Abrupt Dialogue
of two kinds,
is
(iidgJidtya^^udgJidfyaka), which
is
is
mutual con-
-3- I?]
Com.
Ex.:
BOOK THREE
Vikramorvasi
[tr.
8$
located]
(first
[a
passage
not
variety);
[a
Levi, p.
112]
variety).
120.
Bh.
18.
106;
15
yatraikatra samavesat
'Continuance
matter
is
(avalagita)
is
is
that
a different
[turn]
in
a matter in
Ex.
the
sending
away of
Sita
in
the
Uttararamacarita
Bh.
18.
107;
3. 32, p.
120.
16
'Compliment
and causes a
Com.
Notes,
laugh.'
(prapanco)
is
is
untrue
Ex.
Karpuramanjari
i.
23, p. 24.
;
asadbhutam mithahstotram Hall p. 39, P asadbliuta}nithahstoThe example given in the commentary seems very inaptram H, V.
propriate.
II
Bh.
18.
no; SD.
522; Pratapar.
3. 32, p.
120.
17
'Triple Explanation
eral
(fngrafa)
is
a combination of sev-
This
is
declared
and the
like in the
Pre-
liminaries (pilrvarai'iga).'
Com.
P- 177]-
Ex.: Vikramorvasi
i.
3,
p.
[see
Levi, pt.
2,
p.
36,
note on
86
NoTES.
Bh.
18.
BOOK THREE
SD.
523, com., quotes a definition similar to that of
[S-I?"
DR.
On
Cf.
5-
135-136)
3. 32, p.
121.
Levi, p. 114.
18
'Deception
Com.
Notes,
sarndhi),
II
chala)
[arises]
from
that
seem
friendly.'
chalanac Hall
p.
39
a,
(Hall prints
b; Pratapar.
chalanat,
in
disregard
of
3. 32, p.
121.
19
'pi
va.
in
it
'Repartee
[i.
(vakkeli)
[arises]
e.
in a speech]
26, p.
i,
p.
10
Notes. The name vakkeli, lit. speech-play,' is appropriate only to the second of the two varieties mentioned; I selected the English rendering Repartee with this in mind. Pratapar. 3. 32, Bh. 18. iiib; SD. 525 c and com. (SD. tr. 525, 526)
' '
'
II
p.
121.
20
'Outvying
Com. Ex.: Venl. and I. 94].
Notes.
Literal
(adhibala)
is
a dialogue
[of
two persons]
in
27+,
p.
DR.
i.
92
translation
' :
ance-dialogue in emulation.' This adhibala is carefully to be distinguished from the clement of the Development defined in i. 76. 18. 112; SD. 526; Pratapar. 3. 32, p. 121. Cf. Levi, p. 115. II Bh.
Outvying
is
a mutual-speech-preponder-
3- 24]
21
(P. i8b; H. i6b).
BOOK THREE
8/
'Abrupt Remark
ress
(prastiita).'
(ganda)
is
prog-
Com.
Notes.
Ex.: Uttararama.
||
i.
38+,
p.
36.
3. 32, p.
Bh.
18.
116;
121.
22
tat.
'Re-interpretation
of the Vlthi] in which there
(avasyandita)
is
is
that
in
[subdivision
an explanation
another
way
of
Ex.: a passage
[tr.
Levi, p. 115]
from
published drama].
||
Bh.
18.
108;
3. 32, p. 121.
23
'Enigma
Com.
Notes.
(nalika)
is
is
humor-
is
i,
Ex.: Mudraraksasa
||
p.
27-28).
Cf. Levi, p. 116.
Bh.
18. iii a;
32, p. 121.
24
(P. 20a;
H. 18 a).
'Incoherent Chatter
in
(asatpralapa)
[here mentioned]
talk.'
lack of coherence, but the incoherent talk of persons that are just awaking,
Ex.
Sarng. 105
Vikramorvasi
4.
102
= Spr.
Notes,
S3> P-
7357
bliukta hi
maya
yathottarah H, V,
yathottaram Hall
p. 39.
After
it
defining
also
may
88
BOOK THREE
[3.24-
be salutary advice given to a foolish person who does not accept it. Bh. 18. 109; SD. 530; Pratapar. 3. 32, p. 121-122. Cf. Levi, p. 116.
II
25
(P.
20b; H. l8b).
'Humorous Speech
Com.
Notes.
(vyahara)
is
a remark
made
for the
2, p.
Bh.
18.
26
(P. 21 a;
H. i8c).
tat.
'Mildness
which
Com.
merit)
;
(nirdava)
is
in
and merits
[as]
faults.'
Ex.: Sakuntala 2. 5, p. 64 (a fault, hunting, considered as a satatam anirvrta [unidentified stanza] (a merit, sovereignty, con;
sidered as a fault)
Notes.
||
Bh.
18.
3.
32, p. 122.
22a; H.
19).
The stage-manager,
at the
go out
The word
10, is
SD.
295.
-3.29]
BOOK THREE
Selection of the Principal Surject
89
28
(P.
22b-24a; H.
20, 21).
[In a play]
in
is
endowed with
attractive
quahties,
known
as]
self-controlled
and exalted
(dhlrodafta), glorious, eager for fame, of great energy, a preserver of the three Vedas (trayl), a ruler of the world, of re-
nowned
god
which he
renowned
is
to
be
made
the
Principal
Subject
(adhikarika).'
Com.
Notes.
hero with
all
is
exemplified in the
p.
The
at
I.
39.
'
hero
is
defined at
2.
19.
Cf. Levi,
the adhikarika,
p. 31.
'Whatever
in
it
[i.
e.
is is
at all unsuited
to be omitted
or arranged in some other way.' Com. As, for example, the treacherous killing of Vali was omitted by Mayuraja in the Udattaraghava as this same incident was altered [by Bhavabhuti] in the Mahavlracarita, where Vali is represented as coming, because of his friendship with Ravana, in order to kill Rama [who thereupon slays him in self-defence, not treacherously].
;
Notes.
P-3I-
||
SD. 304
(cf. 409)
Sarasv.
5.
730 (ed. B.
p. 2,77)-
Cf. Levi,
go
BOOK THREE
[3. 3O
26a; H. 23).
adyantam evam niscitya paficadha tad vibhajya ca khandasah samdhisamjfiams ca vibhagan api khandayet.
'
After determining upon the beginning and end [of the play]
in this
manner and
after dividing
-\-
it
api) break
up
37-1 11).
Cf.
Levi, p. 32.
31
H. 24),
tatii
catuhsastis tu
patakavrttam apy
unam
ekadyair anusarndhibhih
[in
number].
In
(anusamdhi)
in the
less
In this
e.
it
[may
be]
as
turns out.
One
Episodical
Incident
The
19.
Episodical Incident
is
to be
plete Juncture.
||
Bh.
27
b,
28
a.
At
action.'
-3-35]
33
(P. 28b, 29a;
BOOK THREE
H. 25b,
c).
9I
apeksitam parityajya nirasam vastuvistaram yada samdarsayec chesam kuryad viskambhakam tada.
'When,
that
is
required, but
Notes.
Scene,
H
is
the
five
varieties
of Intermediate
116, 117.
SD.
314.
34
H. 26).
yada tu sarasam vastu mulad eva pravartate adav eva tada 'hkah syad amukhaksepasamsrayah.
'
When, on
On
the Introduction
3. 8.
to the
USD.
31S.
Characteristics of an Act
35
(P. 30b,
31a; H. 27).
pratyaksanetrcarito binduvyaptipuraskrtah
ahko nanaprakararthasarnvidhanarasasrayah.
'
An
Act
Hero,
is
attended
kinds.'
DR.
3. 41, 42.
Bh.
SD. 278a,
c,
e; Pratapar.
3.
24.
92
BOOK THREE
[ 3-
3^
their Uses
rasa)
is
to be furthered
{vyabhicarin,
sc.
bhava),
up
and
dropped
Notes.
43,
[in turn].'
Definitions
4.
of
all
.
and 54 of Book
Cf
37
One
should not
make
overwhelm the
its
em-
This section
is
quoted
at
SD.
316,
com.
Cf.
Levi, p. 86.
38
H. 30).
One
to be
made
the principal
Sentiment;
all
the other
Sentiments
[should be
made] subordinate.
ployed [only]
Notes.
in the
On
79,
96.
a.
Pratapar.
3.
4 (p. 103), 33
Cf. Levi,
p. 86.
-3-4l]
BOOK THREE
Actions not Permitted on the Stage
93
39
nirdiset.
One
fighting,
kingdom or province or
on
cloth-
Notes. ambara H, V, P astrasya Hall (dura -\- adhvan) SD. has durdhvanani {dura
;
p.
-\-
39.
For
,
duradhvanam
afar.'
II
Cf.
ahvana)
'shouting from
DR.
19;
i.
113, 114.
Bh.
18.
40
(P.
36a; H. 32b).
ca,
what
is
inevitable
is
not
to be avoided.'
Notes.
Scenes.
According
literature,
is
however,
life in
this
canon
may
restored to
the course
of the play.
see Jackson,
in
On
'
such restoration of the dead to life in the Sanskrit drama Certain Dramatic Elements in Sanskrit Plays, tirst series.'
p.
Am.
II
247-250.
i*~ See
p.
150.
Bh.
The Contents
41
(P. 36b, 37a; H. ZZ)-
of
an Act
tesam ante
'sya nirgamah.
An Act
fied]
94
BOOK THREE
[3-41
making
their exit at
these
end.'
Notes.
Bh.
18.
caritaikartJiam H, V,
22
a,
P; caritaih karyam Hall Act are mentioned also in 3. 35. 24 a; SD. 278 g. h, p. Cf. Levi, p. 58.
p.
39.
Cer-
42
(P. 37b,
evam
'
In
it
Germ
[at the
beginning (?)].
In this
way
The
The Number
43
(P. 38b; H. 34c).
of Acts in the
Nataka
When
it
it
has
[kind of drama]
is
a lesser Nataka;
when
Notes.
ilBh.
18.
a regular wafa^o has five acts; one with ten acts, such
is
as Rajasekhara's Balaramayana,
called a mahanCitaka.
SD.
510.
Now
in a
ak a
a n a
cartli,
-3' 46]
BOOK THREE
known
95
as]
and calm
(dhlrapi'asanta=dhlrasanta),
under-
The remaining
P
[features]
sapayarn H, V,
24.
sopayam Hall
39.
to,
The
trivarga, in
II
Bh.
18.
3.
45
kva
kva
cit
the Heroine
[may
be]
of two kinds:
the
woman; in some plays, the courteThe high-born woman should be inand the two should never meet.
is
of three
e.
The mixed
variety (samklnia)
abounds
Com.
in rogues.
courtezan,
;
[a
SD.
512, com.]
of both kinds
Mrcchakatika.
||
Notes.
SD.
512.
At
Natika,
purpose
9^
BOOK THREE
[3-46-
Com. By a false interpretation of Bh. 18. 54, a kind of drama called prakaravika has been predicated as a lesser form of the prakaram, on the analogy of the natika as a lesser form of the nataka. The prakaranika, however, is identical with the prakarana and has no separate existence. [But see SD. 554, where it is defined as a separate form. Cf. Levi, p.
146-147.]
Notes.
Strictly
speaking,
description
is
of
the
natika
its
limited by
to the ten
drama
(see also
i.
11).
;
The
however, because of its frequent occurrence our author therefore introduces some account of it on the ground that it combines certain features of the nataka and the prakarana.
47
(P- 43 b,
44a; H. 39b,
c).
tatra vastu
salaksanah.
[is
e.
in the
who
is
[of the
known
as]
self-controlled
and light-hearted
(dhJralalita),
is
sc. }'asa)
the
its
[various] characteristics.'
18.
Bh.
54-56 a
SD. 539
a, b.
48
ekadvitryahkapatradibhedenanantarupata.
'
Even
if
there
is
it
contains an
is
and so
may
be
acts,
[vari-
The words
tliis
55
a,
and
there.
H Bh. 18. 55 a;
SD. 539
a.
3-
52
BOOK THREE
97
49
In
it
known
is
on account
p. 39.
The
term
experienced,'
i,
is
defined at
2.
29.
SD. 539
g.
50
(P.
46b; H. 42a).
nayika tadrsi
'The Heroine
[of the type
is
e.
known
inexperienced, and
charming and
exceedingly fascinating.'
Notes,
'
nayika H, V,
is
P
p.
p. 39.
The
term mugdha,
inexperienced,'
[j
defined at
.
SD. 539
d.
Cf
Levi,
146.
51
P. 47, 48 a
H. 42
b,
43
a,
b)
[The Heroine]
is
regular
the
Hero
in
it
[i.
e.
in
the
Natika]
is
apprehensive
USD.
539c,
d, e.
52
(P.
48b; H. 43c).
BOOK THREE
the four 'subdivisions of the
[ 3"
52
Style
Gay
acts.'
The Gay
2.
described at
77-82.
Cf. Levi, p. 146.
USD. 539 h.
Description of the
53
(P. 49-51; H. 44-46).
Bhana
mukhanirvahane
'The
single
Bhana
clever
(Monologue)
and shrewd parasite describes roguish exploits He is to make engaged in by himself or by some one else. remarks conveying information, as well as replies [to imaginary
remarks], by means of Conversations with Imaginary Persons
(akdsabhdsita)
;
[is
is
invented
[The
the
Dance
(lasya).'
'
The term
i.
akdsabhasita,
defined at
128;
One
would
my
II
translation
18.
p.
follow Dhanika,
19.
who
glosses the
word by
3.
svakrta.
Bh.
99-101;
141.
45
b,
Cf. Levi,
-3-56]
BOOK THREE
99
The Forms
54
(P. 52, 53; n. 47,48).
of Gentle
Dance
geyam padam sthitam pathyam asinam puspagandika pracchedakas trigudham ca saindhavakhyam dvigudhakam
lasye dasavidham
Dance
'The tenfold enumeration of the subdivisions (lasya) is: the Geyapada (Song), the
the Gentle
Sthitapathya
caiva ukta H, V, P canyadukta Hall p. 39. This enumerataken verbatim from Bh. It is there followed by a definition of
;
each of the terms (18. 120-129), which should be consulted. See also SD. The DR. makes no further reference to these terms. 505-509.
II
Bh.
18.
Cf. Levi, p.
19-120.
is
the
Prahasana
93 b;
19.
(Farce), which
is
of
three
regular, modified,
||
and mixed.'
45
b,
Notes.
Levi,
p.
Bh.
18.
46 a;
3.
38.
Cf.
142.
56
pakhandivipraprabhrticetacetlvitakulam
cestitarn
'The regular [Prahasana] (siiddha) contains heretics, Brahmans, and other such characters servants, serving-maids, and
;
parasites.
[It
is
is]
language, and
full
100
Notes.
39.
BOOK THREE
3*
5^
On pakhanda
Bh.
18.
vesahhaabhih H, V, P; vesabhasadi and desahhasadi Hall p. for pasanda (North Indian kh for j) see Wackernagel,
i.
Altindiscbe Grammatik,
II
136, 118.
3.
(p.
AP.
339.
ID
a.
57
kamukadivacovesaih sandhakancukitapasaih
vikrtam samkarad vithya samkirnam dhiirtasamkulam.
'The modified [Prahasana] (vikrta) contains eunuchs, chamand ascetics [represented] with the speech and dress of lovers and the like; the mixed [Prahasana] (samklrna) [so
berlains,
,
called]
filled
because of
its
is
with rogues.'
||
Notes.
p.
Bh.
18.
3.
40, 41.
