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V1SWABHARAT1
UBRARY
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T? Siali
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THE DASARUPA
A TREATISE ON HINDU DRAMATURGY
COLUMBIA UNIVERSITY
INDO-IRANIAN SERIES
EDITED R Y
A. V. WILLIAMS JACKSON
FaOFCSSOR OF INOO-IRANIAH LANGUAGES
IN COLUMBIA UNtVERSITY
Volume 7
Neto York
COLUMBIA UNIVERSITY PRESS
1912
AU righis reserved
THE
DASARUPA
A TREATISE ON HINDU DRAMATURGY
By DHANAMJAYA
NOW FIRST TRANSLATED KROM THE SANSKRIT
WITH THE TEXT AND AN INTRODUCTION AND NOTES
BY
GEORGE C. O. HAAS, A.M., Ph.D.
SOMKT1MB PBLLOW IN INDO-IftANIAN LANCOAGES
JN COLUMBIA UNIVBRSITY
Nrto Yor*
COLUMBIA UNIVERSITY PRESS
1912
Alt rights reserved
Copyright 191 2
By Columbia University Press
Printed from type. Auffiut, 1913
r«t*« ©r
tMC MtV EKA PHtMTI«« COHM«r
tAMCUTM. I»»..
TO MY FATHER
PREFATORY NOTE
In the present volume an important treatise on the canons of
dramatic composition in early India is published for the first time
in an English translation, with the text, explanatory notes, and
an introductory account of the author and his work. As a con-
tribution to our knowledge of Hindu dramaturgy, I am glad to
accord the book a place in the Indo-Iranian Series, particularly
as it comes from one who has long been associated with me as
a co-worker in the Oriental field.
A. V. Williams Jackson.
V»
PREFACE
The publication of the present volume, originally planned for
1909, has been delayed until now by ^arious contingencies both
unforeseen and unavoidable. While in some respects unfortu-
nate, this delay has been of advantagc in giving me opportunities
for further investigation and enabling me to add considerably to
my collection of comparative material.
For information regarding the plan and scope of the book I
would refer the reader to pages xli-xlv of the Introduction. I
take this opportunity, however, to emphasize the fact that the
transliterated text of Dhanarnjaya's treatise has been included
solely for the convenience of those using the book ; with the ex-
ception of a few minor corrections and emendations it is the same
as that originally published by Hall in 1865. It should be noted,
furthermore, that I have not undertaken to present the comments
o f Dhanika except in a few specia! cases, the paragraphs headed
' Com.' being devoted chiefly to recording the sou'rce of his numer-
ous illustrative quotations. The limitations I have imposed on
myself in the notes will be evideat to the reader on insi>ection.
In deference to the wishes of the publishers I have refrained
from using in the present volume the simpler English spellings
recommended by the Simplified Spelling Board. I should have
preferred to adopt them here, as I have done in my personal cor-
respondence, because I believe that the use of the simpler forms
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 indebted to the librarians of the India Office and of the
Deutsche Morgenlandische Gesellschaft for their kindness in
sending to Professor Jackson, for my use, a nutnber of volumes
that were not accessible in this country. It is a pleasure to ac-
knowledge also the uniform courtesy of the publishers, «whose
vii
VU1 PREFACE
patience must have been sorely taxed by the long course of pub-
lication, and of the printers, who have not only performed their
part of the task in a highly creditable manner, but have shown the
greatest forbearance with the unavoidable delays incident to the
production of the book.
My special thanks are due to Professor E. Washburn Hopkins
for the use of his copy of the Satsaiya of Bihari and for com-
ments on certain diflReult passages ; to Professor Charles R. Lan-
man for placing at my disposal a rare version of the Mahanataka
and giving me suggestions regarding certain parts of my transla-
tion ; and to Dr. Franklin Edgerton for material f rom an unpub-
lished MS. of the Vikramacarita. I am sincerely grateful as well
to Dr. Charles J. Ogden, who read the entire book in proof and
gave me numerous welcome corrections and suggestions, and to
Dr. Louis H. Gray, who carefully examined with me many diffi-
cult passages and whose broad scholarship has been helpf ul at all
stages of the work. I wish to express also my appreciation of the
help of two other friends, Miss Marie L. Weiss and Miss Jane
Porter Williams, who have in various ways generously contrib-
uted to the successful completion "o f my task.
And 1 wish to record here, above all, some expression, how-
ever inadequate, of the debt of gratitude 1 owe to my friend and
teacher, Professor A. V. Williams Jackson. His kindly interest
in my work has never flagged since the day, now twelve years
past, when I first took up the study of Sanskrit under his guidance,
and, even amid the pressure of multifarious duties, he has always
placed his time and energy ungrudgingly at my disposal. In the
preparation of this book I have had throughout the benefit of his
encouragement and his stimulating criticism, and it bears some
evidence of his comments and suggestions on almost every page.
My years of association with him at Columbia as pupil and as
co-worker will always remain a precious memory.
George C. O. Haas.
July 28, 1912.
CONTENTS
Prefatory Note by the Editor of THE Series .
Preface
BlBLIOGRAPHY
CoNSPFCTUS OF EoiTIONS OF TeXTS ....
List of Abbreviations and Symbols .
Introduction
i. Concerning the Dasarupa of Dhanamjaya .
The author and his patron ....
. Contemporaries of Dhanamjaya
Scope and importance of the Dasarupa .
Style and method of treatment
Meters and metrical considerations
2. Concerning Dhanika's commentary on the Dasarupa
Authorship and date
Character and value
Dhanika's explanatory and illustrative quotations
3. Concerning previous editions of the Dasarupa
Hall's edition ....
Jivananda Vidyasagara's edition
Parab's edition
4. Concerning the present edition
Constitution of the text .
The numbering of sections
The translation
Extracts f rom the commentary of Dhanika
The notes in this volume ....
vi
vii
xtii
xiv
xviii
xxi
xxi
xxi
xxiv
xxvi
xxviii
xxix
xxxii
xxxii
xxxv
XXXV
XXXIX
XXXIX
xl
xli
xli
xli
xlii
xliii
xliii
xliv
The Dasarupa: Text, Translation, Extracts from the Com-
mentary, and Notes :
Book One . . . ' 1
Introductory remarks .
Fundamental definitions
2
3
CONTENTS
Pantomime and Dancing as accessories
Basis of classification of dramas .
Subdivisions of the Subject-matter
Elements of the Plot ....
The five Stages of the Action
The five Junctures ....
The Opening and its subdivisions
The Progression and its subdivisions .
The Development and its subdivisions .
The Pause and its subdivisions .
The Conclusion and its subdivisions
Sixfold application of the subdivisions .
Twofold treatment of the Subject-matter
The five kinds of Intermediate Scene .
Asides, Confidential Remarks, and the like
Conclusion of the First Book
Rook 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 maiden or another's wife as Heroine
A courtezan as Heroine
Classification of Heroines according to their relations
with the Hero
Messengers of the Heroine .
The twenty natural graces of the Heroine
Assistants of the Hero when a king
Grouping of characters according to rank
The Gay Style of Procedure .
The Grandiose Style of Procedure
4
6
6
8
9
ii
12
iS
20
24
28
32
33
33
36
38
40
40
40
42
44
45
45
48
49
52
53
54
58
58
65
67
67
70
CONTENTS
The Horrific Style of Procedure .
Other Styles of Procedire .
Employment of the StyJes of Procedure
Loc.al characteristics of a drama .
Language of the various characters
Prescribed modes of address
Conclusion of the Serond Book .
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 Vlthi
Use of these introductory elements
Selection of the Principal Subject
Adaptation of the story
Arrangement of the dramatic structure
Appropriate arrangement of the beginning
Characteristics o f an Act
The Sentiments and their uses
Actions not permitted on the stage
The contents of an Act
The number of Acts in the Nataka
Description of the Prakarana
Description of the Niitika .
Description of the Bh!i*a
The forms of Gentle Dahce .
Description of the Prahasana
Description of the Dfma
Description of the Vyeyoga .
Description of the Safnavakara
Description of the Vfthl
Description of the UtSrstikarika
Description of the Iham rga .
Conclusion of the Third Book
r/un
71
73
74
74
75
76
77
79
79
79
81
82
84
88
89
89
90
90
9i
92
93
93
o^.
94
95
98
99
99
100
101
102
103
104
104
105
CONTENTS
Book Fouh
Sentiment and its production
Determinants and Consequents defined
A State defined ....
The Involuntary States
The thirty-three Transitory States
The Permanent States .
Fourfold character of the Sentiments
Sentiment defined ....
The Erotic Sentiment .
Varieties of the Erotic Sentiment .
Privation and its stages
Separation and its varieties .
Union and its characteristics
The Heroic Sentiment .
The Odious Sentiment .
The Furious Sentiment
The Comic Sentiment .
The Marvelous Sentiment .
The Terrible Sentiment
The Pathetic Sentiment
Various matters omitted in this work
Conclusion of the Fourth Book .
Conclusion of the entire work
Appendix: Classification of the sixteen types of Heroine
Aduenda
Index of Sanskrit Tecunical Terms
General Index
rAGB
106
106
106
1 08
108
109
124
127
129
130
131
132
134
T 40
141
141
142
143
145
145
146
147'
148
148
149
150
151
159
BIBLIOGRAPHY
Bohtlingk, Otto: Znr Kritik und Erklarung verschiedener indi-
scher Werke. 43. Da^arupa. In Mihnges asiaUqucs 7. 574-
577-
Cimmino, Francesco : L'itso dellc diclasca'.ie nel dramma indiano.
In Idemoric delta Reale Accademia di Archeologia, Lcttere e
Belle Arti, 2 (1911), p. J 3 1-205. (Published separately, with
the same pagination, Napoli, 191 2.)
Hall, Fitzedward : The Dasa-rupa, or Hindu Canons of Drama-
turgy, by Dhananjaya. Calcutta, 1865. Preface, pages 1-39.
Kale, Moreshwara Ramachandra: The Sahityasarasangralia, being.
a treatise on Indian Poetics based on the works of Dandin,
Dhananjaya, Mammata, Vishwanatha, Jagannatha, etc. Part I.
Hombay, 1891.
Levi, Sylvain,: Le Th^atre indicn. Paris, 1890.
Regnaud, Paul : La Rhetorique Sanskrite. Paris, 1884.
Schmidt, Richard : Bcitrage zur indischen Erotik. Leipzig, 1902.
(Second edition, Berlin, 191 1.) 1
Trivedi, Kamalasaiikara Pranasankara : The PrataparudrayaSo-
bhusana of Vidyanatha. Bombay, 1909. Notes, pages 1-68.
' In spite of the date on the title-page, this edition apprarcd in the
autumn of 1910. It is not nearly so uscful as the first edition, rauch of the
Sanskrit original text being omitted, btit I have added references to its
pages throughout, for the conveniencc of scholars.
CONSPECTUS OF EDITIONS OF TEXTS
This list indicates the editions of Sanskrit and Prakrit works to which
the citations in this volume refer. Abbreviated designations are given in
square brackets after the titles.
Agni-Purana [AP.]. Ed. Rajendralala Mitra, Calcutta, 1879.
(For reference to the ed. of Tarkaratna and the tr. of Dutt, add
1 to the chapter numbers after chapter 221.)
Anargharaghava of Murari. Ed. Durgaprasad and Parab, 2d ed.,
Bombay, 1894.
Amarusataka fAmaru]. Ed. Simon, Kiel, 1893.
Alarnkara of Vagbhata, see Vagbhatalamkara.
Alamkarasekhara of Kesavamisra. Ed. Sivadatta and Parab,
Bombay, 1895.
Uttararamacarita of Bhavabhuti [Uttararama.]. Ed. Ratnanu
Aiyar and Parab, Bombay, 1899.
Karpuramanjarl of Rajasekhara. Ed! Konow and Lanman, Cam-
bridge, Mass., 1901 (Harvard Oriental Series, vol. 4).
Kamasutra of Vatsyayana. Ed. Durgaprasad, Bombay, 1891.
Kavyaprakasa of Mammata. Ed. Vamanacharya, 2d ed., Bom-
bay, 1901. (This work may be consulted also in the translation
of Ganganatha Jha, Benares, 1898, where the scctions are cor-
respondingly numbered.)
KavyapradTpa of Govinda. Ed. Durgaprasad and Parab, Bom-
bay, 1891.
Kavyanusasana of Vagbhata [Vagbh. Kavyan.]. Ed. Sivadatta
and Parab, Bombay, 1894.
Kavyanusasana of Hemacandra [Hem. Kavyan.]. Ed. Sivadatta
and Parab, Bombay, 1901.
Kavyalamkara of Rudrata [Rudr. Kavyal.]. Ed. Durgaprasad
and Parab, Bombay, 1886.
Kiratarjunlya of Bharavi. Ed. Godabole and Parab, Bombav,
1885.
Kumarasambhava of Kalidasa. Ed. Pansikar, Bombay, 1908.
CONSPECTUS OF EDITIONS OF TEXTS XV
Candraloka of Jayadeva. Ed. Jlvananda Vidyasagara, ad ed.,
Calcutta, 1906.
Dhvanyaloka of Anandavardhana. Ed. Durgaprasjid and Parab,
Bombay, 1891. (This work may bt consultcd also in the trans-
lation of Jacobi, ZDMG. 56-57.)
Navasahasankacarita of Padmagupta (al»o called Parimala). Ed.
Vamana Shastri Islampurkar, Bombay, 1895 (Bombay Sanskrit
Series, no. 53).
Nagananda of Harsadeva [Nagan.]. Ed. Brahme and Paran-
jape, Poona, 1893.
Nitisataka of Bhartrhari [Nitis.] . In Bhartrhari-ziraeitam sataka-
trayam, 2d ed.. Bombay (Nirnaya Sagara Press), 1891.
Prataparudrayasobhusana of Vidyanatha fPratapar.]. Ed. Tri-
vedi, Bombav, 1909 1 (Bombav Sanskrit and Prikrit Series, no.
65).
Priyadarsika of Harsadeva. Ed. Krishnamachariar, Srirangam,
1906.
Balanlnuiyana of Rajasekhara. Ed. Govinda Dcva Sasiri, Be-
nares, 1869.
Bharatiyanatyasastra [Bh.]. Books 1-14, ed. Grosset, Paris and
Lvons, 1898; books 18, U), 20, 24, 2 cd. Ilall, in The Dasa-Rapa,
Calcutta, 1865, p. 10/^-241 ; all othcr books are cited according
to the cdition of Sivadatta and Parab, Bombay, 1894. (Books
(> and 7 may be consultcd also in Regnand's Rhctoriquc San-
skrite, Paris, 1884, appendix, p. 1-42.)
Bhasabhusana of Jas'vvant Singh. Ed. Grierson, in The Satsaiya
of Bilum, Calcutta, 1896, p. 23-135. (HindI text.)
Bhojaprabandha of Ballala. Ed. Parab, 2cl ed., Bombay, 1904.
Mahanataka (also called Hanuman-nataka). Ed. Jlvananda Vi-
dyasagara, 2d ed., Calcutta, 1890.
Mahaviracarita of Bhavabhuti [Mahavira.]. Ed. Ratnam Aiyar,
Rangachariar, and Parab, Bombay, 1892.
' The method of numbering sections in this publication is trregular and
utterly impractical. The printer has made matters wor«e by omitting the
section-numbers in many places. To facilitatc reference I have frequcntly
added page-numbers to the citatiflns.
'The last of the four books edited by Hall, really book 24, bears the
ninnber 34 in his text.
XVi CONSPECTUS OF EDITIONS OF TEXTS
Magha-kavya, see Siiupalavadha.
Malatimidhava of Bhavabhuti [Malatim.]. Ed. Telang, Bombay,
1892.
MSlavikagnimitra of Kalidasa [Malav.]. Ed. Parab, Bombay,
1890.
Mudraraksasa of Visakhadatta. Ed. Telang, 2d ed., Bombay,
1893 (Bombay Sanskrit Series, no. 27). Reference is made
also to the edition of Kale, Bombay, 1900.
Mrcchakatika of Sudraka [Mrcch.]. Ed. Parab, Bombay, igoo.
Meghadtita o f Kalidasa. Ed. Parab, fjth ed., Bombay, 1902.
Raghuvarnsa of Kalidasa. Ed. Parab, 4th ed., Bombay, 1892.
Ratirahasya of Harihara (said to form part of a work entitled
Srngaradipika or Srngarabhedapradipa) .' Ed. Schmidt, ZDMG.
57 (1903), P- 705-739-
Ratnavali of Harsadeva [Ratn.]. Ed. Parab, Bombay, 1895.
Rasagangadhara of Jagannatha [Rasagaiig.]. Ed. Durgaprasad
and Parab, Bombay, 1888.
Rasatarangini of Bhanudatta [Rasatar.J. Ed. Regnaud, in his
Rh6torique Sanskritc, Paris, 1884, appendix, p. 43-70.
Rasamanjari of Bhanudatta. Ed. Tailanga, Benares, 1904 (Be-
nares Sanskrit Stries).
Rasaratnahara of Sivarama Tripathin [Rasaratn.]. Published in
K&vyamSla, part 6, Bombay, 1890. p. 118-^43.
Vagbhatalamkara of Vagbhata [ Vagbhatal.]. Ed. Sivadatta and
Parab, Bombay, 1895.
Vikramorvasi of Kalidasa. Ed. Parab and Telang, Bombay, 1888.
. Yiddhasalabhanjika of Rajasekhara. Ed. Arte, Poona, 1886.
VenisamMra of Narayana Bhatta [Veni.]. Ed. Parab and Mad-
gavkar, Bombay, 1898.
Vairagyasataka of Bhartrhari [Vairagyas.]. In Bharfrhari-
inracitatft iatakatrayam, 2d ed., Bombay (Nirnaya Sagara
Press), 1891.
'With reference to the name of this treatise, cf. Leumarm, ZDMG. 58
(HJ04), p. 203: "VVas mnachst den Titel betrifft, so sprechen wir besser
von Ratirahasya als von Srngaradipika; demi einstweilen ist eben nur die
Ratirahasya-Partic der Srngaradipika— und selbst sie vielleicht nicht voll-
stiindig— nir Hand.' Cf. in general Schmidt. Beitrage sur indischen
Erotik, ad ed., Berlin. 191 1, p. 72.
C0NSP1CTUS OF EDITIONS OF TKXTS XVffl
Sakuntala of Kalidasa. Ed. Godabok and Parab, 3d ed., Bom-
bay, 1891.
Sanigadhanpaddhati [Sarng.]. Ed. Petcrson (vol. i, text; no
more published), Bombay, 1888 (Bombay Sanskrit Series, no
- 37) -
Sisupalavadha of Magha |MaghaJ. Ed. Durgiiprasad and Siva-
datta, 4th ed., Bombay, 1905.
Snigaratilaka of Rudnua f Rudr. Snig.J. Ed. Pischcl, Kiel, 1880.
( Tlr's work may be consulted also in KSvyamtila, part 3, Bom-
bay, 1887, p. 111-152.)
Snigaratilaka (attributed to Kalidasa). Ed. Hacberlin, in his
Kavyasangraha: a Sanscrtt anthology, Calcutta, 1847, p. 14-17.
Snigiiradipika of Harihara, sec Ratirahasya.
Snigarasataka of Bhartrhari f Snigaras. ] . In Bhartrhari-viracitatn
satakatrayam, 2& ed., Bombay (Nirnaya Sagara Press), 1891.
Sarasvatikanthabharana of Bliojaraja [Sarasv.]. Ed. Jivananda
Vidyasagara, 2d ed., Calcutta, 1894. Reference is marle also
to the cdition of Borooah [ed. B.], Calcutta, 1883. 2
Sahityakaumud! of Vidyabhusana. Ed. Sivadatta and Parab,
Bombay, 1897.
Sahityadarpana of Yisvanatha Kaviraja |SD.).' Ed. Rocr, Cal-
cutta, 1851. Tr. Liallantyne and Mitra, Calcutta, 1875. (Bib-
liotheca Indica.) Ocosional reference is madc also to the
edition of Dviveda and Parab, Bombay, 1902.
Sahityasara of Acyutasarman (or Acyutaraya). Bombay (Nir-
naya Sagara Press), 1906.
Subhasitavali of Vallabhadeva. Ed. Petcrson and Durgaprasuda,
Bombay, 1886 (Bombay Sanskrit Series, no. 31).
Hanuman-nataka, see Mahanataka.
HalasaptasatI [HalaJ. Ed. Weber, Dos Saptafatakam dcs H&la,
Leipzig, 1 88 1.
'The title of this work is as follows: Vomana Kavyalamksra
Swtravrtti, Vagbhafa /flamkara, and Sarasvatika«/habhara»a. Edited by
Anundoram Borooah. With a few notes and extracts from old coramen-
taries. Calcutta, 1883.
LIST OF ABBREVIATIONS AND SYMBOLS
AP. = Agni-Purana.
B. = Anundoram Borooah (editor of the Sarasvatl-
kanthabharana).
BB. — Bezzenbcrger's Beitrage.
Bh. = Bharatiya-natyasastra.
BR. = Bohtlingk and Roth's Sanskrit-Worterbuch, 7
volumes, St. Petersburg, 1855-1875.
com. = commentary, commentator.
DR. = Dasarupa.
ed. = editcd by, cdition.
Ep. Ind. = Epigraphia Indica.
ex. = example.
H = tcxt of the Dasarupa in Hall's edition.
Hall = Hall's edition of the Dasarupa, Calcutta, 1865.
Hem. Kavyan. = Hemacandra's Kavyanusasana.
Ind. Ant. = The Indian Antiouary.
JAOS. ='Journal of the American Oriental Society.
J RAS. = Journal of the Royal Asiatic Society.
Levi =Levi's Thcatre indien, Paris, 1890.
Mahavlra. = Bhavabhflti's Mahaviracarita.
Mfdatim. = Bhavabhuti's Malatimadhava.
Malav. = Kalidasa's Malavikagnimitra.
Mrcch. = Sudraka's Mrcchakatika.
Nagan-. = Harsadeva's Nagananda.
P == text of the Dasarupa in Parab's edition.
Pratapar. — Vidyanatha's Prataparudrayasobhusana.
Rasagang. = Jagannatha's Rasagarigadhara.
Rasaratn. = Sivarama Tripathin's Rasaratnahara.
Rasatar. = Bhanudatta's Rasatarangini.
Ratn. = Harsadeva's Ratnavalt.
xvi ii
LIST OF ABBREVIATIONS AND SYMBOLS
XIX
Regnaud
Rudr. Kavyal.
Rudr. Srrig.
Sarasv.
Sarng.
Sb.
Schmidt
SD.
Skm.
Spr.
tr.
Uttaranima.
V
v.
Yngbhatal.
Viigbh. Kavyan.
Ycni.
WZKM.
ZDMG.
= Regnaud's Rhctorique Sattskrile, Paris, 1884.
■i'
= Rudrata's Kavyalamkara. ° :
= Rudrata's Srngarat'laka.
= Bhojaraja's Sarasvattkanthabharana.
= Sarrigadharapaddhati.
= Sitzun^sberichte.
= Schmidt 's Bcitriipc sur indischcn Erotik, Leip-
zig, 1902; 2d cdition, Berlin, 1911 (actuaily
published in 1910).
= Yisvanatha Kaviraja's Sahityadarpana.
Sridharadasa's Saduktikarnamiia (see Auf-
recht, ZDlvfG. 36).
; Bohtlingk's Indischc Spriichc, 2d edition, St.
Petcrsburg, 1 870-1 873.
= translated by, translation.
= Bhavabhuti's Uttarariimacarita.
: tcxt of the Dasarupa iri Vidyasagara's cdition.
= versc, metrical portion.
- Yagbhatalamkara.
= Yagbhata's Kavyanusasana.
= Nartyana Bhatta's Venisarnhara.
; Wiener Zeitschrift fiir die Kundc des Mor-
genlandes.
= Zeitschrift der Deutschen Morgenlandischcn
Gesellschaft.
indicates the omission of the preceding or following part of a
word or stanza.
II indicates parallel or identical passages in other Hindu works,
chiefly dramaturgic and rhetorical.
INTRODUCTION
I. CoNCERNING Tl.E DaSARUPA OF DHANAMJAYA
The author and his patron. The Dasarupa,' or Treatise od
the Ten Forms of Drama, one of the most important works on
Hindu dramaturgy, was composed by Dhanamjaya, son of Visnu,
in Malava in the last quarter of the tcnth century A.D., during
the reign of Vakpatiraja II, or Muiija. 3 The monarch's name
is given by Dhanamjaya in his concluding stanza (DR. 4. 91),
where he states that his ' intclligence was derived f rom discourse
with the sovereign lord Muiija.' This ruler, who had a great
variety of names or epithets (Muiija, Vakpati, Utpalaraja,
Amoghavarsa, Prthivivallabha, Srivallabha), 8 was the seventh
1 The name appears as DasurBpa or, niore frequently, as DaSarapaka,
wilh the suffix -ku. Kor the shorter form, which I use throughout in
referring to the work, we have, as Hall observed (p. 4, notes), the war-
rant of Dhanamjaya himself in his concluding iines (4. 91), as welt as
the " implicd support of I>h-mika,' who gave his comtnentary the title
riasarffpavaloka. Cf. also the parallcl forms DasarBpa-flka and DaiarU-
Paka-llka notcd as names of another commentary by Aufrecht, Cat. Cod.
Oxon, p. 13; b.
'Sce Biihler (and Zachariae), 'Ueber das Navasahasankacharita des
Padmagupta oder Parimala,' in Sb. der phil.-hist. Classc der kais. Akad.
der Wiss. su H'ien, 116 (188S), p. 620-625 (= English translation, lnd.
Ant. 36. 168-170). The last d5th) section of the first prakasa of
Meruturiga's Prabandhacintamani (completed April, 1306) is dcvoted to
an account of Munja; sec the translation by Tawney, Calcutta, IODI
(Bibliotheca Indica), p. 30-36. Munja is mentioned by Sambhu in his
Rajendrakarnapura, v. 17 (Aufrecht. Catalogus Catalogorum, t. 460 b).
For inscriptions recording land-grants by Munja- Vakpati see Archaeol.