Cf. Levi,
142.
58
rasas tu bhuyasa karyah sadvidho hasya eva tu. 'The sixfold Comic Sentiment (hdsya) is generally to be em-
ployed [in
Notes.
||
it].'
3.
(p.
103), 38
b.
Description of the
59
(P. 57-6oa;
Dima
H. 51-53).
dime vastu prasiddharn syad vrttayah kaisikirn vina netaro devagandharvayaksarakscmahoragah bhijtapretapisacadyah sodasatyantam uddhatah
rasair ahasyasrhgaraih sadbhir diptaih
samanvitah
mayendrajalasarngramakrodhodbhrantadicestitaih
candrasuryoparagais ca nyayye raudrarase 'hgini caturarikas catuhsarndhir nirvimarso dimah smrtah.
'
In the
Dima
the subject
in it]
must be well-known;
all
the Styles
[may be employed
except the
Gay
Style;
its
Heroes, six-
Rak-
-360]
sasas,
BOOK THREE
like, all
Id
[of
the type
known
as] vehement.
It
ments, omitting the Comic and the Erotic, the customary principal
and by
The Dima
is
declared to have
called
...
In
other
respects
[than
those
mentioned]
it
is
like
the nataka.
refers to the
Burning of Tripura
[= Bh.
19.
4.
10 b].
3.
Notes.
42-44.
Bh.
18.
78-82;
(p. 103),
6ob-62a; H.
54, 55).
'The Vyayoga (Military Spectacle) has a well-known suband has [as principal characters] men that are well-known and [of the type known as] vehement; it lacks the Development and the Pause [as Junctures] the Sentiments [in it] are the excited ones, as in the Dima. [It should represent] a combat
ject,
;
not occasioned by a
woman,
Parasurama [Jamadagnya].
characters.'
The Vyayoga
many male
Com. This kind of drama is called vyayoga because with one another (vyayujyante) in it.
. . .
many men
4
disagree
Notes.
45.
||
Bh.
18.
83-85;
19.
44
b,
45 a;
3.
(p. 103),
I02
BOOK THREE
Description of the Samavakara
[S-^I-
6i
(P.
62b-68a; H. 56-61).
karyam samavakare 'pi amukham natakadivat khyatam devasuram vastu nirvimarsas tu samdhayah
vrttayo mandakaisikyo netaro devadanavah
nagaroparodhayuddhe vatagnyadikavidravah dharmarthakamaih srhgaro natra bindupravesakau vithyarigani yathalabham kuryat prahasane yatha.
'In the
Samavakara
there
is
to be
an Introduction, as
in
[varieties of
drama].
The
subject
[it
demons;
[all]
should have
the
of the
Gay
Style.
Its
Heroes [are
to be]
[in
as]
rate object.
much
of the In
its
The
first
duration of]
twelve
the last
duration]
of four and
two nfdikas
two ghatikas.
The
from a
battle,
fires,
and the
like; the
-3.62]
passion.
BOOK THREE
IO3
ductory Scene.
[in
it]
[The Samavakura has] no Expansion and no IntroOne may employ the subdivisions of the Yithi
in the
Prahasana.'
Com. This kind of drama is called samavakCini hccau.se various themes Its heroes are twelve are scattered about {samavak'iryante) in it. in number gods, demons, and the like. The ends attained by these are
. .
to be separate
the
and distinct, as, for example, the obtaining of Laksmi and by Vasudeva and the others in the Ciiurning of tlie Ocean {Samudramatithana) [cf. SD. 516, com.]
like
.
.
Notes.
ndlikah,
p. 39.
nddika Hall
Levi
nalikav,
(p.
nalika
143)
H,
V,
P;
nadikah,
nadikdv,
one nalika; this is apparently an error, unless the information was drawn from another source. The SD. text gives the second act a duration of three nalikas, a variation evidently to be attributed to a corruption of the text from catasrbhir to ca tisrbhir, as explained by Mitra, SD. tr. p. 249,
note
II
I.
Bh.
18.
57-70;
19.
43
b,
3.
(p.
103),
46-49.
68b-7oa; H.
62, 63).
bhanavat
evam
'The Vithi [is written] in the Gay Style and resembles the Bhana in its Junctures, subdivisions, and Acts. The Erotic
Sentiment
is
on another
Sentiment as well.
[the parts]
named
is
way
the Vithi
to
[This kind of
this
drama receives its name because it is] word meaning either 'road' or 'series of subdivisions.'
is
like
. .
a
.
Notes.
The Induction
;
defined at
3.
8.
in the
com(see
13-26.
104
II
BOOK THREE
Bh.
18.
[3.623.
102-103;
19-
45
b,
(p.
103), 50.
7ob-72a; H. 64,65).
yuddham vidhatavyam
tatha jayaparajayau.
In the
Utsrstikarika one
means of the imagination. The Pathetic should be Heroes should be ordinary men. Its Junctures, Styles, and subdivisions are like those of the Bhana, and it contains lamentations of women. A battle is to be presented by means of a [descriptive] speech, and likewise
subject by
the permanent Sentiment, and the
[ultimate] victory or defeat.'
Com. This
[cf.
is
pose of distinguishing
in a
play (nataka)
SD.
519, com.].
Notes.
see,
is
b.
Hall's
name
as
utkrstikanka; in view of SD. 519, com., and of the inaccuracy of Hall's text in other respects [see my notes on DR. i. 80] this may safely be
regarded as an error.
II
Bh.
18.
86b-89a;
144.
19.
45
b,
3.
4 (p. 103-104),
51.
Cf. Levi, p.
H. 66-68).
caturafikarn trisarndhimat
pradarsayet
sarnrambham param aniya yuddharn vyajan nivarayet vadhapraptasya kurvita vadharn naiva mahatmanah.
-3.65]
'In the
BOOK THREE
10$
partly legendary
Ihamrga
;
the story
it
is
mixed
[i.
e.
is
the
either
human
latter
One
should also
woman
against
Though
hos-
artifice.
One
[even though he
is
killed
[in the
derived].'
Com.
is
called
sues i'lhate) a
woman
as unobtainable as a gazelle
it
.
For the regulation concerning the death of a character DR. 3. 40 and the notes on that section. Bh. 18. 72-76; 19. 44 b, 45 a; SD. 518; Pratapar. 3. 4 (p. 104), 52,
Notes.
II
see
53.
'After observing
Meter: vasantatilaka.
BOOK FOUR
Sentiment and
1
its
Production
(P. i; H. I).
'Sentiment
the
when
through
the
Permanent
[the
State
of]
operation
Consequents,
Involuntary
States,
States.'
rasika,
'
Com. Hence the spectator may be called ment [as in 4. 47, 48], and the piece may be
'
perceiver of Senti-
Sentiment.'
Notes, svadyatvam H, V, P svadutvam Hall p. 39. This is merely an introductory section mentioning the various technical terms to be deThe rasa receives further elucidation at fined in the course of the book. 4. 54, and definitions of it in other treatises are referred to in the notes on
;
that section.
This
section
is
quoted
at Pratapar. 4.
i.
p.
219.
The
DR.
4.
States at 4. 43-46; the Determinants at 4. 2; the Consequents at 4. 3; the Involuntary States at 4. 6-7; the Transitory States at 4. 8-42. A brief summary of the roJo-theory is given by Zachariae, ZDMG. 56 (1902), p. 394-396; see also Grierson, The Satsaiya of Bihar'i, Calc tta, For an 1896, p. 43-48, where the material is conveniently tabulated.
361-364.
(P. 2; H. 2).
alambanoddipanatvaprabhedena sa ca dvidha.
'Among
these a
Determinant
106
{vibhava)
its
is
that
which
being recognized.
-4-4]
BOOK FOUR
107
vibhava)
.'
nants {uddipana,
Com.
vibhava)
are
the
hero
SD.
161].
sabdopahita,
[unidentified sloka]
by Bhartrhari; Bh. 7, prose after v. 6. Ex.: VikramorvasI i. 10, p. 18 Sarhg. 3268 [quoted also at Kavyapradipa 10, p. 383] (Fundamental Determinant) ayam udayati candr [unidentified stanza] (Excitant Determi;
nant).
XoTES. Line 2, as above, H, V, P; alambanoddipanabhyam kantodyanadina dvidha Hall p. 39. H Bh. 7. 4; SD. 61, 62, 160, com. on 2>7 AP. 338. 36; Rasatar. 2, p. 47-48; Candraloka 6. I a Pratapar. 4. i, p. 122; Alamkarasekhara 20, p. 76; Rasagang, p. 2,2i Rasaratn. 4 a Sahityasara 4. 51 a, 52 a SahityakaumudI 4, p. 29 Bhasabhusana 39 a, 40 a. Cf. Regnaud, p. 352-353.
\
; ; ; ;
'A Consequent
Com.
Notes.
is
an
= Sarng.
3417.
SD. 162; Rasatar. 3, p. 48-49; Pratapar. 4. i, p. 222; Alamkarasekhara 20. 33a; Rasagang. p. 33; Rasaratn. 4b; Sahityasara Cf. Regnaud, p. 4. 51b; SahityakaumudI 4, p. 29; Bhasabhusana 39 b.
Bh.
7.
5;
354-356.
(P.
3b; H.3b).
[i. e.
Determinants
effect,
Com.
Hence
7,
prose after
v.
Notes.
||
Bh.
7,
prose after
v.
7.
6.
Cf.
Regnaud,
p.
355.
I08
BOOK FOUR
[4-5-
A
5
(P.
State Defined
4a; H.4a).
'A State
Com.
Notes.
Rasatar.
i,
(bJidz'a),
[which
is is
and pain,
This
||
is
7,
prose before
v. i.
Bh.
p.
v.
4.
1-3;
12
b.
The Involuntary
6
(P. 4b,
States
5a; H. 4b,
c).
'pi
sattvikah
The
Involuntary States
for,
bhava sattvika
= sattva-
[from these]
(sattz'a)
;
just
because of their
[the reason
and
this is
Com.
Notes.
4, p.
prose after
7,
v. 91.
v.
Bh.
prose after
4.
i,
91
SD.
164, 165;
Sarasv.
5.
20; Rasatar.
Cf.
49-50; Pratapar.
p.
Regnaud,
p.
347-348-
asruvaisvaryam
ity astau
'The
eight
Paralysis
(stambha),
Change of Color (vaivarnya), Trembling (vcpathu), Weeping (asm), and Change of Voice (z'aisz'arya). Of these, Paralysis
is
is
loss of consciousness.
The
-4-9]
Com.
Pischel,
187;].
BOOK FOUR
Ex.: vcvai scada, viuhau sani [two Apabhramsa stanzas;
109
cf.
i.
viii,
Halle,
Notes. The words stainbhadya vyahhicarinah in AP. 338. 13 a show confusion in terminology. The text is probably corrupt, for the Involuntary States are properly named and enumerated in 338. 16-21. Bh. 6. 22; 7. 92-104; SD. 166, 167; Rudr. Srrig. i. 15; AP. 338. 13 a,
II
5. 15, 169-184 (ed. B. 5. 15, 143-147); Hem. Kavyan. 2, p. 99; Vagbh. Kavyan. 5, p. 58; Rasatar. 4, p. 50-51; Rasamafijarl, p. 232; Pratapar. 4. i (p. 224), 13-19; Alarnkarasekhara 20, p. 69; Kavyapradlpa 4, p. 71; Rasaratn. 84; Sahityasara 4. 54; SahityakaumudI 4, p. 29; Bhasa-
16-21; Sarasv.
bhusana
25.
Cf.
Regnaud,
p.
349-351.
States
'The
those
Transitory States
especially
{vyabhicarin,
sc.
bhava) are
accompany the Permanent State in cooperation, emerging from it and [again] being submerged in it,
that
in the ocean.'
first line
The
word
made
to
the
three elements
abhi,
and car by
in
tlie
Aranyaka Upanisad
by
less
its
This device, which reminds one of the mystical the Upanisads (cf., for example, Brhad7), is characterized more by its ingenuity than
In the present instance its employment was doubtsuggested by the corresponding passage in Bh., on which see Regnaud,
effectiveness.
p. 327,
note
2.
see
DR.
i.
9,
Bh.
Candraloka
gang,
p.
prose after v. 26; SD. 168; Sarasv. 5. 21; Rasatar. 5, p. 51; 6. ib; Alarnkarasekhara 20. 36; Kavyapradlpa 4, p. 72; RasaS3; Rasaratn. 4b; Sahityasara 4. 51 b; SahityakaumudI 4, p. 29-30;
7,
Bhasabhusana 40
b.
Cf.
Regnaud,
p.
327-328.
(P. 8; H. 7).
nirvedaglanisahka-
sramadhrtijadata-
harsadainyaugryacintas
no
BOOK FOUR
trasersyamarsagarvah
suptanidravibodhah
[4-9
smrtimaranamadah
samatir alasata-
vridapasmaramohah
vegatarkavahittha
vyadhyunmadau
visadotca.
sukacapala5mtas
'The thirty-three [Transitory States] are these: Discouragement (nirveda), Weakness (glani), Apprehension (sanka),
Weariness (srama), Contentment (dhrti), Stupor (jadatd), Joy (harsa), Depression (dainya), Cruelty (aiigrya =^ iigratd) Anx,
iety
(cintd),
Fright
(trdsa),
Envy
{lrsya
= asuyd),
(supta),
{vrldd),
{}iiati).
Indigna-
tion (amarsa),
(sinrti),
Death
(marana), Intoxication
(nidrd),
Sleeping Epilepsy
Awakening
Shame
Indolence
(tarka),
(dvega),
Deliberation
(avahitthd),
Sickness
.'
{vyddhi),
Insanity
{un-
capala
list
= cdpala
at
The
given
AP.
338. 22-34
Meter:
i-
sragdhara.
11-14; Sarasv. 16-18; Kavya-
prakasa 31-34; Hem. Kavyan. 2, p. 84-85; Vagbh. Kavyan. 5, p. 57; Pratapar. 4. I, p. 225; Alarnkarasekhara 20. 37-39; Kavyapradipa 4. 8-1 1; Rasagang, p. 76; Rasaratn. 81-83; Sahityakaumudi 4. 8-1 1; Bhasabhusana 4143.
ID
(P. 9; H. 8).
tattvajfianapadirsyader nirvedah
tatra
svavamananam
dissatisfaction with one-
cintasrunihsvasavaivarnyocchvasadinata.
{iiinrda)
is
'Discouragement
self
the like;
reflection,
weeping, heaving
Bhartrhari,
Vairagyas.
71
= Spr.
4327
[quoted
also
at
-4- 12]
Kavyapradipa
Real)
55, P;
BOOK FOUR
7,
p.
284]
Mahanataka
9.
398 [with the lines transposed; quoted also in the com. on Hemacandra's Anekarthasamgraha 7. 9 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 189)] (Discouragement caused by envy); ye baha [unidentified stanza] (Discouragement as Transitory State in connection with the Heroic and Erotic Sentiments) 2i9
p.
= Subhasitavali
822
= Spr.
1603
[quoted
p.
10,
400].
Notes.
Real,'
The compound tattra-jiiana, here translated 'knowledge of the means the realization that God alone is the real existence, the world
illusion.
v.
7,
being merely an
(I
Bh.
prose and
AP.
338. 22 a; Sarasv.
5,
5.
238 (ed.
4.
B.
5.
161");
Hem. Kavyan.
4, p.
p.
96; Rasatar.
p.
p.
51; Pratapar.
4.
20;
Kavyapradipa
naud,
p.
100; Rasagarig.