Snrvey of Western India, vol. 3 (Burgess), London, 1878, p. 100 (given
also at lnd. Ant. 6. 48-53) ; lnd. Ant. 14. 159-161.
*Cf. Biihler, op. cit. p. 630-621 ; Ep. lnd. 1. 336. See also p. xxiii, beiow.
For an inscription giving the name Utpalaraja see Ep. lnd. 5, p. vi.
XXM INTRODUCTION
raja of the Paramara dynasty of Malava. 1 He came to the
throne in 974 A.D., succeeding his father Siyaka, and held sway
until about 995,' when hc was defeated, taken captive, and exe-
cuted by the neighboring Calukya king Tailapa II (or Taila), 8
whom he had, according to the author Merutuhga, conquered in
six previous campaigns.*
Mufija was not only an intrepid warrior, but a poet 5 and patron
of letters as well. Padmagupta, the author of the Navasahasarika-
carita, twice calls the king a ' friend of poets'" and states that it
was because of royal favor that he, too, was able to ' wander along
the path trod by the master-poets.' 7 The lexicographer Hala-
yudha also, in commenting on the metrical treatise of Pingala,
includes stanzas in praise of Muiija's liberality." Furthermore
1 For inscriptions regarding this dynasty see Ep. lnd. 1. 222-238; 2. 180-
195. C£. Biihler, op. cit. p. 603-630; Fleet, ' The Dynasties of the Kanarese
Districts,' 2d cd., p. 432, in Bombay Gacettecr, 1 (1896), pt. 2; Bhandarkar,
' Early History of the Dekkan," ibid. p. 214.
'On the date sce Biihlcr, op. cit. p. 624-625.
'Muiija's cxccution is attestcd by Calukya inscriptions; sce lnd. Ant.
12. 270; 16. 18, 23; 21. 167-168; lip. lnd. 2. 212-221. Cf. Kielhorn, Ep. lnd.
2. 214-215.
'Biihler (op. cit. p. 623) gives the te.xt as follows: iapathadanapurva-
kain tiifidhya tam pura f<><jha uirjitom ity avajiotayi pasyann atirckavas&t
tim saritam uttlrya skandh&viram nivcsayim Ssa. Cf. Prabandhacin-
tSmani, tr. Tawney, Calcutla, igoi, p. 33. Biihler inadvertently translated
sodhl as ' secluehnmal,' and this mistakc has bcen perpet'uated by him,
Ep. lnd. 1. 227, and by Vincent Smith, Early History of India. p. 31",
328 (2d ed. p. 365, 389). — On Muiija's military exploits see Biihler, Ep.
lnd. I. 227-228. His defeat by Baliraja, a Cahamana chief. is mentioned
in an inscription of about 1262 A.D, ; see Ep. lnd. 9. 71. — For the legend-
ary account of Mufija, as given in the Bhojaprabandha, see Lassen,
Indische Altcrthumskundc, 3 (Leipzig, 1858), p. 837-841.
' Mufija, the author of the Gaudavaho, lived early in the eighth century,
under King Yasovarman. Petcrson's identitication of him with the Para-
mara ruler Munja-Vakpati (Subhisit&vali.p. 115) is erroneous. A similar
mistakc is found in K&vyamMi, part I (2d ed., Bombay, 1893), p. 131,
where onc of the editors assigns to Utpalaraja (= Mufija) the authorship
of the Pratyabhijnasutra, a work composed by a Saivite guru named
Utpaladeva, who lived about 930 A.D.
'Navasih. 1. 8: kavibtndhava ; 11. 93: kavimitro.
' Navasah. 1. 7. The text is given below, p. xxvi, note 1.
'For the text of one of them see p. xxv, note 7, below.
INTRODUCTION XXtfi
Dhanika, poct and commentator, held an official position at the
court 1 ; Dhanamjaya claiins, as we have scen, to have profited
by conversations with his a'igust ruler; and thc work of other
authors, to be mentioned below, bcars added witness to the
literary activity during his reign. Some indication that Muftja
himself was regarded as a poet* is to be found in the fact that
Merutuiiga depicts the captiv» king as versifying his plaints. 8
That he actually was a writer of verse, howevcr, is clearly estsb-
lished by quotations 01 .some of his lines by later writers and in
anthologies. One of his stanzas, for example, is iwice quoted by
Dhanika in his commentary on the Dasarupa, the author betng
given in the one case as ' Srl-Vakpatirfijadeva ' and in the other
as ' Srl-Muiija.'* Another stanza is reproduced by the later
Paramiira king Arjunavarman (vvho ruled early in the thir-
teenth century) in his Rasikasaipjivani, a comiiientary on the
Amarusataka, with the statement that it was composed by 'our
ancestor Miiiija, whose other namc was Vakpatiraja.' 5 The
poet Ksemendra (fl. 1037-1066 A.D.) qnotcs tlirec different
stanzas by ' Srimad-Utpalaraja,' in as many of his works.*
Two ot thesc, found rcspcctivelj in the Siivrttatilaka and the
Kavikanthabharana, are not othcrwise known ; the third, a well-
known stanza beginning ahau vd hare rCu recurs in onc of the
Centuries attributed to Bhartrhari, whcre it is probably to be
"Cf. page xxxii, below.
' In connection with Muiija's literary inclinations it is o." interest to
note that his nephew, Bhojadeva, was the reputed author of the Saras-
vatikan|habharana, a rhetorical work of some importance (oftcn referred
to in my notes). Muiija is mentioned in one of its stanzas (1. 83, p. 60).
" Prabandhacintamant, tr. Tawney, Calcutta, 1001, p. 34 _ 3S- — Vcrses are
attributed to Muiija also in Ballala's Bhojaprabandha. For a list of these
and a record of their recurrcnces in other works see Oster, Die Recensioncn
des Bhojaprabandha, Darmstadt, 191 r, p. 24 (dissertation).
'See the com. on DR. 4. 66, 67. On Muiija's various names and epi-
thets see above, p. xxi.
* His words are : osmatpUrvajasya VakpatirijSparanilmna Muiijadevasya.
See Amarusataka, ed. Ourgaprasad and Parah, Bombay, 1889, p. 23.
* Suvrttatilaka 2. 6 (Kavyamala, part 2, ed. DurgSprasid and Parab,
Bombay, 1886, p. 37) ; Kavikanthabharana 2. : (K&vyam&la, pt. 4, 1887,
p. 125) ; Aucityavicaracarca 16 (Kavyamala, pt. i, 2d ed., 1893, p. 131).
XXIV INTRODUCTION
regarded as an interpolation. 1 Vallabhadeva included this same
stanza and one other in his anthology,* and two further specimens
of the royal author's verses are found in the Sarngadharapaddhati
(c. 1363A.D.). 8
Contemporaries of Dhanamjaya. Conceming Dhanamjaya*
himself nothing is known save his authorship of the Dasarupa
and his relations with King Munja, aside from the fact that a
stanza attributed to him is included in Sridharadasa's anthology,
the Saduktikarnamrta. 15 Some idea of the literary atmosphere
in which he lived, however, can be obtained from a consideration
of the other writers that flourished in Malava at this time. Fore-
most to command our attention is D h a n i k a , son of Visnu,
who not only wrote poetry in Sanskrit and in Prakrit, but also
prepared the current commentary on the Dasarupa. He and his
commentary will be specially referred to below, in the second
part of this Introduction. Next may be mentioned the lexi-
cographer and poet Dhanapala, son of Sarvadeva, who lived
at Dhara," the Malava capital, under Vakpati and his predecessor
Siyaka.' He was the author of the Paiyalacchi, a Prakrit vocabu-
' Vairagyasataka 40 (=Spr. 844). In Sarng., wherc this stanza also
occurs (4102), it is attributed to Bhartrhari.
' Subhasitavali 3413. 3414. The author is givcn as ' Srt-Harsadeva-
tmaja- Vakpati.'
•Sarng. 136 (by ' Vakpatiraja'), 1017 (by ' Utpalaraja').— According
to Aufrecht, Catalogus Catahgorum, 1. 64 b. Utpalaraja is mentioned or
quoted also in the Saduktikarnamrta of Sridharadasa. (But I find no
raention of this at ZDMG. 36. 557. in Auf recht's article on Skm. )
* On a different (and probably later) Dhanamjaya, who was the son of
Vasudeva and who wrote a kavya called IHisanulhana, or Raghava-
pandaviya, as well as a brief lexicographical work cntitled Namamala,
sec Zachariae, ' Die indischen Worterbiicher (KosaV in Grundtiss der
indo-arischen Philogie. I. 3». p. 27-28 (Strassburg, 1897).
"Skm. 3. 2ii ; cf. Aufrecht, ZDMG. 36 (1882), p. 533-534.
*See Paiyalacchi 277.
'Meruturiga mrntions both Dhanapala and his brother Sobhanamuni ;
see Prabandhacintaraani, tr. Tawney, Calcutta, 1901, p. 52-62. He crrotie-
ously places them both at th« court of Bhoja, either by inadvertence or
to add great«r luster to that monarch's entcurage; cf. Biihler, BB. 4
(1878), p. 73-75. Dhanapala is mentioned also by Santisuri in his Pra-
INTRODUCTION XXV
lary, completecl in 972-973 A.D., 1 and, after his convcrsion to
Jainism, of the Rsabhapaftcasika, fifty verses in Prakrit in honor
of Rsabha, the first prophet of the Jains. A work named
Tilakarnanjari is also ascribed to him. 2 Dhanapala's younger
brother, Sobhanamuni, who wa;> an ardent J ain and is said
to have converted his b-other to his religious bclief after pro-
longed efforts, was also one of the literary men of this tinie,
having composed the Sohhanastutayas, also called Caturvimsatika.
a work on which Dhanapala later prepared a commentary.*
Another contemporary writer, Bhatta H a 1 a y u d h a , who
probably spent the latter part of his life in Malava, is known
to have been the author of three technical works.* Presum-
ably the oldest of these is a lexicographical compendium, the
Abhidhanaratnaniala"; the Kavirahasya was written about the
year 950 at Manyakheta at the court of King Krsnaraja IH "; and
the Mrtasamjivani, a commentary on the Pingalachandahsutra,
was prepared considerably later at Diiara at the court of King
Mufija, whose liberality is appreciatively referred to in some of
the starzas. 7 The poet Padmagupta (also called Parimala),
bhavakacarita. On !>oth Dhanapala and Sobhanamuni sce Biihlcr, Sb.
Akad. Wicn, 99 (1882), p. 568-572.
1 The text of the Paiyaiacchl has been published by Biihlcr, BB. 4 (1878),
p. 70-166. On the datc oi completion of this work see ibid. p. 71.
"The text of the Tilakarnanjari, ed. by Bhavadatta Sastri and Parab,
was published al Bombay in 1903 (Kavyamala series, no. 85).
"The tcxt of Sobhana's work has been edited by Jacobi, ZDMG. 32
(1878), p. 509-534. On the com. see Biihler, Sb. Akad. Wicn, 99 (1882),
P- 570-572.
'On Halayudha sce Hellcr, HalSyudha's Kaviraltasya, Gottingen, 1804,
p. 20-32 (dissertation).
*Cf. Zachariae, ' Die indisehen Wcirterbucher (Kosa),' in Grundriu
der indo-arisehen Philologie, 1. 3 b, p. 26 (Strassburg, 1897). The text
has been edited by Aufrecht, London, 1861.
"Published by Heller, HalSyudha's Kavirahasya, in beiden Recensionen
herausgegeben, Greifswald, 1900.
' This commentary has been printed with Pingala's Sutras in the edi-
tions of Visvanatha Sastri, Calcutta, 1874 (Bibi. Ind.), and of Kedara-
natha and Panashikar, Bombay, 1908 (Kayyamala series, no. 91). One
XXVI INTRODUCTION
son of Mrgarikagupta, found favor, as was mentioned above,
with Vakpatiraja and later with his successor Sindhuraja, at
whose direction he wrote the Navasahasankacarita, a mahakavya
in glorification of the sovereign. 1 Dhanika quotes one of his
stanzas in his commentary on the Dasarupa. 2 To this same
period belongs also the Jain author Amitagati, who finished
his Subhasitasamdoha, or Subhasitaratnasamdoha, in 993 A.D., in
the reign of Mufija.* Another work of his, entitled Dharma-
parlksa, was written in the year 1014. 4
- Scope and importance of the Dasarupa. In the Dasarupa
Dhanarnjaya presents, in the form of a brief manual, the rules
of the referenccs to Mtrnja-Vakpati (for a list of which see Weber,
Indische Studien, 8. 193-4) is as follows (4. 20) : —
so jayati Vikpalimjah sakalSrthimanorathaikakalpataruh
pratyarlhibhiitaparthivalaksmVtathaharanadurlalital).
Peterson, SubhSfitivali, Bombay, 1886, p. 115, statcs that this verse is
quotcd in the Dasariipavaloka, l>ut I <lo not find it in the printed text.
1 Sce Biihler and Zachariae, ' Ueber das Navasahasankacharita des
Padmagupta oder Parimala,' in Sb. der phil.-hist. Classe der kais. Akad.
der IViss. su H'ien, 116 (1888), p. 583-630 (English translation of this
article: Ind. Ant. 36. 14<>-172). The text has becn published by Vamana
Shastri Islampurkar, Bombay, 1895. Padmagupta's chief reference to his
royal patrons is as follows (Navasah. 1. 7, 8): —
Sarasvatlkalpalalaikakandam
vandUmahe VakpatirUjadcvam
yasya prasOdad vayam apy ananya-
kavindrac\rne pathi satncartimah.
divtiHl yiyisur warna v3ci mudram
adatta yStft VHkpatirdjadcvah
tasyinujanmi kai'ibandhavasya
bhinatti Mm samprati SiudhurSjah.
* See the commentary on DR. 2. 65.
*Cf. Kielhorn, Ind. Ant. 19. 361; Hertel, WZKM. 17. 105-134. The text
of this work has been published by Schmidt and Hertel in ZDMG., vols.
59 and 61, and also by Bhavadatta Sastri and Parab, Bombay, 1903
(KavyamSla series, no. &!>.
*On this work see Mironow, Die DharmapariksU des Amitagati, Leip-
W. 1903 (dissertation).
INTRODLVTION XXVII
of dramatic composition originally laid down in the great com-
pendium of Hindu dramatic science, the Bharatiyanatyasastra.
That monumental work, although rejyarded as authoritative and
cven invested by tradition with the character of scmidivine
revelation, was altogether too eumbersome for ordinary use and
had the additional disacU antages of diftuse style and a somewhat
unsystematic arrangement. From the point of view of the
dramatist, particularly, it was unsatisfaetory, since the purciy
dramaturgic portions were submerged, so to speak, in a niass of
histrionic and general preseriptions. The author of the Dasarupa
accordingly aims. as hc himself says, to restate the princtples of
dramaturgy in more concise and systematic form." He not only
professes great reverence for the rules of Bharata, 2 btit actually
adheres for the most part to the terminology and definitions
attrihuU'd to the venerated sage. Dhanamjaya has a somewhat
different classification of heroines (DR. 2. 24), and in liis treat-
ment of the Krotic Sentiment (DR. 4. 58, etc.) he introduces a
new distinetion (wliich, il may be noted in passing, apparently
found no favor, for it is ignored by all the later authorities). At
3.48, after quoting (though withont indication of source) part of
the definition of the ndtikJ given in Bh., he ventures to modify
it in the direetion of greater latitude. The other variations be-
tween tlie two works are not of any spccial significance and are
few in nuniber."
The excellence of Dhanamjaya's presentation and its con-
venient form gave the Dasarupa a prominence that it has retained
to the present day. As a compaet exposition of the dieta of the
Bharatiyanatyasastra, it largely superseded that work, manu-
seripts of wliich are consemiently extremely rare, and it so com-
pletely supplanted such dramaturgic treatises as existed previous
'Cf. DR. 1. 4 d: kiyi cit pragunaracanayB lakfanam satftkfipami.
'Ci. DR. 1. 4 c: prati padam apararp lakftna kaff kartum \tfe.
' The chief points to be noted, with the seetions of DR. concerned, are :
variations in terminology : 1. 31, 79, 80. 96, H>7, 120; 2. 80, 86; divergencies
in definition: 1. 41, 48, 50, 102; difference in term and definition: t. 85,
92 ; omission of a term in DR : 1. 80. See «ny notes on the&c seetions.
XXVIII INTRODUCTION
to its time, that it is, with the sole exception of the Bh., the oldest
extant work in its field.
Its importance in the eyes of Indian students of the drama is
further attested by the numerous citations of its rules and allu-
sions to them in iater rhetorical and dramaturgic treatises and in
the native commentaries on Hindu plays. In the Prataparudriya,
for exampie, we find ten cmotations from the Dasarupa, 1 the
source being indicated in all but one of the cases ; three other pas-
sages, also ascribed to the Dasarupa, are not to be found in our
text.* The Sahit^adarpana, furthermore, not only refers to the
Dasarupa 8 and criticizes some of its statements, 4 but bases its
treatment of dramaturgy to a great extent on Dhanamjaya's work
and repeats verbatim or with minor variations a large number of
its sections. A similar dependence on the Dasarupa and recogni-
tion of its value is found also in other dramaturgic treatises.
Style and method of treatment. In style the Dasarupa differs
very largely from the Bharatiyanatyasastra (upon which, as
stated above, it is professedly based). The latu-r is very diffuse,
abounds in transitional and introductory formulas," and often
uses stock phrases to fiil incompletc lines." The Dasarupa, on
the other hand, is extremely condensed and avoids all formulaic
' padding ' except where it is absolutely required by the meter. 7
In many cases, however, brevity is attained at the expense of
elearness, and not a few definitions woukl be absolutely obseure
except for the help to be derived from the commentary and the
'The passages quoted are: DR. i. n, 15, 23 a, 27 a, 28 b, 34, 36, 115 b;
3. 4; 4. 1. (DR. 1. 1 15 b is quoted at Pratapar. 3. 35, p. 124: for the others
see my notes on the various sections.) DR. is mentioned also at Pratapar.
3. P. 131.
"Pratapar. 2, p. 46; 4, p. 221; 4, p. 228. For another pseudo-DR. rule
see the com. on Anargharaghava, p. 7 (cf. Levi, pt. 2, p. 4, 24).
* See my notes on DR. 1. 50, 55. DR. 3. 37 is quoted, as by Dhanika,
at SD. 316.
'Regarding these criticisms see my notes on DR. 2. 70, 71.
"Cf. Bh. 18. 3 b; 18. 40; et passitn.
*Cf. Bh. 18. 112 b; 19. 83, 84: et passitn.
' For examples of the occasional use of transitional phrases see DR.
1. 38 (atha lakftinam) ; 1. 67 {lakfanaitt ca franiyaic).
INTRODUCTION XXIX
parallel passages that are to be found in other dramaturgic and
rhetorical treatises. This is especially the case where only a
single word is used to explain the meaning of a technical term,
as often happens in Book i, in the treatment of dramatic
structure. 1
In his definitions of tcrhnical terms I Vnanamjaya oceasionaliy
resorts to etymologica! explanaiions, on the suppositiou that the
root of a word or its cmiponent parts will give a satisfaetery
idea 01 its meaning and application. 5 As a typical example, and
one which shows the method at its best, may be cited the treat-
ment of the word adhikdrika in i. 19. Analytic in charaeter is
the definition of the term vyabhicUrin (4. 8) —
visesSd S b h i mukhyena caranto vy-abhi-cirinah —
in which the author attempts to indicate the foree of each of the
components by a separate explanatory word. Other examples of
etymologic interpretation are found at 1. y, 20, 81, 126; 2. 44.
The Hindu fondness for minute and often futile classification
and subdivision is in evidence throughout the work, but is best
exemplified in the treatment of the Erotic Sentiment (4. 56-78)
and also of the types of heroine \2. 24-35), the classification of
which is shown by a diagram on page 149. Dhanamjaya for-
tunatcly refrains froni foolish computation (so often found in
later treatises 3 ) as to the theoretically possible number of types
of hero and heroine, but his commentator makes tip for the defi-
eieney in the former case. 4
Meters and metrical considerations. The Dasarupa is com-
posed for the most part in the ordinary sloka meter regularly
found in treatises of this kind. Eighteen stanzas, however,
including the last seetion in each book, are written in other meters.
A list of these is here given in the order of their oecurrence.
'Cf. DR. 1. 61, 68, ctc.
' Such cxpIanations are f requently met »ith in the Upani^ad» ; cf . for
example, Brhad-Aranyaka Up. t. '2. 7; l. 3. 22, 23; 1. 4. 1 ; Chandogya Up.
i. 2. 10-12.
* See my notes on DR. 2. 45.
*Cf. DR. 2. n, com.
XXX I.VTRODUCTION
i. 3 arya 4- 44 arya
4 sragdhara 57 indravajra (6 lines) •
6 indravajra 79 vasantatilaka
129 vasantatilaka 8o sardulavikridita
2. los upajati 8i sardulavikridita
3. 65 vasantatilaka 83 arya (2 stanzas)
4. 9 sragdhara 90 vasantatilaka
15 arya 91 indravajra
35 sragdhara
One of these stanzas (4. 9), a veritable metrical tour de forcc,
embodies in its four lines, without extraneous matter of any
kind, the names of the thirty-three Transitory States. The second
arya stanza at 4. 83 is dcfective in all previous editions, lacking
one syllabic instant in the second half of the first line. As indi-
cated in the notes on that scction, I have remedied this by a very
simple emendation of the text.
As might well be e.vpected, Dhanamjaya has to resort to a num-
ber of expedients to round out his lines or to obtain the needful
succession of light and heavy syllables. Perhaps the most natural
of these, the usc of ' verse-fillers,' i s much less frecjuent in the
Dasarupa than in other works of this kind, because of the
compact arrangement of the material. Instances, however, occur
here and there; ef. 1. 27 (akhya) ; 2. 49 b (tatha); etc. Tran-
sitional phrases (such as atha laksanam), which occur in the
Bharatlyaniityasastra with almost unfailing regularity, are simi-
larly but Httle employed, the two chief cases being at 1. 38 aru!
1. 67. Great advantage in versification is gained also by the alter-
nation of such verbs and verbal forms as syat, bhavct, isyate, smrta,
mata, and pariklrtiia. Another device, which is especially helpful
in the metrical adjustment of enumerations and lists of technical
terms, is the arbitrary grouping of words into copulative com-
pounds. The most conspicuous example of this is undoubtedly
the sragdhara stanza at 4. 9; others may be found at r. 38 c, 67,
82,9752. 15, 83b;3. 13:4. 81 d.
To metrical exigencies also must be attributed the use of a
large number of dramatic terms in varying forms, as well as the
INTRODUCTION XXXI
occasional substitution of the synonymous word for th«* term
regularly employed. These variations may be conveniently
grouped under six heads. The Hst of cxamplts appended is prac-
tically exhaustive (but see also my notes on 4. 84, 86, 87).
1. Addition or rejecti' n of a suffix such as -ka or -na.
udghaiya (3. 14) = udghsiyaki anumS ( 1 . 75) = anumUna
jan&nta (1. 125") = jaiiSnti!:n avafatana (2. 88) — avapata
pravesa '1. 118) = pravcsuka ttirodhana (1.60)= nirodho
znskambha (1. 116) = riskambhaka />unMdra (1. 47) --z paribhavanU
samlapa (2. 8,?) = satfilapaka paribhilfa (1. 102) = paribh&fana
samkfiplika (2. 88) = satpkfipti bhisB (1. 97) = bhasntja
2. Substitution of a different derivative of the same basic stem.
alasata (4. o) =afaji'd capalata (4. 81) = cSpala
utsuka (4. i)) — auts*kya parikriyH (i. 40) = parikara
udahrii (1. 71) =zudahanina paryupasti (r. 6i) = paryupisana
augrya (4. o, 57) = ugratU pragalbhya (2. 57) — pragalbhutd
n-lya (2. 25) = sva vastatthana (2. 88) =twst<itthapana
ciipala (4. 9) =c3pala
3. Addition, change, or omission of a prcfix. ,
dhlrupraiSnta (3. 44) = dlilrajanla sahacOrin (4. 84) = ryabhkSrin
pralwrfa (4. 70) = /icr;a smaya (4. 44) = vismaya
sammoha (4. 86) = w«/;a yu/iid (1. 28) = prayatna
vimaria (3. 60, 61 ) =. avamarsa vcga (4. 81 ) = ivega
satncirin (4. 54) = vyabhicUrin
4. Change or omission of one of the elenients of a compound.
upasatithSra (1. 07) = kivyasatfihara praptisambhava (1. 66) = praptyiii
dyuti (1. 58) = narmadyuti pltalUgnina (1. 28) — phalayoga
sMrabhrt (2. 100) = sOtradh&ra
5. Use of a different, but related, simple or compound term.
utka (4. 75) = fira/iolfcaHffii/a samaprakarta (4. 53) = idntora.ni
bhoyotkarfa (4. 52) =bhayHnaka sUtrin (2. 102; 3- 10) — satradhOro
6. Substitution of an entirely different word.
IrsyS (4. 9) =a.rfij'd upasatnhrii (1. 36) = nirvahana
siapa (4. 87) =znidra Orti (4. 80) =vyadhi
it
fflOOi INTRODUCTION
It is probably to these same considerations of meter that we
raust ascribe the adjectival use, in more than twenty cases, of
numeral derivatives in -dhs, in place of the regular adjective
derivatives in -vidha (of which only four examples occur : dvividha,
i. 15; caturvidha, 4. 52 b; sadvidha, 3. 58; dasavidha, 3. 54 d).
Gearly adjectival in construction and signification, though not
in form, are the following words, most of which are used as
predicates:
dvidha: 1. 17, 125; 3. iob, 45 a; 4. 2 b.
dvedha: 2. 31, 79 d.
tridha: 1. 23 a, 122; 2. 24, 790; 4. 58, 67 d, 71.
trcdha: 2. 79 d; 3. 45 d, 55; 4. 79 d.
caturdha: 2. 2, 77 a, 88 a, 93.
daiadhd: 1. 10.
As doubtful cases, possibly truly adverbial, may be added the
following: dindhd, 3. isb; 4. 6sa; dvedha, 1. 113; 3. I4b; tridha,
2. 79 b; sodhS, 1. 111. The regular adverbial use is exemplified
in tredhs, 1. 23 a; pancadhi, 3. 30 a.