97-98; Sahityasara
139.
Cf.
Reg-
329.
11
(P. 10;
H. 9).
vaivarnyakampanutsahaksamafigavacanakriyah.
'Weakness
tion
(glani)
is,
in
this
and
Magha
the
11.
20=Sarng.
{trs -\- ksnd) trtksitd Whitney, Sanskrit Grammar, 226 d. SD. 200 AP. 338. 22 b Sarasv. 5. 230 H Bh. 7, prose and v. 30, 31 B. 5. 159''); Hem. Kavyan. 2, p. 93; Rasatar. 5, p. 51; Pratapar. 4. Kavyapradipa 4, p. 100, loi Rasagang. p. 80; Sahityasara 4. 140. Regnaud, p. 329-330.
On
euphonic
combination
see
(ed.
21;
Cf.
12
'Apprehension
resulting
(sankd)
is
anticipation
of
misfortune
conduct;
and
voice.'
112
CoM.
cruelty)
;
BOOK FOUR
Ex.: Ratn. Mahavlra.
3.
2.
[4.I2own
latter
4,
i,
p. p.
60
misconduct). Notes.
reading
II
kampasosa
prose and
v.
H, V,
P; kampasoka Hall
p.
39.
The
is
7,
Bh.
B.
5.
158*);
Hem. Kavyan.
4,
32-34; SD. 189; AP. 338. 23 a; Sarasv. 5. 227 (ed. 2, p. 90; Rasatar. 5, p. 51; Pratapar. 4. 22;
p.
Kavyapradipa
naud,
p. 330.
p.
100; Rasagahg.
80;
Sahityasara
4.
141.
Cf.
Reg-
13
(P. 12a;
H.
II a).
'Weariness
(srania)
in this
is
fatigue arising
[state there
on.'
from
travel, inter-
may
occur]
sweating,
and so
Com.
journey)
Notes.
(ed. B.
5.
;
Ex.:
Magha
II
from
Bh.
;
prose and
loi
v.
46;
2, p.
338.
24 a; Sarasv.
52; Pratapar.
4.
5.
236
25;
Cf.
160)
Hem. Kavyan.
;
5, p.
4.
Rasagang.
83-84
Sahityasara
144.
14
(P. 12b;
H. lib).
'Contentment
edge, power,
{dhrti)
is
delight springing
from knowl-
joyment.'
Com. Ex.: Bhartrhari, Vairagj^as. 49=Spr. 5941 (Contentment arising from knowledge) Ratn. i. 9, p. 6 [quoted also at DR. 2. 3] (Contentment arising from power).
;
Notes.
5.
||
Bh.
5.
7,
prose and
;
v.
55.
56;
338. 29 a; Sarasv.
5, p.
201 (ed. B.
151)
Hem. Kavyan.
p.
2, p.
52; Pratapar.
4.
4.
31; Kavyapradipa
p.
4,
loi
Rasagang.
79; Sahityasara
150.
Cf.
Regnaud,
334.
15
(P. 13;
H.
12).
animisanayananiriksanatusnimbhavadayas
tatra.
-4- ly]
BOOK FOUR
(jadatd)
is
113
incapacity for
'Stupor
action, caused
to be
[understood as]
greeable; in
silent,
by seeing or hearing something agreeable or disathis [state] one gazes with unwinking eyes, remains
like.'
8. 5 (Stupor caused by seeing something mahatm, passage fjom the Udattaraghava of
and the
Com.
Ex.: Kumarasambhava
;
agreeable)
tavanias
tc
Mayuraja
Notes.
Bh.
[a
something disagreeable).
In a number of the other treatises this Transitory State
is
called jadya.
II
Meter
arya.
v.
7,
prose and
B.
5.
161);
Hem. Kavyan.
65; SD. 175; AP. 338. 28 b; Sarasv. 5. 240 (ed. 2, p. 88; Rasatar. 5, p. 53; Pratapar. 4. 36;
p.
93-94;
Sahityasara
4.
155.
Cf.
16
'Joy
like,
(harsa)
is
and manifested
Ex.
H
:
Com.
Notes.
5.
Subhasitavali 2075
7,
= Sarng.
3528.
Bh.
5.
prose and
;
211 (ed. B.
154")
4.
34; Kavyapradlpa
p. 336.
4,
61; SD. 195; AP. 338. 27 b; Sarasv. Hem. Kavyan. 2, p. 91 Rasatar. 5, p. 53; Pratapar. Cf. p. 102; Rasagang. p. 76-77; Sahityasara 4. 153.
v. 60,
;
Regnaud,
17
'Depression
misery and the
ness,
like,
(dainya)
is
and so
on.'
tr.
= Bhojaprabandha
v.
Bh.
;
7,
prose and
AP.
338. 25 a; Sarasv.
5.
221
(ed. B.
5.
156)
p.
Hem. Kavyan.
;
Rasagang.
8o-8i
Sahityasara
4.
27;
114
18
(P. 15; H. 14).
BOOK FOUR
[4.
18-
'Cruelty
(ugrata)
is
wrathfulness
at a villain,
in that
aroused by
[state there
and the
like.'
Com.
Notes.
Bh.
Ex.
MahavTra.
2. 47, p. 84.
krauryais H, V,
is
The
22.
second
line
of this section
H
5.
7,
prose and
AP.
p.
338. 33 a; Sarasv.
5,
157");
Hem. Kavyan.
p.
92;
Rasatar.
104;
Rasagang.
89-90;
p.
54;
19
'Anxiety
desired object;
ishness.'
(cintd)
it
is
Com.
Notes.
5.
= Sarhg.
3400.
338. 25 a: Sarasv.
5, p.
Bh.
5.
7,
prose and
;
v.
49, 50;
191
(ed. B.
149")
Hem. Kavyan.
p.
2, p.
52; Pratapar.
4.
4.
28; Kavyapradlpa
p. 3:i3.
4,
loi
Rasagang.
82; Sahityasara
147.
Cf.
Regnaud,
20
(P. l6b;
H. 15b).
garjitader
'Fright
Com.
Notes.
225 (ed. B.
(trasa)
agitation of
is
Magha
7,
;
8. 24. v.
Bh.
prose and
105;
AP.
338.
31b; Sarasv.
5.
5.
157)
Hem. Kavyan.
4,
p.
-4- 23]
21
(P. 17;
BOOK FOUR
H. 16).
'Envy
from
[asfiyd)
is
Amaru
46, p. 124
= Spr.
Amaru
35, 36;
3.
52, p. 135
= Subhasitavali
338. 23 a;
5, p.
1324
Notes.
5.
4.
||
Bh.
5.
7,
prose and
;
v.
Sarasv.
215 (ed. B.
15s'')
Hem. Kavyan.
p.
2, p.
51
Pratapar.
4.
23; Kavyapradipa
4,
100;
Rasagang.
95-96; Sahityasara
142.
Cf.
Regnaud,
(P. 18;
p.
230-33'^-
22
H.
17).
'Indignation
ing,
(atnarsa)
is
resoluteness
( !)
[called forth]
by
in that
sweat-
Com.
Veni.
I.
Mahavlra.
14.
3. 8,
p.
95 [quoted also at
DR.
2.
and
2.
20]
12, p.
Notes.
line of
H
4. 7,
The second
18.
line
of this section
is
identical
Bh.
5.
prose and
v. 76,
77;
2,
SD.
p.
184;
AP.
338. 32 a; Sarasv.
5,
5.
B.
154);
Hem. Kavyan.
4, p.
95; Rasatar.
p.
p.
54; Pratapar.
4.
44;
Kavyapradipa
naud,
p.
103; Rasagang.
88-89; Sahityasara
163.
Cf.
Reg-
341-342.
23
(P. 19;
H.
18).
'Arrogance
insulting contempt
{garva)
is
are
at one's person.'
Il6
BOOK FOUR
p.
[4.
[quoted also at
232.
67;
2.
10, p. 51
DR.
UBh.
5.
7,
prose and
102
v.
AP.
;
338. 29 b;
5,
Sarasv.
5.
197 (ed. B.
4. 2)7
;
150);
Hem. Kavyan.
4, p.
;
p.
92; Rasatar.
p.
p.
53; Pratapar.
4.
Rasagafig.
84-85
Sahityasara
156.
Cf.
24
(P. 20;
H. 19a,
b).
jnatatvenarthabhasinyam bhrusamunnayanadayah.
'Recollection
(smrti)
[is to
by means of
its
memory,
Com.
portion
is
Ex.: Mahanataka
3. 79, p.
128; IMalatlm.
5, p.
quoted also
H
at
DR.
4.
43].
53, 54;
Notes.
5.
4.
Bh.
5.
7,
prose and
;
v.
338. 26 a; Sarasv.
5, p.
185 (ed. B.
147)
Hem. Kavyan.
;
2, p.
52; Pratapar.
4.
30; Kavyapradlpa
p.
4, p. loi
Rasagang.
77-78; Sahityasara
149.
Cf.
150.
Regnaud,
334.
S^
See page
25
(P. 21 a; H. 19c).
'Death
well
(marana)
is
its
being
[consequent]
uselessness
[of explaining
Com.
Notes.
Mahavira.
i, p.
28.
and dismissed with the remark vibhavduubhavau spasfau, its Determinants and Consequents are well-known.' Nevertheless, SD. records, with customary fidelity, that Death, that is, departing this life, is occasioned by arrows and the like and results in falling down of the body and so on.' Bh. 7, prose and v. 84-S8; SD. 182; Hem. Kavyan. 2, p. 98; Rasatar. 5, p. 54; Pratapar. 4. 50; Kavyapradlpa 4, p. 104; Rasagang. p. 90-91; Sahityasara 4. 169. Cf. Regnaud, p. 344-345.
called nidhana
'
'
II
-4-28]
26
(P. 21 b,
BOOK FOUR
22a; H. 20a, b),
11/
harsotkarso
nidra haso
ruditam jyesthamadhyadhamadisu.
is
'Intoxication (mada)
[It
manifests
itself in]
[and in]
sleeping, hilarity,
and blubbering
[respectively].'
10.
Ex.
Magha
7,
;
13
= Sarhg.
v.
3652.
HBh.
prose and
37-45; SD. 174; AP. 338. 23b; Sarasv. Hem. Kavyan. 2, p. 88; Rasatar. 5, p. 51 Pratapar. Cf. p. 100; Rasagarig. p. 82-83; Sahityasara 4. 143.
;
Regnaud,
27
(P.
22b; H. 20c).
tatra svasocchvasakriya param.
[a state]
suptam nidrodbhavarn
'Dreaming
:
{siipta)
is
originating in sleep; in
is
it
= Sarng.
named
designated as siisupta.
it
form
II
supti.
7,
Bh.
In some of the other treatises prose and v. 74; SD. 179; Sarasv.
is
called svapna.
5.
;
5.
246 (ed. B.
Hem.
p.
Kavyan. 2, p. 90; Rasatar. 5, p. 54; Pratapar. 4. 42; Kavyapradlpa 4, 103; Rasagang. p. 86-87; Sahityasara 4. 161. Cf. Regnaud, p. 340-341.
28
(P. 23;
H. 21
a,
b).
'Sleeping
{nidra)
is
in
it
[may
be observed] yawning, stretching the limbs, closing the eyes, starting up out of sleep, and so on.'
Com.
Notes.
Magha
11.
4.
p.
39.
Il8
H
BOOK FOUR
Bh.
7,
[4.285.
prose and
2,
v.
;
70, 71;
244 (ed. B.
4.
5.
162)
Hem. Kavyan.
4, p.
p.
89
p.
Rasatar.
p.
53
4.
Pratapar.
I59-
40
Kavyapradlpa
p.
103; Rasagang.
85; Sahityasara
Cf.
Regnaud,
339-340.
29
(P.
24a; H. 21
c).
'Awakening
[of sleep]
and the
eyes.'
and
is
rubbing the
Com.
Notes.
prabodha.
H
5.
Ex.:
Magha
11.
13.
In Sarasv. and in
Hem. Kavyan.
this
Transitory State
is
called
Bh.
;
7,
prose and
v.
75;
2, p.
338. 32 a; Sarasv.
5, p.
5.
248 (ed. B.
43; Kavya-
163)
Hem. Kavyan.
4,
54; Pratapar.
4.
4.
pradipa
p.
p.
103; Rasagaiig.
87-88; Sahityasara
162.
Cf.
Regnaud,
341-
30
sacikrtangavaranavaivarnyadhomukhadibhih.
'Shame
(vrldd)
is
One
should infer
it
from
[a person's]
like.'
Ex.
Amaru
7, 5.
36
= Spr.
v.
3869.
57, 58;
UBh.
prose and
;
338. 27 a;
s, p.
Sarasv.
203 (ed. B.
152")
Hem. Kavyan.
2, p.
52; Pratapar.
4.
4.
4, p.
102; Rasagang.
78-79; Sahityasara
151.
Cf.
31
bhiipatakampaprasvedalalaphencdgamadayah.
'Epilepsy
af^asiiidra
is
madness,
properly
speaking,
-4-34]
some such
BOOK FOUR
119
like.'
Com.
Notes.
Ex.:
||
Magha
7,
3. 72.
Bh.
prose and
5,
v.
p.
^2,
jt,;
Kavyan.
103.
11.
2,
p.
95; Rasatar.
p.
53;
Pratapar.
4.
3; Rasagang.
96; Sahityasara
SD. 180; AP. 338. 31a; Hem. 4. 41; Kavyapradlpa 4, p. 160. Cf. Regnaud, p. 340.
32
moho
vicittata bhitiduhkhavesanucintanaih
tatrajnanabhramaghataghurnanadarsanadayah.
'Distraction
(uioha)
is
[there
arise]
uncon-
and
Com.
Notes.
5.
Ex.: Kumarasambhava
3.
73; Uttararama.
i.
35. p. 33
4.
[differs in
DR.
76].
|lBh.
5.
prose and
;
51,
52;
338. 25 b; Sarasv.
5, p.
207 (ed. B.
153")
Hem. Kavyan.
p.
2, p.
52; Pratapar.
4.
4.
29; Kavyapradlpa
p. 333.
4,
loi
Rasagang.
79; Sahityasara
148.
Cf.
Regnaud,
33
(P.
27a; H. 25a).
'Assurance
things, gained
(mati)
is
from
didactic treatises
Com.
Notes.
JIBh.
5.
Ex.: Kiratarjuniya
bhranti
2.
3331.
H, V; bhanti (misprint)
v.
SD.
and Sahityasara
5.
prose and
AP.
338. 26 b; Sarasv.
5, p.
195 (ed. B.
150^)
Hem. Kavyan.
87; Rasatar.
54; Pratapar.
4. 166.
4.
pradlpa
4, p.
Cf. Regnaud,
34
(P.
27b; H. 25b).
I20
BOOK FOUR
(alasya)
is
[4*34from weariness,
'Indolence
seated,
inactivity [arising]
and the
Ex.
:
like.'
Com.
Notes.
by Dhanika.
garbliadejahmya H, V, P; garbhader jadyam restored by me, in place of the unintelligible reading of the other editions (cf. SD.
183).
H
Bh.
7,
prose and
;
v.
AP.
338. 24 b;
5,
Sarasv.
52
;
5.
242 (ed.
4.
B.
5.
162")
Hem. Kavyan.
4, p.
p.
91
p.
Rasatar.
p.
Pratapar.
4.
26
Kavyapradipa
naud,
p. 332.
loi
Rasagaiig.
94-95; Sahityasara
145.
Cf.
Reg-
35
abhisarajanite
tvaritapadagatir
varsaje pinditafigah
ahitahitakrte
sokaharsanubhava
vahner dhiiniakulasyah
karijam anu bhaya-
stambhakampapasarah.
'Agitation
arises
(avcga)
attack,
is
confusion
[of mind].
When
it
from an
[when caused] by
is
it
rain,
one
[when
when caused by
is
desirable
in case
joy or grief;
one's
[it
phant,
is
mouth is filled with smoke; when due to an eleshown by] fear, paralysis, trembling, and attempts
to escape.'
Com.
vas
[unidentified stanza]
[unidentified quotation]
prarabdham taru [unidentified stanza] vatahatam dcve (Agitation caused by violent wind)
; ;
var^aty asaiia
sty(ipliia
[unidentified stanza]
[unidentified
stanza]
-4-37]
rence)
;
BOOK FOUR
121
two passages from the Udattaraghava of Mayuraja [a drama (Agitation caused by desirable and undesirable matters); Mahavlra. i. 55, p. 39 (same); Amaru 2 = Spr. 2018 [quoted also at SD. 601 and Kavyapradipa 7, p. 321] (Agitation caused by fire) Raghuvarnsa 5. 49 (Agitation caused by an Ratn. 4. 16, p. 100 (same)
apparently not extant]
;
;
elephant).
Notes.
this
II
called avcsa.
Meter:
;
p.
39.
In
5.
AP.
sragdhara.
v.
AP.
338. 28 a; Sarasv.
5,
234 (ed.
B.
5.
Hem. Kavyan.
p.
96; Rasatar.
p.
Kavyapradipa
102; Rasagang.
36
(P. 29a;
H. 27a).
'Deliberation
certainty;
it
tarka )
is
consideration
caused by un-
causes one to
move
Com.
pradipa
vil [unidentified
235]
kah samucita
[unidait'ified stanza].
Notes. In most of the treatises this is called vitarka. however, in using the designation tarka.
H
Bh.
7,
prose and
v.
90;
338.
33b; Sarasv.
187 (ed.
B.
5.
148");
Hem. Kavyan.
4, p.
Kavyapradipa
p. 345-
97; Rasatar. 5, p. 54; Pratapar. 4. 52; 105; Rasagang. p. 91; Sahityasara 4. 171. Cf. Regnaud,
37
'Dissimulation
ment of
Com.
Notes.
5.
(avahittha)
is
springing from shame and the like [and expressed] in concealthat alteration.' Ex.
||
:
Kumarasambhava
7,
6.
84.
Bh.
5.
prose and
;
v.
78;
338.
5, p.
32 b;
Sarasv.
Cf.
205 (ed. B.
152)
Hem. Kavyan.
p.
2, p.
54; Pratapar.
4.
4.
4,
103; Rasagang.
89; Sahityasara
164.
122
38
(P. 29c; H. 27c).
BOOK FOUR
[4.38-
vistarah.
'Sicknesses
like.
Com.
Notes.
2, p.
Amaru
7, 5, p.
78.
v.
Bh.
prose and
81
89; Rasatar.
p.
54; Pratapar.
4.
gang,
85-86; Sahityasara
167.
SD. 192; AP. 338. 33 b; Hem. Kavyan. 4. 48; Kavyapradipa 4, p. 104; RasaCf. Regnaud, p. 343.
39
apreksakaritonmadah sarnnipatagrahadibhih
is
Ex.
7,
Vikramorvasi
91
[the stanza
i.s
quoted aLso
at
Kavyaan
P- 217].
Notes,
p. 39.
The
term gralia
Cf.
4.
is
31.
UBh.
B.
5.
7,
prose and
159);
Hem. Kavyan.
4, p.
Kavyapradipa
p.
83; SD. 188; AP. 338. 34 a; Sarasv. 5. 232 (ed. 2, p. 94; Rasatar. 5, p. 54; Pratapar. 4. 49; Cf. Regnaud, 104; Rasagaiig. p. 90; Sahityasara 4. 168.
v. 82,
343-344-
40
(P. 31;
H. 29).
'Despair
kind
;
(z'isdda)
is
loss of
Com.
Notes.
Ex.
Mahavlra.
7,
i,
p.
28-29.
HBh.
5.
prose and
;
v. 67,
AP.
338. 30 a; Sarasv.
5, p.
5.
219 (cd. B.
156")
Hem. Kavyan.
88; Rasatar.
53; Pratapar.
-4.42]
4.
T,S:
BOOK FOUR
p.
123
92; Sahityasara
4.
Cf.
157.
41
'Impatience
time,
(autsukya)
is
intolerance
of
the
lapse
of
owing
to desire for
[there occur]
drawing
and confusion.'
Com.
Notes.
Ex.
Kumarasanibhava
p.
7.
22
6. 95.
tvarasvasa Hall
39;
tvanihsvasa
H, V,
-tva
P.
have
re-
jected the reading of the previous editions in favor of the variant recorded
by Hall, which
nihsvasais
is
clearly preferable.
The
suffix
in
ucchvasatva-
awkward and
is
me
tvard-svasa-)
found
(4, p. 103) and is and Rasagang., which include tivra among the
quotation of this section in the Kavyapradipa supported also by the statements of SD., Hem. Kavyan.,
in the
effects of
references below).
The
word svasa
found also
H
at
DR.
4.
Bh.
7, 5,
prose and
p.
27 and can doubtless be paralleled elsewhere. v. 69; SD. 187; AP. 338. 30 b; Hem. Kavyan.
4, p.
90;
53; Pratapar. 4. 39; Kavyapradipa 92-93; Sahityasara 4. 158. Cf. Regnaud, p. 339.
Rasatar.
103: Rasagang. p.
42
'Inconstancy
(cdpola)
is
fickleness
in
it
[arising]
from
jeal-
and so
by
on.'
the
=
199]
Spr.
;
378,
stanza
poetess
;
'Other special varieties of mental processes are not separately mentioned because they occur according to the character of the Determinants and Consequents of these very
prastutam eva tav
[unidentified quotation].
124
BOOK FOUR
[This statement of Dhanika
[4.42is
misin-
Regnaud
328),
who
sees
in
it
Notes.
(ed. B.
5.
UBh.
149)
;
7,
prose and
102;
Hem. Kavyan.
p.
59; SD. 199; AP. 338. 27 b; Sarasv. 5. 193 91 Rasatar. 5, p. 53; Pratapar. 4. 33; Rasagang. p. 96-97; Sahityasara 4. 152. Cf.
v.
2, p.
;
335.
The Permanent
43
(P. 34;
States
H. 32).
sthayi lavanakarah.
one which
is
harmony with
Brhatkatha [cf. Lacote, Essai sur Gunddhya et la Brhatkatha, Malatlm. 5, p. 126-127 [quoted also at DR. 4. 24] annahuna [an Apabhrarnsa stanza; cf. Pischel, Hemacandra's Gramniatik
Com.
Ex.
der Prakritsprachen, i. viii, Halle, 1877] Dhvanyaloka 3- 24, com., p. 173; Spr. 481 1; iyam sa lola [unidentified stanza]; Bhartrhari, Srhgaras. 13 Sarng. 4076; ekam dhyananim'd [unidentified Malatim. 5. 18, p. i32
;
stanza, quoted also at SD. 601]; Subhasitavali I9i6=arrig. 3596 [stanza by Candraka] Dhvanyaloka 2. 25, com., p. 96.
;
Notes.
||
Bh.
7,
prose before
v.
8;
5.
19; Rasatar.
p.
i.
p.
73-74; Rasagang.
30-31.
44
samam
'
Love
(rati),
Energy
(htlsa),
(utsaJia),
Astonish(soka).
is
ment (smaya^vismaya)
Some
[authorities]
it
no
development of
in the
-4-4^]
Com.
In
its
BOOK FOUR
[For an abstract of the com. on
this section see
12. 4.
125
Regnaud,
p.
313.
see 4. 53. This is called nirveda in some of the Dhanarnjaya's use of the term sama may be due to a Meter: arya. desire to avoid confusion with the nirveda defined at 4. 10. HBh. 6. 17; 7. 8-26; SD. 206; Rudr. Srhg. i. 10; AP. 338. 13-15; Sarasv.
Notes.
On sama
rhetorical treatises.
14; Kavyaprakasa 30; Hem. Kavyan. 2, p. 83; Vagbhatal. 5. 4; Vagbh. Kavyan. 5, p. 53; Rasatar. 7, p. 59-61 Pratapar. 4. i, p. 221 Alarnkarasekhara 20. 31; Kavyapradipa 4. 7; Rasagang. p. 29, 30; Sahityasara 4. 49, Cf. Regnaud, p. 313, 320. 56, 57; Sahityakaumudi 4. 7; Bhasabhusana 38.
5.
;
45
(P. 36;
H. 34).
'How
pleasure
sc.
bhava) produce
thirty-three
?
from a representation
of that
devoted
to
[the
Transitory States]
The development
Permanent
'
to
Impermanence [arises] from lack of unification of the consistent Com. and inconsistent [features] of [the thirty-three Transitory States] beginning with nirveda.' ... [In the course of its discussion the com. quotes:] Kumarasambhava 3. 68; Hala 175 [quoted also at Kavyapradipa 5, p. 194] Dhvanyaloka 2. 30, com., p. no [tr. Jacobi (2. 31), ZDMG. 56 (1902),
;
p.
p.
;
290]^
yatrartliah
stanzas]
upodharagena
412
is
[possibly
36.
word of
the
i.
(ZDMG.
367)
= Spr.
1311].
Notes.
This section
Permanent States must be present in a drama as a unifying factor and as a fundamental prerequisite for the production of rasa. The term nirveda in the first line must not be confused with the word nirveda used in some treatises as an equivalent of sama; see the notes on the preceding section.
46
vacya prakaranadibhyo buddhistha va yatha kriya vakyarthah karakair yukta sthayi bhavas tathetaraih.
126
'Just as a verb
BOOK FOUR
[4.46whether [merely]
whether
to be spoken or
when
to
it
(karaka),
is
the
[States,
is
Com. [In the course of its discussion from Dhanika's Kavyanirnaya Bh. 6. 34.
;
Notes.
The predominant
position of the
its
im-
preceding section
indirectly
is
Regnaud,
p.
270).
The same
is
expressed in the follow^ing lines of the Bharatlyanatyasastra (7. 8), which are quoted by Kesavamisra in the Alarnkarasekhara (20, p. 76)
:
evam
hi
sarvabhavanam bhavah
sthSy'i
mahan
iha.
47
(P. 38,39;
H.
36, 37).
Sentiment
{rasa)
from the
spectator's (rasika)
own
at
The impression
one
in
just
what
it
everyday
life
For a statement of the views of some of the older Hindu Kavyaprakasa 27-28 (cf. Regnaud, p. 271-273). On the term rasika see DR.
Notes.
rhetoricians regarding the production and perception of rasa see
4.
I,
com.
48
(P. 40;
H. 38).
-4.52]
'
BOOK FOUR
like
127
[The Hero],
Rama and
and
like,
On
DR.
4.
i,
com.
49
(P.
ta
'
41a; H. 39a).
The Heroines, on the other hand, are productive of ment without regard to their personal characteristics.'
50
(P. 41b, 42a; H. 39b, c).
own
[imaginative] effort
[is
Arjuna and
like.'
6.
own
discussion
quotes:]
Bh.
15
Regnaud,
p.
270.
51
(P.
42b; H. 40a).
work
[he
is
presenting],
is
not precluded.
W SD.
50.
H. 4ob-42).
128
BOOK FOUR
[4.52hi
'Charm (svada)
ness,
is
from
the
of four kinds
cheerfulin
Charm
ous
thetic
(adbhiita),
Terrible
(kanina) Sentiments.
arise
is
For
for
very reason
[there
precise
determination
6. 39,
40a.
In
vikasa H, V, P.
is
is
clearly a derivative of
the root kas. The form given in the commentary is therefore the natural and correct one, and I have accordingly adopted it in place of the erroneous comvikasa. In this passage fikscf'a is alleged to have the meaning passion (BR. S.V., 9: Mitleid ') but as I know of no other occurrence of the word in this signification, I have not felt justified in adopting that
'
'
'
rendering here.
The
compound bhayotkar^a
is
here
used,
because
of
Most of
this
name
the eight
(or nine)
Sentiments,
them
individually.
In
DR.
enumeration is dispensed with, probably because the mention of the Sentiments in this section is thought sufficient. The Sentiments are enumerated in the following passages (note especially Rudr. Kavyal. and Sarasv., which recognize more than the usual eight or nine): Bh. 6. 15; SD. 209; Rudr. rng- i- 9', Rudr. Kavyal. 12. 3; Sarasv. 5. 251 a, b (ed. B. Kavyaprakasa 29; Hem. Kavyan. 2, p. 67; Vagbhatal. 5. 3; Vagbh. 5. 165) Kavyan. 5, p. 53; Pratapar. 4. i, p. 221; Alanikarasekhara 20. i; Kavya-
pradipa
4.
4.
6; Rasagang.
p.
4.
kaumudi
H Bh. 6.
AP.
338.
7b^a.
Cf.
Regnaud,
53
(P.
45b; H. 43a).
-4-54]
'The
state
Qiiietistic
BOOK FOUR
Sentiment
129
{samaprakarsa
like, is to
sCinta-rasa),
be defined as a
having that
[i. e.
happiness] as
its
essential nature.'
Com.
Notes.
indication of source].
is
here
used
merely
;
as
an
cf
the use
This brief
As stated in DR. 4. 44 b, the Permanent State sama, upon which it is based, does not figure prominently in dramatic literature, and our author consequently excludes both sama and santa from detailed
the present work.
consideration.-
3. 31, 23',
Hem. Kavyan.
7,
2,
p.
80; Vagbhatal.
Rudr. Kavyal. 15. 15, 16; Kavyaprakasa 5. 32; Vagbh. Kavyan. 5. p. 57;
Rasatar.
Kavj-apradipa
Candraloka 6. 13; Alamkarasekhara 20. 27, 28; 12a; Rasagang. p. 33; Rasaratn. 99; Sahityasara 4. 128; Sahityakaumudi 4. 12 a. Cf. Regnaud, p. 313, 315.
p.
61;
4.
Sentiment Defined
54
(P- 46,
47a; H. 43b,
c,
44a).
padarthair indunirvedaromaficadisvariapakaih
hhava) which
is
produced from
poem through
like],
and the
like,
4.
i.
For
a brief
p.
summary
of the raja-theory
consult Zachariae,
ZDMG.
56 (1902),
p.
394-396; see also Grierson, The 43-48, where the material is con-
Bh.
6,
prose after
2, p.
v.
31;
SD.
3;^
Hem. Kavyan.
56; Vagbhatal.
5.
2;
(SD. tr. 32); Kavyaprakasa 27, 28; Vagbh. Kavyan. 5, p. 53; Rasatar.
6, p. 56; Candraloka 6. 3; Pratapar. 4. i, p. 219; Alarnkarasekhara 20, p. 69; Kavyapradipa 4. 4, 5 Rasagang. p. 21-22; Rasaratn. 3; Sahityasara 4. 58 a; Sahityakaumudi 4. 4, 5. Cf. Regnaud, p. 267-269.
;
I30
55
(P.
BOOK FOUR
47b; H. 44b).
[4-55-
The same
Determinants.'
The
56
(P. 48;
Erotic Sentiment
H. 45).
ramyadesakalakalavesabhcgadisevanaih
pramodatma
Love
(rati)
is
essentially delight
[manifested]
in
fondness
That
[feeling]
is]
enamored, [which
tures,
[constitutes]
the
Erotic Sentiment
i.