2. CONCERNING DHANIKA'S COMMENTARY ON THE DASARUPA
Authorship and date. In most of the manuseripts the
DaSarupa is accompanied by a Sanskrit commentary, in prose,
entitled Dasarupavaloka, 1 or 'Examination of the Dasarfipa.'
Its author, Dhanika, son of Visnu, 2 is deseribed, in one of the
manuseripts, as an officer (mahisadhyapsla) of King Utpalaraja,"
' Hall (p. 4, notes) records that one of his manuseripts has, in one
place, the variant form DasarApaloka.
* There are known also commentaries on this work by Nrsimha Bhatta
(Aufrecht, Catatogiu Catalogorum, 1. 247 b, 248 a), by Pani, or Devapani
(Aufrecht, 2. 53), by Ksonidhara Misra (Hall, p. 4, notes), by Kuraviratna
(Aufrecht, 2. 53). So far as I am aware, none of these have been made
accessible in printed form.
* Wilson, Select Specimens of the Theatrt of the Hindus, 3d ed., Lon-
don, 1871, J. xx, xxi. Wilson's statement is reprinted by Hall, p. 3, notes.
INTRODUCTION JOodii
who is, as we have seen, none other than Munja, the patron of
Dhanamjaya. 1 This statement, togcther with the fact that the
work contains (at 2. 65) a quotation from Padmagupta's Nava-
sahasankacarita (a poem ptiblished after 995 A.D., in the reign
of Sindhuraja), enables us to assign Dhanika's comnientary ap-
proximate!y to the end of iiie teiith century.* It is consequently
not at all impossible (though I do not regard it as probable) that
our commentator is the sanie person as the Dhanika Pandita to
whose son Vasantacarya a tract of land was granted in 974 A.D.
by King Vakpati (=Munja). s This conclusion as to the age of
the Dasarupavaloka would seem to be invalidated by the occur-
rencc. at the end of the first book ( 1. 129, com.), of a qitotation
from Ksemendra's Brhatkathamanjari, a work composed about
1037 A.D., but the four lines in (juestion occur m only one of the
manuscripts and are generally adniitted, for this and other reasons,
to be a later interpolation. 4
It has been suggested, because of the similarity of the names
and the identity of the patronymic, that the author of the DaSarupa
and its commentator were one and the same person." This view
is supported by the fact that the Dasarupa is usually refcrrcd to
in later treacises as the work of Dhanika'' and that the commen-
tary seems to form an essential part of the treatise. On the other
1 See page xxi, above. Dhanika quotes one of the king's stam-as in two
placcs in his comnientary (DR. 4. 66, 67).
' According to Jacob, J RAS. 1897, p. 304, Dhanika is quoted 16 times in
the Sarasvatikanthabharana (writtcn ahout 1025 A.D.).
*Cf. Jnd. Ant. 6 (1877), P- 51-53; Archoeol. Surrty of Western India,
vol. 3 (Burgess), London, 1878, p. 100. This grant was first deseribed by
Hall, Journ. As. Soc. Bengal, 30 (1861), p. 1<>5-2I0.
*Cf. Hall, VOsavadattli, Calcutta, 1859, p. 55; Levi, Journal asioligue,
8. serie, 7 (1886), p. 221; Buhler, Sb. Akad. Wien, 116 (1888), p. 622,
n. 2; Lacote, Essai sur Gunddhya et la Brhatkatha, Paris, 1908, p. 14.
The two slokas are quoted also in Dhundhiraja's comnientary on the
Mudraraksasa (cd. Telang, p. 53; ed. Kale, p. 12).
* Wilson, Thealre of the Hindus, i. xx. Cf. also Levi, Journal asiatique,
8. serie, 7 (1886), p. 220-221.
'As, for instance, at SD. 313, 316, «c, and in other works. Cf. Levi,
Le Thealre indien, p. 17.
XXXIV INTRODUCTION
hand, there are in the commentary a number of indications of a
difference in authorship, 1 and it is difficult to resist the conclusion
that Dhanika, its author, was some contemporary of Dhanamjaya,
very probably his brother, who collaborated in the production of
the work. 2
O f other works by Dhanika only a few fragments have sur-
viveci to the present day. From seven couplets quoted in his
comment on DR. 4. 46 it appears that he composed a treatise on
poetics, entitled Kavyanirnaya, of which nothing further is
Jcnown. His Avaloka also reveals him as a wrher oi poetry,
since he cites twenty-four of his own stanzas, twenty m Sanskrit
and four in Prakrit, as illustrations of Dhanamjaya's definitions. 3
Two of these stanzas are includcd, under his name, in the
Sarrigadharapaddhati, and still another is found in that anthology
without indication of authorship. 1 Very probably Dhanika was a
poet of some repute and belonged to the litcrary circle at King
Munja's court, for we find his name mentioned with those of
' At DR. 2. 34, for example, Dhanika gives two possible interpretations
of the text without dcciding which is- the correct one ; at 3. 40 his ex-
planation seems to rcad a technical mcaning into an apparently simple
line; at 4. 52 we fintl the form vikUsa substititted for the vikiia of the
text (this nia.v, of course,- bc mercly a manuscript error). See my notes
on these sections. 1 rcgaril Hall'.s views (p. g, notes) regarding Dhanika's
interpretation of tulyasatnvidhinaviscsanam (DR. t. 22) as mistakcn;
the commentator seems to give the mcaning intended by the author in
this passage.
* Cf. Hall, p. 2-4. That they were l>rothers is accepted, for example,
by Keith, A 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. :
2. 8, 16, 22, 26, 29, 50 (Prikrit), 51 (Prakrit), 52, (Prakrit), 57, 60, (Prakrit).
63, 64. 65, 67. 68. 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,
prefixed to the Avaloka in one of the manuscripts, was rejected by Hall
as spurtous, chiefly on the ground that its style was ' too pedestrian for so
ornatc a stylist as Dhanika.' See Hall, p. 4. notes.
* Sarng. 3973 (DR. 2. 16), 3417 (DR. 4. 3). 278 (DR. 4. 79).
* See pages xxi»-xxin, above.
INTRODUCTTON XXXV
othcr poets (Kalidasa, Amara, Sundara, and Sankha) in an
anonymous stanza recorded by Cowell. 1
Character and value. Although professedly an aid to the
«nderstanding of the text, the commentary leaves much to be
desired and is not nearly "> iielpful as the average work of its
kind. At times it explains what is so ciear as to require no
comment (this i*s, howevcr, t"requently the case in Hindu glosses) ;
often, on the other banci, obseure vvords and phrases receive no
elucidation whatever, and vvhole seetions are cccasionally dis-
missed with but the single word spaslam, ' [it is] ciear.' Even
where Dhanamjaya's definitions of technical terms are ilhistrated
by means of cxamples from Sanskrit literature, the absence of
further explanation sometimes leaves the exact meaning in doubt.
The real merit of Dhanika's Avaloka lies in the occasional lengthy
diseussions of disputed and obseure jKiints and in his collcction
of illustrative quotations, many of whkii are of value in obtain-
in^ a ciear conception of the principles of Hindu dramaturgy.
Dhanika's explanatqry and illustrative quotations. In his
explanations of Dhanamjaya's rules, Dhanika not only refers to
seenes and situations of the principal Hindu dramas, 2 but also
cjuotes such passages as will serve to illustrate the matters under
diseussion. J lis (juotations are, however, by no means confined
to dramatic works, but are drawn to a considcrable extent from
other fiekls of literature as well, particularly from the senten-
tious poetry and the so-called kavya produetions. ( )ccasionally
also he corroborates bis statements by an excerpt from the
Bharatfyanatyasastra or some othcr technical work.
The range of these citations and references, so far as they have
been identified, can best be scen from the follovving tabulation, in
which works merely mentioned Cbut not uuoled ) are enclosed in
parentheses. In the case o f works cited only a few times, all the
occurrences are recorded after the names or in the footnotes.
*JRAS. is 175.
'As, for examp1e, in the com. on DR. 1. 81 ; 2. 82; 3. 15; etc.
XXXVI INTRODUCTION
i. Dramas extant and published
Mrcchakatika Nagananda Venisainhara 1
Sakuntala Mahaviracarita Karpuramanjari*
Vikramorvasi Uttararamacarita Viddhasalabhaftjika*
Malavikagnimitra Malatimadhava Anargharaghava*
Ratnavali' Mudraraksasa* Mahanataka'
(Priyadarsika)"
■
2. Other works of Sanskrit and Prakrit literature
(Mahabharata)" Srngaratilaka" HalasaptasatI"
(Ramayana)" Kiratarjuniya" Bhartrharisatakani"
Meghaduta" (KSdambari)" Amarusataka"
Kumarasambhava" Sisupalavadha" Navasahasankacarita"
Raghuvatpsa' 1 (Brhatkatha)"'
' The Ratnavali and the Venisamhara arc quoted more frequently than
any other works, especially iri connection with the treatment of dramatic
structure in Book i, since of all the plays they conform most strictly to
the rules laid down in the text-books.
"This play of Harsadcva is refcrred to at DR. 2. 82, 92.
*Quotcd only at DR. 3. 23, but referred to also at t. 129 and 2. 86.
'One stanza is quoted as an illustration of DR. 3. 16.
"Quoted only once, in the comment, cm DR. 4. 61.
" The only quotation f rom this play is found at DR. 2. 1. Dhanika does
not name the source of the stanza. Parab, in his index "f verses, attributes
it to the Mahanataka.
* Regarding this drama see the following page.
" Kefcrred to only at DR. 3. 28.
•Mentioned by name at DR. 1. 129; z. 12, 86; 3. 28, 52. A reference to
plots based on the Ramayana is found at DR. 2. 00.
"Quoted only at DR. 4. 71.
" Quoted only in Books 2 and 4. All of the numerous stanzas f rom
Hala are quoted anonymously.
"Quoted at DR. 2. 1 and 4. 35; mentioned at 4. "4.
"Of this work, attributed to Kalidasa, stanza 3 is quoted at DR. 4. 69,
but without indication of source. In Hall's edition these lines are enclosed
in braekets, as a possible interpolation.
" 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. 1. 129; 4. 43.
" Nitisataka, DR. 2. 1 ; Srngarasataka, DR. 4. 43 ; Vairagyasataka, DR.
4. 10, 14.
"On this mahakavya by Padmagupta see p. xix, note 1, and p. xx,
above. One stanza from it is given at DR. 2. 65.
INTRODUCTION XXXVII
3. Dramas unpubHshed or no longer extant
Udattaraghava 1 Pandavanarda' (Tarangadatta)*
Chalitarama' (Ramabhyudaya)' (Puspadusitaka)'
4. Minor and unknown autliors or works
Anandavardhana — five sta:>zas (found in his Dhvanyaloka eornmen-
tary), at DR. 2. 56; 4. 10, 43 (iwo), 45.
Vikatanitamba, poetess — o;>e stanza at DR. 4. 42.
Vakpatirajadeva (=r Muuja) r '~-one stanza at DR. 4 66, 67.
Rudra — one stanza at DR. 4. 67.
Dhanika — twenty-four stanzas (see page xxxiv, note 3).
(Bhafta Bana's Mahasvetavarnanavasara, mentioned at DR. 2. 54).
5. Technical works
Bharatiyanatyasastra' — DR. 2. 11 ; 3. 46, 59; 4. 2, 4, 5, 6, 50, 52, 89.
Kamasutra of Vatsyayana— DR. 3. 45; (4. 64).
A treati.-e by Bhartrhari (apparcntly not the Vakyapadiya) — DR. 4. 2.
Kavyiilamkara of Rudrata* — DR. 4. 44.
Kavyanirnaya, by Dhanika himsclf — DR. 4. 46.
The (]iiotations frequcntly deviate from thc piiblishcd texts of
the works from which they are drawn. Such vamtions may be
due either to Dhanika's quoting from memory, to the existence
o f other recensions thau those known to us, or to corruption in
transniission. They are in most cases of no special importance.
'A play by Mayuraja. It is quoted at DR. 2. 91; 3. 3; 4. »5, 35;
refcrred to at DR. 3. 29.
*Quoted at DR. 1. 85; 3. 15, 22.
* Thc only quotation from this work occurs at DR. 3. 14.
' Writtt'ii by Ya.sovarman in the latter pari of the 7th ccntury. It is rc-
ferred to at DR. 1. 90 (also at SD. 427)- Cf. ZDMG. 36 (1882), p. 521.
' These two plays are mentioned at DR. 3. 45. The name Puspadusitaka
n-curs as Puspabhusita at SD. 512. — At DR. 3. 6i Satnudramanthana
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), tnuni (DR. 3. 46), Bharatatnuni (DR. 3. 59), or fafsahasrakrt
(DR. 4. 2).
* Rudrata's Kavyalamkara is not mentioned by name.
XXXVIII INTRODUCTION
In additkm to differences of wording, which constitute the largest
part of these variations, we find also instances of transposition
of the lines of stanzas 1 and of assignment of speeches to charac-
ters other than those indicated in the printed texts. 2 In some
cases Dhanika does not repeat dramatic quotations in tuli, but
gives mereJy the first and last words of the passage to which he
refers; see, for example, the commentary on DR. i. 48.
Some of the quotations occur more than once, being used as
illustrations of two, or sometimes three, different statements.
One of the stanzas drawn f rom Amaru, for example, appears both
at 2. 31 and at 2. 82; a stanza from the Mahaviracarita is quoted
at 2. 1 and recurs at 2. 20 and 4. 22. Ustially the passage is re-
peated in full at each oecurrence; occasionally, however, only the
opening words are given (cf. the Ratnavali quotation at 4. 86,
which appears in fnll at 2. 92). The first illustrative excerpt at
4. 86, although introduced with the statement prag udahrtah,
'previously quoted,' does not occur elscwhere in the commentary.
Possihly the words just mentioned have been misplaced and
should be connected with the following emotation, which has
really occurred before.
Resides referring to actual dramatic works, Dhanika makes
mention also of legends and stories on which plays were based.
Stich are the Udayanacarita, mentioned at DR. 2. 89, and the
Samudramantliana, named at DR. 3. 61, although the latter may
be actually the name of a drama.
Of particular interest from the point of view of literary chro-
nology is the oecurrence in Dhanika' s commentary of five stanzas
from the Mahanataka, or Hanuman-nataka. 3 The source is indi-
cated in only one instance (DR. 2. i)> but the lines are all to be
found in the text of the recension publishcd by Jivananda
Vidyasagara. The oldest extant recension of this play, that
'DR. 3. 18 (Venisamhara 5. 26); DR. 4. 10 (Mahanataka 9. 55) ; DR.
4. 61 (Viddhasalabhatijika i. 31).
'DR. 1. 94 (Veni. s, p. 149-150) ; DR. 3. 10 (Vcni. 1. 7, p. ro).
" At DR. 2. 1 (this stanza recurs in Rajasekhara's Balaramayana, 4. 60),
S (repeated at 2. 19), 18; 4. io, 24.
INTRODUCTION XXXIX
ascribed to Damodara Misra, dates from the elcventh century,
but has been thought, becaus*» o f its patchwork character, to be
merely a revised form of an older work. 1 This supposition is
confirmed by the quotations in Dhanikas cominentary, which
must be from an earlier Hanuman-natika than the known rectn-
sions, slnce it is hardly prooable that all of the five stanzas, occur-
ring at as marfy different places, are later interpolations. As has
previously been potnteu out, the four lines quoted at DR. i. 129
from Ksemendra's Brhatkathamanjari fa work pbout hal f a cen-
tury later than DR.) are doubtless to be regarded as an inter-
polation. 2
3. -CuNCERNlNd PREVIOITS KlHTIONS OK Titi: DASARUPA
Hall's edition. The carliest edition of the Dasariipa (so far
as I ani awarc), and the only one of any independent vaUie, is
that of Fitzedward Hall, 8 publishcd at Calctitta in 1865 in the
Bibliolheca Indica. The text, as well as the commentary of
Dhanika, which accompaims it, was bascd on a collation of six
manuseripts, five of them complctc (see Hall, p. 35-36), and is
in general very satisfaetory. Unfortunatcly the editor thought
it unneccssary to includc in the printed volume the ' minute
account ' of the manuseripts and of their rcadings which he had
taken the pains to prepare (Hall, p. 37), and we are thus left
vvithout niuch of the information that would have been helpful
in estimating the correetness. of his text. A number of variant
readings are recorded, however, on pages 38 and 39, and an
introduetory paragraph on page 38 gives the impression that many
1 Cl. Schroeder. Indiens Literatur und Cultur, Leipzig, 1887, p. 658;
Levi, p. 243-244; Cimtnino, L'uso delle didascalie [for f uli titlc see p. xiii],
p. 142-143-
' See page xxxiii, above.
'I am informed, on the authority of Mr. Richard Hall, the seholar's
son. that Hall wrotc his given name ' Fitzedward ' ; the title page of his
Daia-Rupa, however, has the form ' Fitz-edwaKi>.' At all events, he should
not be referred to as ' F. E. Hall.'
Xl INTRODUCTION
of these were taken from an old copy of the Natyapradipa, a
work which (as Hal) mentions) 'repeats verbatim a large portion
of the Dasarupa.' This list of variants was prepared after the
text was printed, and such readings as seemed preferable to those
in the text wcre designated with asterisks. In using this list it
must be borne in mind that Hall has disregarded the principle of
euphonic combination, giving all the readings in the pause-form,
according to Hindu practise, as if they stood alone, uncon-
nected with other words. In quoting these I have thought it best
to give the form actually required by the context.
The introduction to Hall's edition contains a brief analysis of
the work and much illustrative and explanatory material, a large
part of which is now naturally antiquated. In addition to the
Dasarupa, the volume contains, as an appendix, the Sanskrit text
of four books o f the Bharatiyanatyasastra, a manuseript of which
came into the editor's hands after the completion of the rest o f
the work. The books are numbered 18. 19, 20, and 34; the last,
however, is really book 24. This apj)endix is of great value and
is constantly referred to in the present volume, but it must be
said that it contains numerous errors and presents the appearance
of a hasty transeript. 1
Jtvananda Vidyasagara's edition. The edition published by
Jlvananda Vidyftsagara at Calcutta in 1878 is merely a reprint.
Hall's text is reproduced, even to the misprints, without any indi-
cation of its source or a single word of acknowledgment. The
publisher took no notice of the faet that Hall (on pages 38 and
39) had designated certain variant readings as preferable to
those in bis text. He likewise failed to correct an error to
which Hall calls attention in his introduction; see my notes
on DR. 2. 15. The reprint contains no prefatory material or
index to give a touch of originality. The four books of the
Bharatiyanatyasastra are also copied from Hall's edition, with all
the misprints and inaccuracies faithfully preserved.
'See my notes on DR. 1. 80; 3. 63.
INTRODUCTION xli
Parab's cdition. Another reprint of Hall » tcxt, prepared
under the supervision of Kashinath Pandurang P.irab, was pub-
lished by the Nirnaya Sagara Press at liomb&y in 1897. Here
again there is no acknowledgment of indebtedness to Hall's text,
which is referred to in the footnoics mcrely as ' pstha.' For no
apparent reason, this ediiion does not follow Hall's numbering
of the verses.'but adopts a system of its own, which departs f rom
the other sufficiently to cause some difficulty in finding passages
referred to by the numbers of the older edition.
This edition is in many rcspccts the most praetical of the three.
The text cmbodies all the readings that I Ia.ll markcd as prcferable
on pages 38 and 39, and all the variants listed by Hall are given
in the footnotes. A gronp of sections in the first book (1. 53-<>5 ;
P. 1. 32h-35; H. 1. 3ob~32), which were prinied as a con-
tinuous passage by Hall, are arranged separately, each fol-
lowed by its own interpretation in the comnicntary, so as to con-
form tn the rest of the tcxt. The volume contains also a detailed
table of contents, a list of the works (juoted in the comnicntary,
and an indcx of all verses thus cited f rom otlier authors, with
an indication, in many cases, of tbeir sv-urcc.
4. CONCERNING THE PRESK NT EniTION
Constitution of the text The Sanskrit tcxt contained in the
present e<lition is not based on any new examination of manu-
scripts 1 and can not,therefore,layclaim to any independent value.
Aside from a few corrcctions, Hall's text is rcproduced without
change, with the substitution, howcver, in nearly all cases, of
those of his variant readinjjs designated by him as preferable on
pages 38 and 39 of his edition. The only departures from Hall's
text and variants (that is, from the text as printed by Parab)
are the following:
1 On matmscripts of DR. see Aufrecht, Catahgus Catalogorum, 1. 247 b;
2- M-
Xltt INTRODUCTION
i. ng I retain antaryavanika," , disregarding Hall's expressed prefer-
ence (p. 38) for c javanika°.
2. 27 Emendation of "ySvanSnangU to " yauvaninangi.
78 Adoption of °spk&rja" for "sphinja°.
80 Adoption of narmasphurjah for narmasphinjah.
83 Emendation of "dayajavaih to "dayUrjavail}.
89 Emendation ol "parigrahah to " parigraham, to remedy iaulty
graramatiral construction. <
4. 34 Emendation of the uninteHigible c garbhBdejahmyo c to "garbhider
jadyatn.
41 Adoption of one of Hall's variants, ° IvarSsvOsa.
52 Substitution of Dhanika's vikSsa for the vik&sa of the printed
texts.
83 Change of ati" to atJ° to satisfy metrical requirements.
87 Adoption of one of Hall's variants, aniftapteh.
80. Adoption of lakfma" from Hall's variant reading.
For detail s see the notes on the respective sections.
The numbering of sections. The system of numbering in the
cdition of Parah diffcrs from that follovved by Hall (and re-
printed by Vidyasagara) sufficiently to interfert- with rapid con-
sultation of passages in an edition otlier than the particular one
referred to. 1 Furthermore, the niuthod employed in these edi-
tions docs not permit of accurate citation, espedally of the
briefer definitions, withont the cnm1>ersomc additiun of letters
and superior figures. 2 I have accordingly decided, after mature
deliberation, while preserving the very practical division into
fotir books, to renumber the work according to logical sections
and thiis to establish a sintplc iwmcrical dcsiynation for every
definition or part of a definition that is separately treated in
Dhanika's comnientary. At the liead of each seetion 1 have placed
not only the new nuniber thus assigned, but also the number in
the editions of Parab and of Hall,* so that passages may be con-
'Notc, for example, the following variations: P. 1. 67= H. 1. 60; P. 2.
62 = H. 2. 57 ; P. 3- 57 = H. 3. 51 ; P. 4- 67 = H. 4. 61.
"The brief definition of the term parisarpa, DR. 1. 54, had to be cited
heretofore as H. 1. 30 b', e', or as P. 1. 32 b', 33 a'. Similarly DR. 3.
8= H. 3. 7, 8a'=P. 3. ?b, 8a, b'.
' VidySsagara's numbering is identkal with that of Hall.
INTRODudTION jdffi
sulted with convenience in the present volume, no matter to
which edition reference is made.
The translation. In the translation, which I have aimed to
make as nearly literal as possiblc, it has bcen found necessary to
introduce a considerable numl>er of cxp!anatory words fcnclosed
in bracketsj, in order to make clear the precise meaning of the
condensed Sa'nskrit orisinal. Imporlant Sanskrit technkal teriris
have usually been repeated (cnclosccl in parentheses) in the trans-
lation, in their uninflected form, cspccially wher- they are tlcfined
or explained. The translations adopted for tliese lechnical words
are not, in many cases, literal renderings of the Sanskrit names
(as: hindu, 'drop'; patakil, 'banner'), hnt are selecteil with a
view to indicating, as far as possible, the special significance of
the original. To avoid their being taken in their ordinary Eng-
lish sense they are distinguished hy capital initial letters. It was
not considercd necessary to indicate throughout the special forec
of the constantly recurring optative verbal forms ; such verbs as
bliazrt or syat, cspccially where they oecur in mere definitions,
are f rcquently rendered by the simple ' is ' or a similar indicative
form.
Extracts from the commentary of Dhanika. Undcr the head-
ing ' Com.' is given the stibstance (and occasionally a literal trans-
lation) of such passages of the commentary as are of particular
interest or importance. It was not deemed necessary to present
in detail Dhanika's longer theoretical arguments, and these have
either been passed over without mention or merely briefly sum-
marized. 1 I have made a special effort, however, to discover and
record the source of the numerous illustrativc quotations that
Dhanika has introduced into his work. 4 For many references I
am indcbted to Bohtlingk's valuable collection of material
* Zur Kritik und Erklarung versehiedener indiseher Werke ' (43.
Da<;arupa, in Melangcs asiatigucs, 7. 574-577) and to marginal
1 Especially where already given by Levi or Rcgnaud ; cf. the com. on
DR. 2. s, 6; 4. 44.
' See pages xxxv-xxxix, above.
xliv INTftODUCTION
annotations by Bohtlingk in his copy of Hall's edition, which is
now in my possession. The references so obtained I have sup-
plemented by tracing to their source many additional quotations ;
but a number of the passages quoted by Dhanika still remain
unidentified, chiefly because the works from which they were
drawn arc unpublished or no longer extant. When a stanza not
otherwise located appears in native anthologies '(such as the
Sarrigadharapaddhati or the Subhasitavali ) , in a later work (such
as the Bhojaprabandha), or in Bohtlingk's Jndische Spriiche, I
have given its number in such collection in place of the usual
phrase 'unidentified stanza' 2 ; I have also added references to
these works in a 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 consultcd are
recorded on pages xiv-xvii, above.
The notes in this volume. Such explanatory material as it
seemed advisable to include in the present work will be found
appended to the several sections untler the heading ' Notes,' the
nccessity of turning to another part of the book for annotations
being thus cntirely obviated. Among the matters included in the
notes may bc mcntioned particularly the variant readings referred
to above (p. xxxix), explanations regarding Dhanamjaya's termi-
nology anti definitions, divergencies belwcen the Dasarupa and
other dramaturgic treatises, references to the work of scholars in
this field ( especially Levi, Regnaud, and Schmidt ) , and — a f ea-
ture to which I have devoted a great amount of time and labor
— a collection of references to parallcl passages in other Hindu
works, chiefly dramaturgic and rhetorical.