(sn'igara).'
;
Com.
Ex.
Uttararama.
26, p.
26 (place as a Determinant)
;
hastair
antarnihita
Nagan. i. (an art as a Determinant) 14, p. 10 [see Boyd's translation, London, 1872, p. 12, note] (an art as a Determinant) Kumarasambhava 3. 26, 36 (occasion as a Determinant) Kumarasambhava 3. 53 (dress as a Determinant) cakstir Iuptamasl [unidentified stanza] (pleasure as a Determinant) Malatlm. i. 39, p. 46
[unidentified stanza]
;
(Love essentially delight) Malav. 2. 3, p. 27 Spr. 2823 (youth as a Determinant); Malatlm. i. 18. (two young persons as p. 17 [quoted also at Kavyapradlpa 4, p. 148] Determinants) Malatim. i. 22, P- 35 [quoted also at DR. i. 46] (mutual
[quoted
also
at
Kavyapradlpa
7,
p.
277]
passion)
Malatim.
i.
30, p.
32 (tender gestures).
Notes.
H Bh. 6,
With regard
7a; Hem.
Rasatar.
4,
6,
;
and their 58 and 4. 65. prose after v. 45; SD. 210 a-d; Rudr. Kavyal. 12. 5; AP. 341. Kavyan. 2, p. 68; Vagbhatal. 5. 5a; Vagbh. Kavyan. 5, p. 53; Kavyapradlpa p. 57; Rasamanjarl, p. 233; Candraloka 6. 4, 5
4.
;
;
87 Schmidt,
p.
Rasaratn. 6 a
p.
Sahityasara
p.
4.
68,
69
a.
Cf.
83-99)
Regnaud,
301-302.
57
(P. 49;
ye vyabhicarinas ca
-4.58]
BOOK FOUR
ekonapancasad ami
hi
131
bhava
'The
[eight]
these
(augrya
forty-nine
e.
develop;
Indolence
(dlasya),
Cruelty
= ugratd),
[to
e.
it
[i.
of the
Erotic Sentiment].'
Notes.
All the States here referred to are found in connection with
the Erotic Sentiment in one or another of the various forms described in the following sections.
5.
This
is
at
Rasatar.
PII
55-
Meter:
6. 4, 5
indravajra
v.
(6 lines).
3. 42, 43; 53; Rasatar.
Bh.
6,
prose after
AP.
5, p.
341.
7 b. 8;
Hem. Kavyan.
;
2, p.
5,
p.
55;
Candraloka
Pratapar.
261
Rasagang.
p.
:^2.
ceti sa tridha.
is
Separation
Notes.
(sambhoga).'
is
made
in the
following
paragraph distinguish two varieties of the Erotic Sentiment. These are named, in all but two cases, vipralambha and sambhoga (Vagbhatal. has viprayoga for the former; Rasagang. and Vagbhatal. have samyoga for the latter). DR., on the other hand, recognizes three varieties, ayoga (4. 59), viprayoga (4. 65), and sambhoga (4. y6), the first two of which together correspond to the vipralambha of the other treatises. H Bh. 6, prose after v. 45; SD. 211; Dhvanyaloka, 2. 13, com., p. 83 (tr. Rudr. Sriig. i. 21 Rudr. Kavyal. 12. 5, 6; AP. Jacobi, ZDMG. 56, p. 607) 341. 4 a; Sarasv. 5. 10 a; Kavyaprakasa 29, com., p. 117; Hem. Kavyan.
;
;
'
2, p. 68; Vagbhatal. 5- 5 b; Vagbh. Kavyan. 5, p. 53; Rasatar. 6, p. 57; Rasamanjari, p. 233; Candraloka 6. 5 b; Pratapar. 4. 79, p. 277; Alanikarasekhara Rasaratn. 6 b SahityaRa.'^agaiig. p. 34 20. 2a; Kavyapradlpa 4, p. 87
;
;
132
sara 4. 69 b; Sahityakaumudi 96-120 (2d ed., p. 83-99).
BOOK FOUR
4, p.
[4.58Regnaud,
p.
31-
Cf.
302; Schmidt,
p.
Privation and
59
(P. 50b, 51a; H. 47b, c).
its
Stages
tatrayogo 'nurage
'pi
navayor ekacittayoh
'Of
these,
Privation
(ayoga)
is
impossibility of being
united on the part of two young persons with but a single thought,
See the notes on DR. 4. 58 and 4. 65. References to definivipralambha (which corresponds to our author's ayoga and viprayoga) are given in the notes on 4. 65, below. Cf. Regnaud, p. 302.
Notes.
of
tions
60
It
At
loved
first
[there occurs]
in
it
Longing
(smrti),
(abhildsa),
Anxiety
[the
(ciiitaua).
Recollection
Enumeration of
tress
one's]
Merits
(gunakatha), Dis-
(tidvcga),
those are
Pratapar. differs from most of the works cited below in recogIts hst of stages
does not correspond closely to that given here. See also Sarasv. With this enumeration of ten stages it is interesting to compare the following passage from Hamlet (2. 2. 146-151), in which Polonius de' '
from Ophelia:
And
he, repulsed
short tale to
make
Thence Thence
and by
this declension
-4.61]
And
II
BOOK FOUR
Into the madness wherein
all
133
now
he raves
we mourn
for.'
Bh. 6, prose after v. 45; 22. 1,54-156; SD. 214 e, f; Rudr. Srng. 2. 6-8; Rudr. Kavyal. 14. 4, 5; Sarasv. 5. 99, 100; Vagbh. Kavyan. 5, p. 64; Rasatar. Rasamanjarl, p. 236; Pratapar. 4. 69, p. 271; Rasaratn. 85-87 a; 5, p. 55 Bhasabhusana 33-36; Kamasutra, p. 256; Kandarpacfidamani, Anangarahga, and Smaradipika, cited by Schmidt, p. 125; Ratirahasya i. zi, 38 (ZDMG. 57, p. 714) com. on Hala, quoting from a Kamasastra (Weber, tjher das Saptagatakmn des Hala, Leipzig, 1870, stanza 185, p. Sukasaptati, text, simpl. 4 (ed. Schmidt, Leipzig, 1893, p. 16, 1. 134-135) 4-5; tr. Schmidt, Kiel, 1894, p. 9, foot); Vctalapancavimsatika 16 (ed.
;
'
Uhle,
Leipzig,
45, p.
i88r,
p.
tr.
45,
p.
1.
7-15)
;
Dinalapanika-sukasaptati
16.
55
Halayudha's Puranasarvasva, cited by Zachariae. BB. 4 (1878), p. 373-374; Haihayendracarita 2. 29-100 (ed. Schtscherbatskoi, St. Petersburg, 1900 [Mcmoires de I'academic iniperiale dcs sciences, 8. serie, classe hist.-philol., vol. 4, pt. 9], p. 25-36; tr. p. 86655
;
(ZDMG.
677, top)
Erzdhlungen in MdftaMeyer, London, 1909, p. 243). Cf. Schmidt, p. 124-132 (2d ed., p. 101-107) Regnaud, p. 304; Zachariae, BB. 4 (1878), p. 373; Weber, Indische Studien 15 (1878), p. 338, note 4; Hall, Pischel, Rudrata's Crngaratilaka, Kiel, 1886, p. loi (note on 2. 6) Kalidasa e gli erotologi indiani,' Studi italiani di Pavolini, p. 34, note SIf See p. 150. filologia iudo-iranica i (1897), app. i, p. 14-16.
Ausgew'dhltc
tr.
'
61
H.
49, 50).
Of
Longing (abhildsa)
is
and perturbation.
The
seeing
[may
praise
the hearing
[may
be] through
Com.
Ex.: Sakuntala
(joy);
i.
19, p.
33
= Spr.
;
745 (Longing)
stanav alokya
i.
Viddhasalabhanjika
5.
Kumarasambhava
2 [quoted also at
85
= Spr.
31
[with the
tion)
Kumarasambhava
8.
DR.
2.
134
BOOK FOUR
[4.61-
NoTES. kartte H, V, P; kamye Hall p. 39. Pratapar. (4. 80) uses the term abhilasa as designation for one of the four kinds of vipralambha enumerated in that work.
H Bh. 22. 157,
158;
SD. 214
c,
d,
g; Rudr. Snig.
i.
92;
2.
9,
10; Rudr.
Kavyal.
p.
12.
31; Rasamanjarl,
p. 236, 245.
201-203).
62
(P. 55a;
H. 51a).
their
The
is
generally
examples of
Notes.
it
prabandhesu
H, V, P
prayogesu Hall
p.
39.
Apparently
'
in
ten stages
'
mentioned
in section 60.
64
nautsukyam prajayate
'Why
[arise]
Why
when
The
Why
Weak-
Com.
rest
secret love,
etc.
must
its
Separation and
65
(P. 57b. 58a;
II.
Varieties
53).
manapravasabhedena mano
'pi
pranayersyayoh.
- 4- 66
BOOK FOUR
(znprayoga)
is
35
between
'Separation whom an
the sundering of
It is
two persons
of two kinds,
arising
in
from]
Resentment or
fondness or
Absence.
in
The Resentment
[arises]
[a state of]
varieties
from DR. in recognizing four named abhilasa {purvanuraga) mana The first of these is practically equivalent {irsya), pravasa, and karuna. mana and pravasa are mentioned in to our author's ayoga (see DR. 4. 59)
Most of
of vipralambha, usually
this section;
with reference to karuna see the notes on 4. 74. A tabular conspectus of the varieties recognized in the different rhetorical works is given by Schmidt (p. 120; 2d ed., p. 99); it is, however, not absolutely
The references given in the following See the notes on 4. 58, above. paragraph are to definitions of the term vipralambha (which corresponds to our author's ayoga and viprayoga) and to statements concerning mana and its two forms. H Bh. 6, prose after v. 45; SD. 212, 213, 218 a; Dhvanyaloka, 2. 13, com., Rudr. Srng. i. 22 a, 24; 2. i; Rudr. p. 83 (tr. Jacobi, ZDMG. 56, p. 607)
;
Kavyal.
14. i;
AP.
48 b;
5.
Kavyaprakasa 29, com., p. 120; Hem. Kavyan. 2, p. 71, 72; Vagbhatal. 5. 17, 19 a; Vagbh. Kavyan. 5, p. 54; Rasatar. 6, p. 59; Pratapar. 4. 80; Alarnkarasekhara 20. 10, 11, p. 71; Kavyapradipa 4, p. 88; Rasagang. p. 34, 35; Rasaratn. 5,5, 57, 29 a; SahityakaumudI 4, p. 32, 22>- Cf. Regnaud,
p.
303; Schmidt,
p.
96-120 (2d
ed., p.
2.
83-99)
i).
(note on
66
(P.
58b; H. 54a).
tatra
'Of
fondness
to be
who
are
determined to be angry.'
Com. Ex.: Uttararama. 3. 37, p. 84 (Resentment on the part of the Hero) pranayakupitam drsf stanza by Vakpatirajadeva (= Munja) [quoted also at DR. 4. 67 and in the com. on Hemacandra's Anekarthasarngraha 3. 483 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 133, foot)] (Resentment on the part of the Heroine); Hala 27 (Resentment on the part of both). [Cf. Hem. Kavyan. 2, p. 72-73, where these same examples are quoted.]
;
,
Notes,
p. 39-
136
II
BOOK FOUR
SD. 218 b,
c; Rasaratn. 29 b;
p.
[4.66p. 3^-
Sahityakaumudl,
83-99).
Cf.
Regnaud,
p.
305; Schmidt,
96-120 (2d
ed., p.
67
c,
55).
strinam irsyakrto
manah kopo
'nyasafigini priye
utsvapnayitabhogahkagotraskhalanakalpitah
tridha
'The Resentment
the part of
[to be]
anger on
women when
devoted to another.
Of
means learning of
from female
it is
friends.
If
inferred,
it is
deduced from
words uttered
name.
If
in a
seen,
it is
personally witnessed.
Com. Ex.: subhru tvani navanita, stanza by Dhanika (infidelity heard nirmagnena mayambh stanza by Rudra (infidelity of from a friend) Spr. 3413 inferred from words uttered in a dream); Magha 11. 34 [quoted also at DR. 2. 40 and SD. 219; Bohtlingk did not record in Spr. the ultimate source of this stanza] (infidelity inferred from bodily disfigurement) Hala 967 (infidelity inferred from mention of another's name) pranayakupitam drsf, stanza by Munja (= Vakpatiraja) [quoted also at DR. 4. 66 and in the com. on Hemacandra's Anekarthasanigraha 3. 483 (ed. Zachariae, Vienna, 1893, Extracts from the Com.,' p. 133, foot)] (in;
,
fidelity
personally witnessed).
Line i is quoted in Asadhara's com. on Appayyadiksita's Kuvalayanandakarikas 41 (tr. Schmidt, Berlin, 1907, p. 39). USD. 219; Rudr. rng- 2. 44; Rudr. Kavyal. 14. 15, 17; Pratapar. 4. 81; Alarnkarasekhara 20. 13; Rasaratn. 30, 31a; Sahityakaumudl, p. 2>i- Cf. Regnaud, p. 305; Schmidt, p. 96-120 (2d ed., p. 83-99).
Notes.
68
this
:
[resentment] by six
Conciliation (saiiian),
proper succession
-4.70]
BOOK FOUR
137
Dissension (bheda), Gift-giving (dana), Humility (nati), Indifference (upcksa), and Diversion (rasantara)
Notes.
' '
.'
The term rasantara signifies [substitution of] another emoand consequently indicates the diversion from resentment effected by such substitution. Bh. 23. 62; SD. 220 a, b; Rudr. Srng. 2. 62, 63; Rudr. Kavyal. 14. 27;
tion
II
Rasaratn. 31
b,
32
a.
69
danarn vyajena bhusadeh padaych patanarn natih samadau tu pariksine syad upeksa 'vadhiranam rabhasatrasaharsadeh kopabhrarnso rasantaram
kopacestas ca narinam prag eva pratipaditah.
'Of
[is
endear;
ing words
Gift-
like
feet.
When
Concil-
Indifference
[that
is],
is
disregard
[of
her]
may
be
[em-
ployed].
Diversion
the
The
actions of
women
in
Com.
[attributed
sakala, stanza by
Dhanika [quoted
also at
DR.
2.
79]
(Diversion).
Notes. explained
The
women
are
UBh.
14.
23.
63-65
a,
70
(P. 64b,
65a; H. 59).
dvayos tatrasrunihsvasakarsyalambalakadita.
138
*[The Separation due
confusion, or a curse.
BOOK FOUR
to]
[4.70(pravasa)
is
Absence
the pres-
weeping, sighing,
like.'
the
is
In this kind of viprayoga the heroine prositapriya or prositabhartrka. Cf. DR. 2. 43.
of the type
known
as
USD. 221; Rudr. Srng. 2. 83; Rudr. Kavyal. 14. 33; Sarasv. 5. 49; Hem. Kavyan. 2, p. jt,; Vagbhatal. 5. 19b; Vagbh. Kavyan. 5, p. 54; Pratapar. 4. 83; Alamkarasekhara 20. 14 a; Kavyapradipa 4, p. 88; Sahityakaumudi Cf. Regnaud, p. 305-306; Schmidt, p. 96-120 (2d ed., p. 83-99). 4, p. 34.