These references to native treatises — which will enable the
reader to make a comparativc study of any special point without
a laborious search of his own — are as exhaustive as the material
at hand would allow. After a preliminary consultation of the
references given in the works of Levi, Regnaud, and Schmidt
'As, for example, at a. 42; 4. 16, 17, 27, 28.
INTRODUCTION X\v
(see the Bibliography,p.xiii),all accessible Sanskrit textf dealing
with rhetoric and the drama liave been carefuily searched for
passages treating the same topics or defining the same terms as
those that appear in the Dasarupa. and parallel passages in other
Sanskrit works have been inchuled whcrever possible. The refer-
ences are preceded in e.ery case by the special symbol II, the
parallel bars being intended to stiggest the parallel passages. The
order in which the various works are enumeratcd is in the main
chronological, although the date of composition is in many cases
merely a matter of conjecture. The Sahityadarpana. however,
though dating from the middle of the fifteenth century, has for
reasons of convenience been cpioted uniformly in the second
place, directly after the Bharatiyanatyasastra. Detailed informa-
tion fegarding the editions to which the citation? refer will be
found on pages xiv-xvii, in the Conspectus of Editions of Texts.
THE DASARUPA
BOOK ONE
i (P. i; H.' i).
nainas tasmai Ganesaya yatkanthah puskarSyate
madabhogaghanadhvano nilakanthasya tandave.
' Homage to that Ganesa whose throat, deeply rcsonant in his
excessive frenzy (mada^abhoga), serves as a drum in the wild
dance of Siva, just as the sound of the wildly expanding thunder-
cloud at the dance of the peacock ! '
Com. ' According to established usage ' the siuthor bcgins his work with
two stanzas of invocation. — Thereishcre an imperfect pun (khandcSlefa).
Notes. As noted by the cotnmcntator, there is a play on words in this
introductory stanza. The cntire second line refers to the dance of Siva,
but can also be understood as referring to that of a peacock. In this way
a simile is included in the very words ti which it refcvs. This necessi-
tates a double translation of the words iti the second line.
a (P. 2; H. 2).
dasarupanukarena yasya madyanti bhavakah
namah sarvavide tasmai Visnave Bharataya ca.
' Homage to that omniseient Visnu whose senses revel in the
semblance of his ten forms [of incarnation], and to Bharata,
whose poetic sensibilities revel in the imitation of the ten forms
[of drama] (dasorapa) .'
Notes. Here again there is a double meaning, in that the first line
applies in one sense to Visnu and in another to Bharata. In order to
con-vey this twofold meaning adequately in English, the words of the first
line have been rendered twice.
PP A Hst of abbreviations and symbols will be found on pages xviii-
xix; a conspectus of editions of texts referred to, on pages xiv-xvii;
remarks concerning the plan of the present votome, on pages xli-xlv.
3 1
2 BOOK ONE [*• 3~
Introductory Remarks
3 (P. 3; H. 3).
kasya cid eva kada cid dayaya visayam Sarasvati vidusah
ghatayati kam api tam anyo vrajati jano yena vaidagdhim.
1 \
' Sarasvati through her f a\or f urnishes to any intelligent man
at any time that subject, whatever it be (kam dpi), by which
somebody else becomes cultured.'
Notes. The sense is, : The goddess Sarasvati f reely provides themes
for literary works to persons of intelligence, and through these works cul-
ture is diffused among others. — Meter: arya.
4 (P. 4; H. 4).
uddhrtyoddhrtya siram yam akhilanigaman
natyavedam Virincis
cakre yasya prayogam munir api Bharatas
tandavam Nilakanthah
Sarvani lasyam asya pratipadam aparam
laksma kah kartum iste
natyanam kim tu kirn cit pragunaracanaya
laksanam samksipami.
'Who, pray, is able to make a new detailed nomenclature
(pratipadam laksma) of dramatic science, which Virifici [i. e.
Brahma] created after repeatedly extracting the essence from
the entire sacred writ — [that dramatic science] of which Bharata,
though a seer, gave an exhibition, Nilakantha [i. e. Siva] per-
forming the wild dance (tan4ava) and Sarvani [i. e. ParvatI]
performing the gentle dance (lasya) ? Yet I shall give concisely,
in orderly arrangement, some sort of description of dramatic
representations.'
Notes. • A reference to the legend of the creation of the drama by
Brahma and of the codification and application of its rules by Bharata,
the reputed author of the Bharatlya-natyasastra. — Meter: sragdhara. — Cf.
L6vi, p. 16.
-I. 8] BOOK ONE 3
5 (P. s; H. 5).
vyaklrne mandabuddhfnam jayate mativibhramah
tasyarthas tatpadais tena samksipya kriyate 'fijasl.
' In a diffuse [treatise] there arises confusion of mind on the .
part of those of slow wit ; therefore the import of it [i. e. of the
code of dramatic rules] is given concisely and directly in its
[own] ,words.'
Notes. Cf. Le>i, p.. 17.
6 (P. 6; H. 6).
anandanisyandisu rupakesu
vyutpattimatram phalam alpabuddhih
yo 'pitihasadivad aha sadhus
tasmai namah svaduparahmukhaya.
'As for any simple man of little intelligence who says that
from dramas, which distil joy, the gain is knowledge only, as
in the case of history (itihasa) and the like— ; homage to him,
for he has averted his face from what is delightful ! '
Com. Spr. 3122. — The s^(ement is ironical (solluntham).
Notes. Meter: indravajra. — Cf. Levi, p. 258.
Fundamental Definitions
7 (P.7* 1 ; H. 7 a l ).
avasthamikrtir natyam.
'Drama is the imitating of situations.'
Notes. ||SD. 274; Pratapar. 3. 1, p. 100. Cf. Levi, p. 29.
8 (P. 7a a ; H. 7a 2 ).
rupam drsyatayocyate.
* It is called a Show (rapa, lit. form) because of the fact that
it is seen.'
Notes. Cf. Levi, p. 29.
4 BOOK ONE [*• 9~"
9 (P. 7 b', -H. 7 b 1 ),
rupakam tat samaropad.
' It; [is called] Representation (rOpaka) because of the assump-
tiq|&<tof parts.by actorsj.'
Notes. As noted by Levi, pt. 2, p. s, the word rapaka, although merely
a variant of the preceding rttpa, is referred by native theorists to the
causative form (roj>aygti) of the root ruh. It is therefore explained here
by a compound derivative of the causative, samUropa.
H SD. 273. Cf. Levi, p. 29. '"
10 (P.7b 2 ; H.7b«).
dasadhaiva rasasrayam.
' It is tenfold, and is based on the Sentiments.'
Notes. With regard to the employment of the different varieties of
Sentiment (rasa) in a drama see DR. 3. 36-38.
HPratapar. 3. 1, p. 100 {rasSJraya).
n (P. 8; H. 8).
natakam saprakaranam bhanah prahasanarn dimah
vyayogasamavakarau vlthyankehamrga iti.
' [The ten chief varieties of drama are] : the Nataka, the
Prakarana, the Bhana, the Prahasana, the Dima, the Vyayoga,
the Samavakara, the Vithi, the Ahka (=Utsrstikanka), and the
Ihamrga.'
Com. dombl Mgad" [quotation f rom some treatise ; see Levi, p. 146 and
cf. Hem. Kavyan. 8, p. 327].
Notes.. No mention is here made of the minor forms of drama (cf.
Levi, p. 145) ; but one of them, the nStika, receives special consideration
at DR. 3. 46-52. — This section is quoted at Pratapar. 3. 2.
II Bh. 18. 2, 3 a; SD. 275; AP. 337. 1-4; Hem. KSvyan. 8, p. 317, 327;
Vagbh. Kavyan. 1, p. 16; Pratapar. 3. 2. Cf. Levi, p. 30.
Pantomime and Dancing as Accessories
12 (P. 9 a 1 ; H. 9 a 1 ).
anyad bhavasrayam nrtyam.
-*• x 5] BOOK ONE 5
'Pantomim e {nrtya), which is based on the [emotional]
States, is quite another thing.'
Notes. Pantomime and dancing are probably mentioned here chiefly
on account of the similarity of name. The words nafya, nrtya, nrtta are all
derived from the root nrt or its Prakrit form naf 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 nStaki-
dyangatvBd iha svaritpamritponatn krtam (3. 2, p. 101).
II Pratapar. 3. 2 a, p. 101. Cf. Levi, p. 30.
13 (P. 9 a 2 ; H. 9 a 2 ).
nrttam talalayasrayam.
'Dancing {nrtta), being based on rhythm and time, [is
also different].'
Notes. II Pratapar. 3. 2 a, p. 101. Cf. Levi, p. 30.
14 (P.Qb;H. 9 b).
adyam padarthabhinayo margo desi tatha param.
' The former, a repref entation of an object, [is called] " high
style" {marga) ; the latter, "popular style" {deti).'
Notes. Cf. Levi, pt. 2, p. 5.
15 (P. 10; H. 10).
madhuroddhatabhedena tad dvayam dvividham punah
lasyatandavarupena natakadyupakarakam.
' Each of these two is again twofold, through the division into
gentle and vehement; and they are auxiliary to the Nataka and
the other [varieties of drama] because of the exhibition of the
gentle dance {lasya) and thewild dance {t&ntfava).'
Notes. Hindu theoreticians recognize ten forms of the lasya, which are
enumerated at DR. 3. 54. — This section is quoted at Pratapar. 3. 2, p. 101.
— Cf. Levi, p. 119.
6 BOOK ONE [*• l6-
Basis of Classification of Dramas
16 (P. u a 1 ; H. u a 1 ).
yastu ncta rasas tesam bhedakp.
' Dramas are classified according to Subject-matter, Hero, and
Sentiment/
Notes. HPratapar. 3. 3. Cf. Levi, p. 30.
SUBDIVISIONS OF THE SUBJECT-MATTER
17 (P. n a 2 ; H. n a 2 ).
vastu ca dvidha.
'The Subject-matter (vastu) is twofold.'
Notes. * H Bh. 19. 2 a; SD. 296 a. Cf . Levi, p. 31.
18 (P. 11 b; H. n b).
tatradhikarikam mukhyam angarn prasahgikam viduh.
'The main [theme] is known as-the Principal Subject (adhi-
karika), the subordinate as the Incidental Subject (prUsangika) .'
Notes. RBh. 19. 2b; SD. 296 b. Cf. Levi, p. 31.
19 (P. 12; H. 12).
adhikarah phalasvamyam adhikari ca tatprabhuh
tannirvartyam abhivyapi vrttam syad adhikarikam.
'The possession of the desired result [is called] adhikara, and
its possessor [is called] adhikarin; that which contains an inci-
dent connected with him [is called] adhikarika (Principal
Subject).'
Notes, abhivyapi H, V, P; ativyipi Hall p. 38. — This is an etymo-
logical explanation of the term adhikarika. See my notes on 4. 8.
BBh. 19. 3-sa; SD. 296 c, d. Cf. Levi, p. 31.
20 (P. 13 a; H. 13 a).
prasangikam pararthasya svartho yasya prasangatah.
-*• 33] BOOK ONE 7
'The Incidental Subject (prasangika) is a purpose of
another person [by means] of which one's own purpose is inci-
dentally [furthered].'
Notes. The craving for etymological interpretation is here satisficd by
the use of the word prasaiigatas, ' incidentally.' See the notes on 4. 8.
UBh. 19. s b; SD. 297. Cf. Levi, p. 31.
21 (P. 13 b; H. 13 b).
sanubandham patlklkhyam prakari ca pradesabhak.
'When it is continuous it is called Episode (patdka, lit.
banner) ; when of short duration, Episodical Incident
(prakari).'
Notes. II Bh. 19. 23 ; SD. 320-323 ; Pratapar. 3. 7. Cf . Levi, p.. 32.
22 (P. 14; H. 14).
prastutagantubhavasya vastuno 'nyoktisucakam
patakasthanakam tulyasamvidhanavisesanam.
'An indication, by the mention of something extraneous, of
a matter that is begun or is about to happen [is called] an
Episode-indication (patakasthanaka) , which is charac-
terized by similar situations or attributes.'
Com. Ex. : Ratn. 3. 6, p. 62 [similar situation] ; Ratn. 2. 4, p. 32 [simi-
lar attributes].
Notes. Bh. and SD. distinguish four kinds of patSkSsthSnaka; see
Levi, p. 98-100.
||Bh. 19. 29 b, 30 a; SD. 298, 299. Cf. Levi, p. 98.
23 (P. 15, 16 a; H. 15).
prakhyatotpadyamisratvabhedlt tredha 'pi tat tridha
p rakhya tam itihasader utpadyam kavikalpitam
misram ca samkarat tabhyam divyamartyadibhedatah.
' This [subject-matter] is also threefold, owing to a threefold
classification into legendary, invented, and raixed subjects. The
legendary [variety of subject-matter is derived] from legends
of the past and the like; the .invented is devised by the poet; the
8 BOOK ONE [ x » 3 3 -
mixed [arases] from a combination of these two in accordance
with a classification into gods, raortals, and the like.'
Notes. tSbhySm H, V, P; ndnto, tredha Hall p. 38. — The first line
is quoted at Pratapar. 3. 4, p. 102, but with the formulaic ending tat
trividham matam.
II AP. 337. 18; Pratapar. 3. 3, p. 102. Cf. Levi, p. 31.