71
'The
first
owing
to business], being
premeditated,
:
of three kinds
Com. Ex. Hala 47 (prospective Absence) Amaru 13 Spr. 4291 example is enclosed in brackets in H; the reference 4. 29 in Simon's ed. of Amaru, p. 62, is a mi.sprint for 4. 59] (the person is departing) Amaru 92 Spr. 2965 (the person is departing) Meghaduta 2. 23 (the
[this
:
USD.
223;
Sahityakaumudi
4,
p.
34.
83^)9).
72
The second
As
comes
73
66b; H. 60c).
that arising
from a curse,
in the
is
As
||
in the
Kadambari.
4,
Kavyapradipa
p.
88.
-4-75]
74
(P. 67;
BOOK FOUR
H. 61).
139
mrte tv ekatra yatranyah pralapec choka eva sah vyasrayatvan na srhgarah pratyapanne tu netarah.
Sorrow.
'When, one being dead, the other laments that [is called] [Under those circumstances] the Erotic Sentiment is not [present], because there is no means of escape [from death] but
;
in the case of
life]
[Sentiment].'
Com.
Notes,
As
in the
Raghuvamsa and
the Kadambari.
vyasrayatvan H, V, P; nirasrayan Hall p. 39 (as elsewhere in his list of various readings, Hall here disregards the principle of euphonic combination). On the use of the locative adverb ekatra as a member of the absolute phrase mrte ekatra see Whitney, Sanskrit Grammar, 1099. The other treatises that mention the contingency of separation by death (see the citations below) recognize a special variety of vipralambha named karuna, no mention of which is made in DR. Being a subdivision of srngara, this must not be confused with the rasa known as karuna (cf. Rudr. Kavyal. 14. i, com.: kariina-vipralambhas tu srngara eva). H SD. 224; Rudr. Srng. 2. 93; Rudr. Kavyal. 14. 34; Sarasv. 5. 372 (ed. B. p. 311) Vagbhatal. 5. 20; Rasatar. i. p. 44; Alamkarasekhara 20. 14b, c; Kavyapradipa 4, p. 88; Rasaratn. 57; cf. Rasagaiig. p. 32. Cf. Regnaud, p. 304, note I 306; Schmidt, p. 96-120 (2d ed., p. 83-99).
75
in
"one
that
;
distressed at
in
[Separation
{prosi-
due
to]
Absence, she
;
is
is
away"
tapriya)
in
is
is
.'
ousy, she
"one
that
is
"one
that
enraged"
(khandita)
Notes.
etc.,
see
i40
book four
[ 4.
76 -
Union and
76
(P. 69;
its
Characteristics
H.63).
'Union
two playful
(sambhoga)
is
that blissful
[state]
in
which the
and the
27, p. 27;
like.'
i.
Com.
stanza
Ex.: Uttararama.
differs
,
i.
35, p.
texts
quoted
DR.
4.
^2]
lavanyamrta
Notes.
The
designation
sambhoga
is
found
4. 79; Alamkarasekhara Rasagang. p. 34; Sahityakaumudi 4, p. 31. p. 96-120 (2d ed., p. 83-99). 6, p.
57; Pratapar.
20, p. 69;
Cf.
77
prati.
women
[the
Sportiveness
Notes.
2.
and
the
others
according
to
to her husband.'
ten actions of
women
'
49, 60-69.
II
Bh.
6,
prose after
v.
13. 2.
78
ramayec catukrt kantah kalakridadibhis ca tarn na gramyam acaret kirn cin narmabhrarnsakararn na
'
ca.
Her
by means of the
her good humor.'
Com.
Ex.: Ratn.
amorous
sports,
and the
like;
[but]
he
i.
21, p. 18.
-4* So]
BOOK FOUR
141
virah pratapavinayadhyavasayasattva-
'The Heroic Sentiment (z'lra) [is induced] by power, good condvict. determination, courage, infatuation, cheerfulness,
polity, astonishment, might,
is
and the
like [as
Determinants], and
It is
of
quent].
In
it
and Joy
Com.
hero;
Jimutavahana
[in
in the
Nagananda
is
Rama
and others
identified
as can be seen
dramas based on the Rama legend] are liberal heroes, from Mahavira. 2. 35 c, p. 75; kharvagranthivimiikta [unstanza] stanza by Dhanika Sarhg. 278.
;
Notes.
in line
16).
Meter: vasantatilaka.
;
is
14, 15, 19, 47, 48 a; II Bh. 6, prose and v. 68, 69; SD. 234; Rudr. rng. 3. Rudr. Kavyal. 15. i, 2; AP. 341. 14, 15 a; Sarasv. ,5, prose after v. 290 (ed. B. p. 299-300) Hem. Kavyan. 2, p. jj; Vagbhatal. 5. 21 Vagbh. Kavyan. 5, p. 56; Rasatar. 7, p. 60; 5, p. 55; Candraloka 6. 9; Pratapar. 4. 53, p. 261 Alamkarasekhara 20. 21; Rasagang. p. Z7\ Rasaratn. 89; Sahityasara 4. 98, 99; SahityakaumudI 4, p. Z7- Cf. Regnaud, p. 309-310.
;
nasavaktravikiinanadibhir ihavegartisarikadayah.
'The
State]
Odious Sentiment
Disgust
(blbJiatsa)
sole
(jugupsa)
as
its
basis
it
causes distress
(udvegin)
chiefly
142
nausea
row,
;
BOOK FOUR
it
[ 4.
8o -
flesh,
and the
like
it
and so on as Consequents.
Apprehension, and the
Com.
pradlpa
like [as
Transitory States].'
Ex.: Malatim.
4, p.
5.
16, p. 131
;
= Sarng.
i.
35, p. 25
Notes,
38).
II
Meter:
6,
ghrnasuddlio H, V, P; ghrnayukto Hall p. 39. For metrical is used instead of the technical term vyadhi (see
sardulavikrldita.
v. 74,
Bh. Kavyal.
6.
prose and
6;
3.
15. 5,
AP.
341. 16, 17 a;
Hem. Kavyan.
2,
p.
31; Vagbh. Kavyan. 5, p. 56-57; Rasatar. 7, p. 60; 5, p. 55; Candraloka 11; Pratapar. 4. 53, p. 261; Alarnkarasekhara 20. 24; Rasaratn. 98; Sahityasara 4. 125 a. Cf. Regnaud, p. 311-312.
H. 68).
caused] by [feel-
and aversion
it
to
is
nants]
Fu r iou s Sentiface,
ment
lip,
trembling,
also]
and imprisonment
[as Consequents].
In
it
Indignation, Intoxica-
tion, Recollection,
like.'
Com.
Ex.
Mahavlra.
3.
44,
p.
121
4.
83
BOOK FOUR
p.
143
(Anger caused by aversion
to
Veni.
I. 8,
11
[quoted also at
DR.
3.
10]
Mahaviracarita, Veni-
The word
vega, in line
8.
4, is
On
120.
where
vikrldita.
UBh. 6, prose and v. 64-67; SD. 232, 233; Rudr. Snig. 3- ". I3, 46; Rudr. Kavyal. 15. 13, 14; AP. 341. 13; Hem. Kavyan. 2, p. 76; Vagbhatal. 5. 29, 30; Vagbh. Kavyan. 5, p. 55; Rasatar. 7, p. 60; 5, p. 55; Candraloka 6. 8; Pratapar. 4. 53, p. 261; Alarnkarasekhara 20. 19, 20; Rasagahg. p. 33; Rasaratn. 96, 97; Sahityasara 4. 96. Cf. Regnaud, p. 309.
H. 69).
caused] by one's
own
or another's strange
is
is
declared [to
of threefold
be]
the
Comic Sentiment
Ex.
:
(hasya), which
origin.'
Com.
Notes.
jaiam
me
;
parus
[unidentified]
stanza spoken by
Ravana
(laughter at oneself)
is of two kinds, since it may be provoked by some charperson amused or of another person; in either case the mirthful individual may be one of the higher, middling, or lower characters There in the play (hence the 'threefold origin' mentioned in the text). are consequently six possible varieties of the Comic Sentiment (as noted
Mirth
acteristic of the
also in the
in the follow-
ing section.
II Bh. Kavyal.
6,
15.
Hem. Kavyan.
7,
2, p.
74; Vagbhatal.
S,
p.
55; Rasatar.
p.
p.
,59;
;
Candraloka
Sahityasara
Rasagahg.
43
Rasaratn. 91
Rudr. Srng. 3. i Rudr. 5. 23; Vagbh. Kavyan. 6; Alanikarasekhara 20. 16; Cf Regnaud, p. 306-308. 78.
;
;
.
83
H.
70, 71).
smitam
iha vikasinayanam
madhurasvararn vihasitam
144
BOOK FOUR
apahasitam sasraksam
viksiptahgam bhavaty atlhasitam
4.
83 -
opening the
a Smile (hasita)
is
is
Laughing (vihasita)
is
making a
sound; Laughter
(npahasita)
[laughter] accompanied by
(at'ihasita
atihasita)
is
[laugh-
Two
Com. That is, smita and hasita are employed by the higher characters, amusement at themselves and others respectively; similarly vihasita and upahasita by middling characters, and apahasita and atihasita by the
in
lower characters.
Notes, atihasitam H, V, P; atlhasitam correction suggested by Dr. Louis H. Gray to remedy the metrical defect in this line. See Addenda, Meter: arya (two stanzas). p. 150. 6. 52-60; SD. 228 g-1; Rudr. Srhg. 3. 2, 4; Rudr. Kavyal. 15. 12; II Bh.
AP.
341.
9b,
ID,
II a;
Hem. Kavyan.
p.
2,
5.
24;
17;
20.
Cf. Regnaud,
307.
84
nidralasyasramaglatiimurchas ca sahacarinah.
'
The Transitory
Comic
word
have so translated it. The word sahacarinah, concomitants,' furthermore, is merely a substitute for vyabhicarinah, 'Transitory States.'
and
6,
II
Bh.
prose after
5, p.
v.
3.
5, p.
55; Rasatar.
55; Pratapar.
53, p. 261.
Cf.
Regnaud,
p.
307.
-4.86]
book four
145
The
85
IMarvelous Sentiment
The
[the
M ar ve loii
[i.
Sentiment
is
caused]
result
it
has as
its
{karma)
e.
and stammering; the Transitory States it] are generally Joy, Agitation, and
Contentment.'
Com.
Notes.
Ex.: Mahavira.
i.
54, p. 38.
With vismayatma p. 39. compare sokatma in 4. 87 and the compounds of -bhu in 4. 79 and 4. 80. The brevity of Dhanamjaya's definitions of the Sentiments necessitates this compendious method of naming the corresponding Permanent States. Rudr. rng. 3. 28, 30, 50; Rudr. II Bh. 6, prose and v. 76, 77; SD. 237; Kavyal. 15. 9, 10; Hem. Kavyan. 2, p. 79; Vagbhatal. 5. 25, 26; Vagbh. Kavyan. 5, p. 57; Rasatar. 7, p. 60; 5, p. 55; Candraloka 6. 12; Pratapar. 4. 53, p. 261; Alamkarasekhara 20. 25, 26; Rasaratn. 92, 93; Sahityasara Cf. Regnaud, p. 312-313. 4. 126.
vepathn H, V, P; vamathu Hall
The
86
(P. 80;
Terrible Sentiment
H. 74).
sarvarigavepathusvedasosavaicittyalaksanah
dainyasambhramasammohatrasadis tatsahodarah.
'
The
Terrible Sentiment
as
its
bhayCinaka)
with
Fear,
(bhaya)
[Permanent]
loss of courage,
State
(bhava),
like [as
[results]
from
;
change of voice,
it
and the
all
;
Determinants]
is
characterized by trembling of
associated [Transitory
146
Com.
Notes.
BOOK FOUR
4.
86 p.
[quoted also at
Ex.: sastram ctat samut [unidentified stanza]; Ratn. 2. 3, DR. 2. 92] svagehat panth [unidentified stanza].
;
29
vaicittya
H, V, P
vaivarnya Hall
see
p.
39.
The
bhrama
II
is
word samcompound
sammoha
Bh.
moha;
4. 32, 35.
SD. 235; Rudr. Sriig. 3. 20, 24. 48 b; Rudr. Kavyal. 15. 7, 8; AP. 341. 15 b; Hem. Kavyan. 2, p. 78; Vagbhatal. 5. 27, 28; Vagbh. Kavyan. 5, p. 56; Rasatar. 7, p. 60; 5, p. 55; Candraloka
6,
prose and
v.
70-73;
6.
10; Pratapar.
4. 4.
53, p.
95; Sahityasara
123.
Regnaud,
p.
311.
H.
75, 76).
nihsvasocclivasaruditastambhapralapitadayah
svapapasmaradainyadhimaranalasyasambhramah
visadajadatonmadacintadya vyabhicarinah,
'The Pathetic
Sentiment
its
(karuua), with
essence, [results]
[the
Permaloss of
from
quents]
it]
Com. Ex.: Kumarasambhava 4. 3 (loss of something cherished) the imprisonment of Sagarika in the Ratnavall (attainment of something
;
undesired).
Notes, anistapteh Hall p. 39; anistaptau H, V, P. I have adopted the variant given by Hall, in order to avoid the harsh contrast of ablative
and locative
in parallel expressions.
The
word svapa
(see
4.
28)
ness
'
(see
4.
The word ddhi, which really signifies anxiety, mental here apparently a representative of the term vyadhi, SickAs in the preceding section, the regular term avcga is 38).
'
Bh.
6,
prose and
15.
3,
v.
62, 63;
SD.
230, 231;
Rudr.
7, p.
Sr"ff- 32,
'^.
10.
45;
Rudr. Kavyal.
bhatal.
5.
4;
AP.
341.
5, p.
lib, 12;
Hem. Kavyan.
60;
p.
76;
Vag-
55; Rasatar.
5, p.
55; Candra-
-4.89]
BOOK FOUR
147
p.
loka 6. 7; Pratapar. 4. 53, p. 261; Alarnkarasekhara 20. 18; Rasagahg. 33; Rasaratn. 90; Sahityasara 4. 92, 93. Cf. Regnaud, p. 308.
Work
H. 77).
'The
like, [as
Notes.
5.
Cf.
167);
Rasatar.
4.
SD. 241; Rudr. Kavyal. 15. 17-19; Sarasv. 5. 252 (ed. B. p. 6, 56; Rasagang. p. 45-46; Rasaratn. 5, com.;
Sahityasara
134.
89
(P. 84;
H. 78).
sattrirnsad bhusanadini
samadiny ekavirnsatih
ca.
'The
,
Ornament (bhu-
tures
of the Charwhich are subdivisions = laksana) and the Special Junc[not separately enumerated be(samdliyantara) are
[respectively]
Features (laksman
also
in these [States
and
Com.
Bh.
53 b; Bh.
i,
16.
la (=17.
p.
i a,
ed.
Regnaud. Annalcs du
Musee Guimet,
Notes,
p.
vol.
Paris, 1880,
88).
;
Hall
is
laksyasatndhyantarangani H, V, P laksniasamdhyantarakhyani I adopt Hall's variant reading of the first word, as laksya" probably merely a copyist's error for lakstna", due to the similarity of
39.
y and
in the
Cf.
to laksana,
Nagari character. The word laksman is here equivalent which is the usual designation of the subdivisions referred to.
p. 95,
Levi,
104.
148
book four
4.
90 -
ramyam jugupsitam udaram athapi nicam ugram prasadi gahanam vikrtam ca vastu yad va "pya vastu kavibhavakabhavyamanam
tan nasti yan na rasabhavam upaiti loke.
is
dehghtful or disgusting,
[as
in
the original
more
intelligible], or
no
among
mankind.'
Notes.
Meter: vasantatilaka.
Work
H. 80).
Dasarijpa,
[which
was
intelli-
gence was derived from discourse with the sovereign lord Munja.'
Notes.
bhdja H, V, P;
bhavad Hall
p. 39.
Meter
indravajra.
APPENDIX
Classification of the Sixteen Types of Heroine
classification of
varieties.
See DR.
2.
24-35.
Heroine
I
own
wife or beloved
(16)
maiden
(14)
I
larried
woman
(15)
inexperienced
partly experienced
experienced
(0
self-controlled
I
\
partly self-controlled
1
lacking in self-control
.
older
younger
(3)
older
(4)
younger
(5)
older
younger
(7)
(2)
(6)
partly self-controlled
I
lacking in self-control
older
younger
(9)
older
younger
older
(.12)
younger
(13)
(8)
(10)
(")
149
ADDENDA
The concluding words of this line would seem to prescribe 3. 40, p. 93. merely that anything otherwise prohibited, such as the matters mentioned in this and the preceding section, could be represented on the stage if According to the absolutely necessary to the development of the plot. commentary, however, the inevitable consists of religious duties avasyakarn tu devapitrkaryadyavasyam eva kvacit kuryat. Dhanika's in'
'
terpretation
may be authoritative, but I am inclined to think that he reading a technical meaning into a perfectly simple statement.
is
Dr. Charles J. Ogden suggests, in view of the phrase 4. 24, p. 116. smrtir at Bh. 7. 54, that Dhananijaya may svasthyabhyasasamuttha have written arthabhyasinyam. In that case the rendering would be: Recollection [is to be understood] in the sense of dwelling on a thing.' mental impression,' I have no authority for my rendering of bhasini as but this signification seems quite natural, as the root bhas, to shine,' has
.
.
'
'
meaning
'
Through the kindness of Dr. Franklin Edgerton, of Johns 4. 60, p. 133. Hopkins University, I am able to add still another passage enumerating
ten stages of unrequited love. It occurs in a MS. of the Vikramacarita, in the Ninth Story, directly after the passage (ending prapnoti sma) quoted by Weber, Indische Studien, 15. 338, n. 4. Although
the traditional
'
'
it
is
imbedded
MS.
The
passage reads:
nayanapritih
prathamam cittasangah
tato 'tha
samkalpah
nidrachedas taiiutd visayanivrttis trapdiiasas tan murcha mrtir etah smaradasadasaiva syuli.
mddo
'pi
ca
(MS. I: 317 of the Wiener Universitats-Bibliothek; composite MS. in Sarada characters the Vikr. text occupies fol. 248-373 this passage is on fol. 319 b, or fol. 71 b of the Vikr. selection, whose pages are also num; ;
bered separately.)
4.
83, p.
144.
As
is
it
first
half of the
Dviveda and Parab attempt to this defect by inserting ca before bhavaty (ed. Bombay, 1902, 3. 219. p. 176). This will not do, however, for according to Pingala (4. 14) the sixth foot must be either w kj or u u u u, whereas the addition of ca would give At the suggestion of (Cf. Weber, Indische Studien, 8. 291.) Dr. Louis H. Gray (letter of July 12, 1912) I have adopted the correction atihasitam. The form at'i- exists as a parallel to atl- in atlcara, atlreka, ativada, atlsara. This prefix is probably a loc. sg. of *at-; on the variation between t and 1 in the loc. sg. see Lannian, Noun-inflection in the Veda,' JAOS. ID (1880), p. 426, and Wackernagel, Altindischc Grammaiik. 2. i. 132
where these
At SD. remedy
22i^.
uu
'
(Gottingen, 1905).
ISO
references
those
important mentions of them are printed in heavy-faced type. The English equivalents adopted in this volume for the native technical terms are distinguished by the use
A
aksa, Gambling, 147
atika. Act, 36, 90, 91,
abhisamdhita=kalahantarita,
56, 139
4,
93-94 104
34, 35
abhutaharana. Mis-statement, 20
aiiiarsa, Indignation,
aitibd,
arthaprakrti,
9.
form of address, yy
arthavrtti, Style of
73,
Procedure, 67,
92,
128,
145
58, 67, 75
adhama, adhama,
heroine lacking
51
faithful
' '
in self-con-
trol, 50,
anukrda,
hero, 44
59,
anubhava, Consequent,
107, 108, 129
92,
9,
n
84,
avasyandita.
20, 22
Re-interpretation,
anumd(na), Deduction,
87
avahitthd, Dissimulation,
no, 121
v.)
asru,
Weeping, 108
woman who
is]
another's,
as heroine, 48, 52
87
asilya,
Im-
24 ddhya
= pragalbha,
97
135
152
89
aiiiukha,
Introduction,
81,
upak^ipta
= akscpa,
20,
23-24
102
upaksepa. Suggestion, 12
upaguhana.
Unforeseen
16,
Circum19
arambha, Beginning,
arya,
9,
72 10, 12
stance, 29, 31
upanyasa. Intimation
no,
24
jipaliasita,
Laughter, 144
avesa (AP.)
as'inapathya,
avega form of
I
(q. v.)
lasya,
99
AU
augrya^
ugrata, no, 114, 131, 142
^ asiiya,
no,
U
uktapmtyukta, form of lasya, 99
ugrata. Cruelty,
no,
karana. Activity,
128, 146
uttama, 58
uttaiiiottainaka,
form of
lasya,
99
139
kalahantarita, type
of heroine,
59, 61
8, 9,
56,
139
kanti, Loveliness,
karya, Denouement,
kilakiilcita.
31
29, 32
kdvyasamhara. Termination,
Hysterical
Mood,
59, 63
udaharana,
20,
udahrti,
Exaggeration.
21
heroine, 59
kupitd
z:^
Confirmation, 29, 31
uddhata,
45, loi,
'
vehement
IDS
'
hero,
40,
42,
kaisikl.
Gay
Style,
67,
68. 98,
102,
103
12,
tidbheda, Disclosure,
14
krama. Progress,
20,
21-22
153
jadya jadata (q. v.) jugupsd, Disgust, 124, 131, 141 jycstha ( =:uttama), 67
jyestha, older heroine, 52
KH
khaijdita. type of heroine, 55, 139
4,
loo-ioi
95 ganda, Abrupt Remark, 84, 87 garbha, Development, 11, 20, 24, loi
garva, Arrogance, no, 115, 141
gambh'irya, Poise, 46, 47 gutiakatha, Enumeration of Merits,
tarka, Deliberation,
no, 121
2,
132
no,
114, 145
85
134, 144
trigudha, form of lasya, 99 tripatakd, gesture with the hand, 37 trivarga, three objects of existence,
GH
ghatika, period of time, 102
8,95
trotaka =: totaka, 20, 23
cakita
(Pratapar.),
quality
of
the
daksina,
'
clever
'
no,
123, 142
calana (Pratapar.)
cintana, cintd,
134, 146
= chalana, 25, 27
Radiance, 59, 61
'
capala, Inconstancy,
dainya.
113,
145,
146
dyuti.
Rebuke,
25,
26
16,
dyiiti^=narmadyuti,
17
CH
chala, Deception, 84, 86
chadana (SD.)
= chalaita
J
(q. v.)
DH
dlura, self-controlled hero, 41
dhlmlalita,
113,
132, 144,
41, 66,
'
light-hearted
'
hero, 40,
jadata, Stupor,
no,
96
'
146
jananta,
janantika.
dh'irasanta,
calm
'
Personal
35
Ad-
95
dh'ird,
dress, 37
self-controlled
heroine,
50,
javanikd
= yavanika,
51
154
dh'iradhira
(
= wac//2;ya), partly
'
self-
nirvcda, Discouragement,
134
no,
129,
controlled heroine, 50, 51 exalted hero, 40, 41, dhlrodatta, 42, 89, 102
'
nirveda=: sama,
iirtta,
124, 125
Dancing, 5
dhlroddhata,
42,
'
vehement
105
'
hero,
40,
nrtya,
Pantomime,
45,
loi,
dhrti,
Contentment,
'
no,
112,
141,
iietrzrz tiayaka
(q. v.)
145
dhrsta,
shameless
'
pafaka, Episode,
7, 9,
20, 44,
90
patakasthanaka,
7, 94 parak'iyd^anya,
Episode-indication,
N
nata
(^nartaka),
82
48, 52
13
79, 127
pariparsvika (SD.)
= marsa,
12,
76,
82
paribhdva{nd). Surprise,
16,
14
narmadyuti, Amusement,
17
paribhasana,
tion, 29,
paribhasa,
Conversa-
narman, Joke, 16, 17 narman, Pleasantry, 68 sphija, narmaspunja, sphanja, sphmja, variants of narmasphurja narmasphurja, Outburst of Affec69 narmasphofa. Disclosure of Affection, 68, tion, 68,
30
parivartaka,
71
Change of Action,
70,
parisarpa, Pursuit, 16
paryupasana,
16,
paryupdsti,
Courtesy,
18
patra, character,
80
69
4, 79,
94
nandl, benediction, 80
nayaka, Hero, 40-44, 89, 94-95, 96, 97, 100, loi, 102, 104, 105, 127 nayika, Heroine, 48-58, 127, 149
nalikd,
nalikCi,
Enigma,
84, 87
4,
94-
96
7, 9,
)= maraiia,
no,
9,
90
Certainty of
Success,
pragamana,
Response,
ID
nirodliaiiia), Frustration, 16, 18
tiirnaya, Narration, 29, 30
18
prngaiimiia,
16,
pragayaua,
18
'55
experienced
97
'
heroine,
PH
phalayoga,
plialagama,
9,
Attainment
of the Result,
10
B
biudu, Expansion, 8,
9,
15,
91, 94.
pratinayika
(Hem. Kavyan.), 45
64
b'lja,
Germ,
8, 9,
12.
13,
14,
15,
20,
74, 128,
BH
147 bhagavant, form of address, 76 bhatta, form of address, 77
bhakti, Devotion,
83-84
pravatsyaipatika,
type
used
for
bhayanaka,
57 pravartaka
= pravrttaka,
82, 83
128
bhavatl,
bharxa,
103,
83 pravesa(ka),
82,
104
Introductory
Scene,
bharati, Eloquent
80, 81.
98
bhava, Feeling,
59,
60
prastavana
=amukha),
4,
Induction,
prahasana, Farce,
99-100 pragalbhya
= pragalbhata,
59,
62
15
M
mati, Assurance,
iiiada, Intoxication,
Friendship, 147
madhya, madhya,
?ac?/;3;a,
uiadJiyaniCi. 58,
'
partly experienced
hero-
oine, 50, 51
156
Lightheartedness, 46, 48
Lolling,
59,
lalita.
65
2, 5,
Idsya, Gentle
llld,
Dance,
98,
99
madhurya, Sweetness, 59, 61 mana, Resentment, 135-137 marisa (SD.) ^zniarsa, 76, 82 marga, high style,' 5 marga, Indication, 20, 21
'
Castes, 16, 19
vastu, Subject-matter,
6, 7,
33, 36,
28, 80,
'
98
heroine,
Repartee, 84, 86
= vihrta,
59, 65
119, 145
63
98
yatna=z prayatna,
9,
10,
15
12,
14
vidliuta,
vidhuta,
z-idhrta,
Unre-
ranga, audience, 80
rati,
rasa, Sentiment, 4, 91, 92, 96, 98, 100, loi, 102, 103, 104, 106, 126, 127,
128,
quitedness, 16, 17 viprayoga. Separation, 131, 135-139 vipralabdhd. type of heroine, 56, 139
129,
148
vipralambha, form of snigara. 131, 135 vibodha, Awakening, no, 118 vihodha. Vigilance, 29 vibhava, Determinant, 92, 106-107,
129. 130 vibhrama. Confusion,
viiitarsa,
I'iiiiarsa
Show, 3
Supposition, 20, 21
59,
63
II,
rupaka, Representation, 4
=1 avamarsa.
L
lak?man
istic
lalita,
27
66,
96
Amorousness, 16
157
samyoga
70,
71
form of drama,
100,
of
the
v'lra,
74,
92, 98,
108,
131
Style (of Procedure), 67, JZ, 74, 100, 102 vepathu, Trembling, 108
vrtti,
90,
98,
lor,
Change of Voice,
Transitory
State,
108
samdhyantara. Special Juncture, 147 samaya, Deliverance, 29, 31 samavakara, form of drama, 4, 102103
vyahhicarin,
106, 109,
92,
no,
samadhana.
Settling,
12,
14
vyavasaya, Assertion, 25, 27 vyadhi, Sickness, no, 122, 142, 146 vyayoga, Military Spectacle, 4, loi vyahara, Humorous Speech, 84, 88
sanipheta, Altercation, 25
sambhrama, Consternation,
sattvatl.
20, 23
106,
108,
131
48, 53
satha,
'
129
santa, 'calm' hero, 40, 41, 42, 95
88
76,
santa(rasa),
Quietistic
Sentiment,
siltrabhrt,
129 srngara. Erotic Sentiment, 74, 92, 96, 98, 103, 128, 130-140
soka, Sorrow, 124, 139, 146
88
sntrin, used for sutradhara, 76, 83
158
sthayin,
106,
svainin,
sv'iya
z=z
form of address, 77
sva, 48, 49, 95
sihitapathya,
lasya,
99
smaya
smrti,
= vismaya, = sva,
124, 145
H
116,
132,
Recollection,
no,
142 svakiya
form of address, yj harsa, Joy, no, 113, 141, 145 hala, form of address, 77
hanje,
hasita, Smile, 144
48, 49, 95
svagata, Aside, 37
hasita
wife, as hero-
(Pratapar.),
quality
of
the
own
hasya,
Comic Sentiment,
143-144
(cf.
74,
100,
type
of
128,
68) 60
GENERAL INDEX
The numbers
refer to pages.
references
those
them
to
of
82,
84,
87
139
Amusement, {narma)dynti,
Anargharaghava, quoted com., xxxvi Anger, krodha, 124, 142
anger,
16,
17
138,
in
DR.
Act, anka, 35, 36, 90, 91. 93-94 Activity, karana, 12, 15
actor,
nata,
natl,
nartaka, 79,
76,
127
manifestations
of,
on
29,
the
actress,
acts,
82
in
number
102,
of,
the
various
loi,
Anticipation,
purvabhava,
31
kinds of drama,
105
Anticipatory Scene, ankasya, 34, 35 Anxiety, cinta, no, 114, 132, 134,
146
adaptation of a
address,
plot,
89
of,
76,
prescribed
modes
77 adverb, as
member of
locative ab-
xxxii
Affected Indifference,
bibboka, 59,
64
Agitation, avega, no, 120, 142, 145,
146
Alleviation, sama,
16,
Allurement, vilobhana,
13
astrology,
Aloud, prakasa, 37
Altercation, sainphcfa, 25
phala-
in
DR.
com.,
yoga,
9,
10
Attendant, p'lthamarda, 44
159
i6o
audience, ranga, 80
GENERAL INDEX
Breach of Alliance, samghatya,
71
70,
Brhatkatha, mentioned in
DR.
com..
B
Baliraja,
xxxvi,
chief, defeated
39,
124
Cahamana
xxii,
n.
mentioned
in
DR., 3S
in
Munja,
Ballala, see
DR.
com.,
Bash fulness,
ca,
word,
95
Beauty, sobha,
61
45,
46
10, 12
niyatapti,
9,
Bharata,
2, 78 Bharatlyanatyasastra,
i,
DR.
of
com., xxxvii
DR.
Challenge,
utthdpaka,
70,
71
70,
24,
104
Bhartfhari, a stanza by
Munja
inof.
Characteristic
147
Feature,
laksman.
cluded
xxiii
in
the
Centuries
DR.
'
clever
'
com., xxxvi
DR. com.
of
samhCira,
16,
19
100,
xxxvii
Bhojadeva,
author
Sarasv., xxiii, n. 2
Munja
n.
in the, xxii, n. 4
verses attributed to
xxiii,
Munja
in the,
Conclusion,
nirz'aJiaua,
11,
28,
92,
inclusion
the,
of an older stanza in
113
29,
xliv,
Bliss,
ananda,
30
samphcta, 72
of
Feelings,
vidhCina,
12,
Conflict
his
copy of DR..
sci-
14 Confusion, vibhrama,
107,
108,
59,
63
92,
106.
xliv
Consequent, amihhava,
129
59,
Consternation,
saniblirama,
20,
23
GENERAL INDEX
Dhananijaya, contemporaries of xxiv-xxvi Contempt, drava, 25, 26 Contentment, dhrti, 110. 112, 141,
145
i6i
in
the,
quotations
xliii-xliv
xxxv-xxxix,
131,
132,
usually
not
105
to
be
repre-
Continuance, avalagita,
sented, 93,
36 conventional
gesture
(tripataka),
case of actual, 139 hero, satlta, 42, 43, 44 Deception, chala. 84, 86
deceitful
'
Deduction, anuviana,
20,
22
Convulsive Laughter,
trarily
atiltasita,
144
Denouement, karya,
Depression,
146
dainya,
8, 9, 31
grouped
region,
in,
xxx
no,
113,
145,
costumes, to be characteristic of a
special
74
59,
16,
Courage, pragalbhata,
Courtesy, paryupasana,
courtezan, ganikd
75, 77,
62
18
48,
Determinant, vibhava,
129,
92,
106-107,
130
(vesycl),
53,
Development,
TOI
garbha,
n,
20,
24,
95 Cruelty, ugrata, no, 114, 131, 142 curse, separation of lovers by a, 138 curtain, speaking from behind a. 35
xxxii
Dhanarnjaya, time
the, xxi, n.
i
of,
xxi
of
the,
to
Bh.,
xxvii,
contemporaries of, xxiv-xxvi stanza by, in Skm., xxiv theory of the identity of, with
Dhanika, xxxiii
xxviii
Dhanarnjaya,
son
of
Vasudeva.
SD.
largely
dependent
on
the,
xxviii
style of the, xxviii-xxix
xxv
Dhanika, quotes a stanza by Munja,
xxiii
requited love,
134
a contemporary of Dhanarnjaya,
(See also the table of contents.) Dasarupavaloka, authorship and date of the, xxxii-xxxiv
character
xxiv
theory of the identity of,
with
and
value
of
the,
XXXV
12
l62
works
of,
GENERAL INDEX
xxxiv
Envy, asuya, no, 115, 142 apasmdra, no, 118-119,
7, 9,
own
in
DR.
Epilepsy,
DR. com.
by, see
Dasarupavaloka
Episode-indication,
7, 9,
90
Disclosure, udbheda,
12,
14
narina-
Disclosure
of
Affection,
s phot a, 68,
103. 128,
130-140
12,
129,
Establishment, parinydsa,
13
Discourse, samldpaka, 70
Disgust, jugupsa, 124, 131, 141
xxix
Exaggeration, uddharana,
'
20,
21
42,
Dismay, iidvega,
20,
23
exalted
'
hero,
uddtta, 40,
41,
89, 102
Excitant
Determinant,
udd'ipana-
moha, no,
119,
145
z'ibhdva, 107
Expansion, bindu,
'
8,
9,
15,
91,
94,
103 experienced
'
heroine,
pragalbhd,
Explanatory
34. 90, 91
97 Scene,
viskambhaka,
Fainting, pralaya,
'
108
faithful
'
hero, anukula, 44
4,
Element of the
9.
Plot, arthaprakrti,
Farce, prahasana,
53,
54,
99-100
II
Style,
bhdrat'i,
72,,
Eloquent
98
81,
emendations
edition,
of
xlii
the
text
in
this
Firmness, sthairya,
formulas,
46,
47
Emotion, hdva,
Energ}', utsdha,
60
141
transitional
and
intro-
124,
ductory, xxviii
Enigma,
ndlikd. 84, 87
Friendship,
Frustration,
pr'iti,
147
nirodha(na).
Determinant,
16,
18
Fundamental
dlam74,
entrance of actors, 83
bana-vibhdva. 107
lOi,
142
GENERAL INDEX
163
18
to
the principal
subject, 89
98,
Gay
Style,
kaisik'i,
67,
68,
102,
103
2,
5,
98,
99
15,
Germ,
bija, 8, 9,
12,
13,
14,
20.
gesture,
94 conventional
(tripataka),
37
Gift-giving, daiia, 137
source of
tators,
pleasure
to
spec-
127
v'lra,
Heroic Sentiment,
102, 128, 141
74,
92,
98,
Grandiose
Style, sattvati,
70
heroine
{nayika),
the
three
main
H
Halasaptasati, quoted in
types of, 48
the hero's
own
wife
as,
49-52
DR.
com..
xxxvi Halayudha, lexicographer, praises King Munja, xxii, xxv, n. 7 a contemporary of Dhananijaya,
a courtezan
eight
as,
varieties
xxv
Hall,
number of
Fitzedward,
edition
of
DR.
of, 58
messengers of
of
the,
58
DR.
the
inaccuracy
of
Bh.
58-65
published by,
xl, 24,
104
in
disregarded
sarndhi
giving
of a Prakarana, 95 of a Natika, 97
as
source of pleasure
tators, 127
to
spec-
quoted
in
DR.
to
some form
of
the
nth
harem,
the,
century, xxxviii-xxxix
assistants
of,
hero
149
66
characteristics
hero
{nayaka),
40
of,
of
the,
four types
40-42
as lover, 42-44
number of
varieties of, 44
the,
Humorous
Hysterical
companions of
44-45
84,
88
Mood,
kilakificita,
59,
63
64
GENERAL IXDEX
Joy, harsa, no, 113, 141, 145
of,
Junction, samdhi, 29
Juncture,
102,
samdhi,
IDS
11,
90,
98,
loi,
15
84,
K
Kadambari, mentioned in DR. com., xxxvi KamasiJtra, quoted in DR. com.,
xxxvii Karpuramanjari, quoted in DR. com., xxxvi the sthapaka found in action in the, 80 proves assignment of female
roles to actresses, 82
Indignation, amarsa,
no,
115,
142
Indolence, alasya, no, 120, 131, 144, 146 Induction, prastavana (^=dniukha),
81,
'
82, 88,
'
102
inexperienced
49. 97
heroine,
mugdha.
infidelity
of a lover, 136
Insanity,
unmada, no,
Kavyalanikara of Rudrata, quoted in DR. com., xxxvii Kavyanirnaya, treatise by Dhanika, xxxiv
king,
65,
66
a,
administrative assistants of
itpanydsa,
16,
66
Intimation,
19
Kiratarjunlya, quoted in
DR.
com.,
35
Introduction,
xxxvi Ksemendra, author, quotes stanzas by Munja, xxiii Kumarasambhava, quoted in DR. com., xxxvi
vana),
94, 103
language, to be characteristic of a
prarthana
(Bh.,
SD.),
78,
108,
131
(SD.),' 26
peculiar
Laudation, prarocaiia, 81
40,
41,
vidui^aka, 45,
77,
82
46
66
Lightheartedness,
lalita,
DR. published
Joke, narman.
16,
by, xl,
local characteristics
46, 48 of a play, 75
17
GENERAL INDEX
Longing,
Love,
abliilasa,
132,
165
133,
134
Mudrarak.sasa, quoted in
DR.
com.,
M
MagadhI, use
acters,
of,
by inferior char-
75
Dhanika an
of, xxxii
officer
at
the court
Magnanimity, anddrya, 46, 48 Mahabharata, mentioned in DR. com., xxxvi Mahanataka, quoted in DR. com. xxxvi
existed
in
a land-grant
of,
xxxiii
Dhanika
xxxvii
quotes
stanza
by,
to
nth
century, xxxviii-xxxix
N
Nagananda, quoted xxxvi
in
DR.
com.,
quoted
in
DR.
in
DR. DR.
74,
xxxix
Navasahasankacarita,
Vakpatiraja
in the,
in
xxvi,
in
n.
quoted
notes,
DR.
com., xxxvi
145
Nilakantha
(=
Siva), 2
character
of
the,
in
this
volume, xliv-xlv
xxiii
mentions
Dhanapala
and
his
brother, xxiv, n. 7
74, 128,
83
of
the
Opponent
Hero,
prati-
66,
95
20
103,
Monologue,
104
bhana,
4,
38,
98,
narma-
sphfirja. 68,
69
84,
Outvying, adhibala,
86
xxxvi
i66
GENERAL INDEX
Prataparudriya,
quotations
from
St.
Padmagupta,
xxvi, n.
poet, Vakpatiraja
and
xxii,
DR.
in the, xxviii
Sindhuraja
I
praised
by,
a contemporary of Dhananijaya,
a,
xxv-xxvi
PaisacI, use of,
acters, 75
xxxi
79,
by inferior char-
Preliminaries,
purvaranga.
85,
86
Pandavananda,
drama,
quoted
in
59,
6,
64
89
DR.
com., xxxvii
nriya, 5
Pantomime,
Parab, K.
Paralysis,
P.,
edition of
DR. pub-
Priyadarsika,
mentioned
a
in
DR.
com., xxxvi
statnbha,
io8
of
Production
of
Matter,
vastut-
Parimala, another
gupta
(q. v.),
name XXV
thapana, 72
Padma-
Progress, krama,
20,
21-22
11,
Progression,
pratimukha,
15
partly experienced
ya, 49, 50,
'
heroine,
madh-
9,
20
epithet
51
Parvati
(Sarvani), 2
Prthivivallabha,
of
King
of
the
Munja, xxi
psychology
of
enjoyment
drama, 127
Pursuit, parisarpa, 16
Pause, avamarsa,
11,
24,
loi,
102
Permanent
109,
State,
sthayin, 92,
Puspadusitaka,
106,
drama,
mentioned
in
DR.
com., xxxvii
opening of
a,
79 of
unsuitable
Quarrel,
queen,
totaka,
20,
23
a,
Pleasantry, nannan, 68
plot,
manner of addressing
in
77
modification
features of
a,
Natika to
89
be
a,
97
in Pratapar.
Prabandhacintamani,
account
of
quotations,
Munja
his brother mentioned in the, xxiv, n. 7 Prabhavakacarita, Dhanapala mentioned in the, xxiv, n. 7
Dhanapala and
illustrative,
Dhanika's
com-
mentary, xxxv-xxxix,
xliii-xliv
Prakrit,
form
of
Radiance,
d'lpti,
59,
61
in
Raghuvanisa, quoted
DR.
com.,
xxxvi
GENERAL INDEX
Rajendrakarnapura,
167
Mufija
n.
men-
Samudramanthana, a drama or a
legend, mentioned in
DR.
com.,
DR.
i
com., xxxvii
in
xxxviii
Ramayana, mentioned
DR.
com.,
Sanskrit, one to be
in,
form of vi^kamhhaka
34
XXXV
rank,
Dhana-
quoted
in the, xxiii
DR.
Sarasvati, 2
Sarasvatikanthabharana,
Mun
n.
mentioned
in the, xxiii,
Rebuke, dyuti,
Recollection,
25,
26
smrti,
no,
116,
132.
142
Re-interpretation,
avasyandita,
Dhan-
84,
xxxiv
Sarvani
(=
Parvati), 2
13
16,
33-36
18
Self-control, dhairya, 59, 62
Response, pragamana,
Reverence, prasanga,
role,
23-24
26
Sense of Honor,
Sentiment, rasa,
tejas, 46,
47
126,
Id,
127,
102, 128,
103,
104,
106,
82
129, 148
in
DR.
com..
132
at-
Shame,
'
the,
shameless
xxiv
Show,
riipa, 3
DR.
com..
15,
17
xxxvi
Siva (Nllakantha),
2.
65,
66
in
78
quoted
DR.
com.,
Sleeping, nidra,
no
xxxvi
i68
GENERAL INDEX
Sub-juncture, anusamdhi, 90
Success, prapti,
suffix,
12, 13 addition or rejection of
a,
XXV
139,
in
146
Juncture,
samdhyantara,
Suggestion, upaksepa, 12
Summary, ddana,
Ilia,
25,
28
12,
Sportiveness,
59, 62,
Sridharadasa,
author,
140 quotes
14
Sweetness, mddhtirya,
59,
61
King Munja,
to
xxi
Srngaratilaka
dasa),
(attributed
in
Kalicom.,
Tailapa II (Taila),
Munja
defeated
in
quoted
DR.
xxxvi
stage, actions not permitted
on
DR.
the,
com., xxxvii
59,
Tastefulness, vicchitti,
63
93
forms
xliii
of,
37
Termination, kdvyasamhdra,
in,
29,
32
xxx74,
xxxi
Terrible Sentiment, bhaydnaka,
128,
the, 79, 82,
opening of a play by
88
145
in
text
remark
of
the,
taken
up
by
of DR., xxxix-xl
Hall's
edition,
another actor, 83
refers to an
in the
entering character.
Thunderbolt, vajra,
19
84
State, bhava, 108
Torment,
Transitory
106,
State,
vyabhicdrin,
125,
129,
92.
ment
146
of, 90, 91
109,
no,
131
Stupor, jadata,
no,
113,
132,
144,
translation,
ent,
xliii
xliii
of technical terms,
Munja
in
84 85
xxiv
Principal,
Subject,
89
Subject-matter, 7'astu,
6,
7,
33,
36.
Tumultuous
72,
Disturbance,
avapdta,
73
GENERAL INDEX
169
Dhananijaya's use
of,
U
Udattaraghava,
verse-fillers,
drama,
quoted
in
xxx
Viddhasalabhanjika, quoted in DR.
com., xxxvi
DR. DR.
com., xxxvii
in
Vidyasagara,
upa-
J.,
reprint of
DR. pub-
lished by, xl
guhana, 29, 31 Union, sambhoga, 131, 140 Unrequitedness, vidhuta, 16, 17 Laughter, apahasita, Uproarious
144
46
poetess,
Vigilance, vibodha, 29
Vikatanitamba,
quoted
in
DR.
com., xxxvii
in
VikramorvasT, quoted
DR.
com..
xxxvi
Virinci
(= Brahma),
of,
i
creator
of
Utpalaraja, epithet of
(q. v.), xxi, xxiii,
King Munja
xxxii
in
dramatic science, 2
Visnu, invocation
Visnu, father of Dhanarnjaya,
148
Vivacity, vilasa, 45, 46
Uttararamacarita,
com., xxxvi
quoted
DR.
xxiv,.
Vakpatiraja
II,
Paramara
ruler, see
W
Weakness,
glani,
no,
iii,
134,
144
2,
women, Prakrit
most, 75 manner of
to
be
spoken by
yj
DR.
com., xxxvi
addressing,
VITA
George Christian Otto Haas was born March
28, 1883, in
New York
schools,
City.
He
1902.
After
in the
whom
he
is
training.
He
An
Avestan Frag-
ment on the Resurrection (Fr. W. 4) edited with translation and notes,' in the Spiegel Memorial Volume, Bombay, 1908, pp. 181187.
member of
American Oriental
Society.
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