Elements of the Plot
24 (P. i6b; H. i6a).
karyam trivargas tac chuddham ekanekanubandhi ca.
'The Denouement (k&rya) [of the action consists of
one of] the three objects of human existence (trivarga) ; it
is either simple or connected with one or both [of the other
objects].'
Com. The three objects of human existence aig virtue, wealth, and
pleasure (dharma, artha, kima). . . .
Notes. ||Bh. 19. 25 b, 26 a; SD. 323 b, c; AP. 337. 7 b. Cf. Levi, p. 31.
25 (P. 17 a; H. i6b).
svalpoddistas tu taddhetur bijarn vistary anekadha.
'The cause of this [Denouement] is the Germ (blja), [at
first] manifested as very small, but expanding in manifold ways
[as the action proceeds].'
Com. Ex. : Ratn. 1, p. 4-5 [quoted in part also at DR. 1. 20 and 1. 41] ;
in the Venisatphara, the energy of Yudhisthira, increased by the wrath of
Bhima and resulting in the binding of the tresses of Draupadi.
Notes. ||Bh. 19. 21; SD. 318; AP. 337. 22; Pratapar. 3- 6. Cf. Levi,
P- 34-
a6 (P. i7b; H. i6c).
avantararthavicchede bindur acchedakaranam.
' Wheh the secondary matter [of the drama] is interrupted, the
cause of its being resumed (accheda-karana) is the E x p a n s i o n
(bindu).'
- 1 ' a 8] BOOK ONE 9
Com. Ex. : Rata. i, p. 20. - ' The hindu [lit. drop] spreads out likc
a drop of oil in water.'
Notes. /JBh. 19. 22; SD. 319; Pratapar. 3. 6. CL Levi, p. 34.
a'7 (P. 18; H. 17).
bijabmdupatakakhyaprakarikaryalaksanah
arthaprakrtayah panca ta etah parikirtitah.
' [The elements] designated as the Germ (blja), the Expan-
sion (bindu), the so-called Episode (pataka), the Episodical
Incident (prakari), and the Denouement (karya) — these are
declared to be the five Elements of the Plot (artha-
prakrti).'
Notes. The insertion of the word Skhya in the enumeration is due
merely to the exigencies of the meter. — Contirary to the ustial custoni,
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 pataka and the prakari given in another connection in 1. 21. — This
section is quoted in the com. on Hemacandra's Anekarthasamgraha 2. 230
(ed. Zachariae, Vienna, 1893, Extracts f rom the Com., p. 37, f oot) , and the
second line is quoted ibid. 3. 565 (see Extr., p. 142, 'middle). The first
line is quoted at Pratapar. i. 3, p. 105. With the first line compare bljam
binduh pataka, ca, given in explanation of the word arthaprakrti in the
com. on Mankhakosa 390 (ed. Zachariae, Vienna, 1897, p. 50).
H Bh. 19. 20; SD. 317; AP. 337. 19. Cf. Levi, p. 34.
The Five Stages of the Action
28 (P. 19; H. 18).
avasthah panca karyasya prarabdhasya phalarthibhih
ararnbhayatnapraptyasaniyataptiphalagamah.
'There are five Stages of the action which is set on foot
by those that strive after a result: Beginning (drambha), Ef-
fort (yatna — prayatna), Prospect of Success (prUptyate) , Cer-
tainty of Success (niyatapti), and Attainment of the Result
(phalagama = phalayoga ).'
Notes. The words karyasya prSrabdhasya phalarthibhih are taken di-
rectly f rom Bh. 19. 13. — The second line is quoted at Pratapar. 3. 3, p. 105.
II Bh. 19. 7, 13; SD. 324; AP. 337- iab, 20. Cf. Levi, p. 32.
10 B00K ONE [*• a 9~
29 (P. 20&; H. iga.).
autsukyamatram arambhah phalalabhaya bhuyase.
' B e g i n n i n g (Urambha) is mere eagerness for the obtaining
of the more important result.'
Com. Ex.: Rata. 1. 7, p. s [also quoted at DR. 1. 25 and 1. 41].
Notes. ||Bh. 19. 8; SD. 325; Pratapar. 3. 4. Cf. L6vu, p. 32.
30 (P. 2ob; H. i9b).
prayatnas tu tadapriptau vyaparo 'titvaranvitah.
'Effort (prayatna) is exertion attended with great haste,
when this [result] has not been obtained.'
Com. Ex. : Rata. 2, p. 24 [with variants].
Notes. ||Bh. 10. 9; SD. 326; Pratapar. 3. 4. Cf. Levi, p. 33.
31 (P. 21 a; H. 2oa).
upayapayasankabhyam praptyasa praptisambhavah.
'Prospect of Success (praptyasa) is the possibility of
succeeding, with means at hand, [but also] with fear of failure.'
Com. Ex. : Ratn. 3, p. 7$ [with variants].
Notes. This is called praptisambhava in Bh. II Bh. 19. 10; SD. 327;
Pratapar. 3. 5. Cf. Levi, p. 33.
32 (P. 21 b; H. 20 b).
apayabhavatah praptir niyataptih suniscita.
'Certainty of Success (niyatapti) is the assurance of
succeeding because of the absence of risk.'
Com. Ex.: Ratn. 3, p. 73 [with much variation].
Notes. ||Bh. 19. 11; SD. 328; Pratapar. 3. 5. Cf. Levi, p. 33.
33 (P. 22a; H. 20c).
samagraphalasampattih phalayogo yathoditah.
'Attainment of the Result (phalayoga) is the ac-
complishment of the entire result, as previously mentioned.'
*• 3*>] BOOK ONE H
Com. As, in the Ratnavali, the king's obtaining universal sovereignty
through his marriage with Ratnavali.
Notes. This is called phalagama in section 28 above, and also in the
defmition given in Pratapar.
II Bh. 19. 12; SD. 329; Pratapar. 3. 5. Cf. LeVi, p. 33.
The Five Junctures
*
34 (P. 22b, 233; H. 21).
arthaprakrtayah panca pancavasthlsarnanvitah
yathasamkhyena jayante mukhadyah panca samdhayah.
'There.are five Elements of the plot (arthaprakrti) , parallel
with the five Stages (avastha) [of the action] ; [from these]
respectively arise the five Junctures (samdhi) , beginrring with
the Opening (mukha).'
Notes. The Junctures are the structural divisions of the drama, which
correspond with the elements of the plot and the stages in the hero's
realization of his purpose. They and their subdivisions are defined in
the f ollowing sections. — This section is quoted at Pratapar 3. 3, p. 105.
II SD. 330; Pratapar. 3. 3, p. 104. Cf. Levi, p. 35. •
35 (P. 23b; H. 22a).
antaraikarthasambandhah samdhir ekanvaye sati.
'Juncture (satpdhi) is the connection of one thing with a
different one, when there is a single sequence fof events].'
Notes. || SD. 331; Pratapar. 3. 3, p. 104. Cf. Levi, p. 33.
36 (P. 24a; H. 22b).
mukhapratimukhe garbhah savamar§opasarnhrtih.
' [The five Junctures are] : the Opening (mukha), the Pro-
gression (praiimukha) , the Development (garbha), the Pause
(avamar&a), and the Conclusion (upasamhrti=nirvahai;ia). f
Notes. These are defined in sections 37, Si, 66, 81, 96. — This section
is quoted at Pratapar. 3. 3, p. 104.
II Bh. 19. 35 b, 36 a; SD. 332; AP. 337- si; Sarasv. 5. is8 (ed. B. 5.
129). Cf. LeVi, p. 35- '
*& BOOK ONE [*• 37~
The Opening and its Subdivisions
37 (P. 24 b, 25 a; H. 23).
mukham bijasamutpattir nanartharasasambhava
angani dvadasaitasya bljarambhasamanvayat.
'The Opening (mukha) is the origination of the Germ
(ftf/a), giving rise to various purposes and Sentiments; it has
twelve subdivisions, because of its connection with the Germ and
the Beginning (arambha).' 4
Notes. "sambhavS H, V, P ; "samirayi Hall p. 38. — - s The terms blja
and irambha are defined at 1. 25, 29. \ ••**'>*'" .
II Bh. 19. 37 b, 38 a; SD. 333 ; AP. 337. 23 (mistranslated by Dutt);
Pratapar. 3. 8. Cf. L£vi, p. 36.
38 (P. 25 b, 26; H. 24).
upaksepah parikarah parinyaso vilobhanam
yuktih praptih samadhanam vidhanam paribhavana
udbhedabhedakaranany anvarthany atha laksanam.
' [The twelve subdivisions of the Opening arej : Suggestion
(upaksepa), Enlargement (parikara), Establishment (parinyasa),
Allurement (yilobhana), Resolve (yukti), Success (prapti),
Settling (samadhana) , Confiict of Feelings {vidhana), Surprise
(paribhdvanfi) , Disclosure (udbheda), Incitement (bheda), and
Activity (karana). [These terms are] intelligible. Now follow
their definitions.'
Notes. H Bh. 19. 57 b, 58; SD. 338; Pratapar. 3. 9.
39 (P- 27 a 1 ; H. 25 a 1 ).
bijanyasa upaksepas.
'Suggestion (upaksepa) is the sowing of the Germ
(blja):
Com. Ex.: Ratn. 1. 6, p. 4 [quoted also at DR, 3. 3 and 3. 10].
Notes. ||Bh. 19. 69 b; SD. 339; Pratapar. 3. 9. Cf. Levi, p. 36.
-*• 44] BOOK ONE 13
40 (P. 27 a 2 ; H. 25 a 2 ).
tadbahulyam parikriya.
'Enlargement (parikriya =parikara) is the increase of
this [Germ].'
Com. Ex. : Ratn. 1, p. 4-5.
Notes. II Bh. 19. 70 a; SD. 340; Pratapar. 3. 9. Cf. Levi, p. 36.
41 (P. 27 b 1 ; H. 25 b 1 ),
tannispattih parinylso.
'Establishment (parinySsa) is its lodgment.'
Com. Ex. : Ratn. 1. 7, p. 5 [quoted' also at DR. 1. 25 and 1. 29].
Notes. Bh. defines this as the relating of a matter that is to take place.
|| Bh. 19. 70 b ; SD. 341 ; Pratapar. 3. 9. Cf. Levi, p. 37.
42 (P. 27 b 2 ; H. 25 b 2 ).
gunakhyanam vilobbanam.
'Allurement (vilobhana) is the mentioning of good
qualities.'
Com. Ex. : Ratn. 1. 23, p. 20 [quoted also at DR. 1. 48] ; Venl. 1, p. 26-30.
Notes, gunakhyanam Hall p. 38, P; gunakhyanOd H, V. The form
gunakhyanam is found also in SD., where this definition is repeated.
II Bh. 19. 71 a; SD. 342; Pratapar. 3. 9. Cf. Levi, p. 37.
43 (P. 28 a 1 ; H. 26 a 1 ).
sampradharanam arthanam yuktih.
'Re sol v e (yukti) is the determination upon purposes.'
Com. Ex. : Ratn. r, p. 5.
Notes. ||Bh. 19. 71 b; SD. 343; Pratapar. 3. 9. Cf. Levi, p. 38.
44 (P. 28 a 2 ; H. 26 a 2 ).
praptih sukhagamah.
'Success (prapti) is the attaining of happiness.'
Com. Ex. : Venl. 1, p. 18-19; Ratn. 1, p. 20.
Notes. ||Bh. 19. 72 a; SD. 3441 Pratapar. 3. 9- Cf. Levi, p. 38.
14 BOOK ONE [*• 45 _
45 (P. 28 bi; H. 26 b 1 ),
bijagamah samadhanam.
'Settling (sam&dhana) is the appearance of the Germ
(blja).'
Com. Ex.: Ratn. 1, p. 15-16; Veni. i, p. 25 [the stanza is quoted also
at DR. 1. 98].
Notes. || Bh. 19. 72 b ; SD. 345 ; Pratapar. 3. 9. Cf . Levi, p. 38.
46 (P. 28 b 2 ; H. 26 b 2 ).
vidhanam sukhaduhkhakrt.
'Conflict of Feelings {vidhana) is that which causes
both joy and sorrow.'
Com. Ex. : Malatlm. 1. 32, p. 35 [quoted also at DR. 4. 56] ; Malatfm.
1. 22, p. 24; Veni. 1, p. 30-31.
Notes. ||Bh. 19. 73 a; SD. 346; Pratapar. 3. 9. Cf. Levi, p. 39.
47 (P. 29 a 1 ; H. 27 a 1 ).
paribhavo 'dbhutavesa.
'Surprise (paribhdva=paribh5vand) is intentness upon
something marvelous.'
Com. Ex. : Ratn. 1, p. 19 [with many variations] ; Veni. 1, p. 29.
' Notes. It is evident that the shorter form panbhsva is here used for
metrical reasons.
II Bh. 19. 73 b; SD. 347; Pratapar. 3. 9. Cf. L6vi, p. 39.
48 (P. 29 a 2 ; H. 27 a 2 ).
udbhedo gudhabhedanam.
'Disclosure (udbheda) is the disclosing of something
previously hidden.'
Com. Ex. : Ratn. 1. 23, p. 20 [quoted also at DR. 1. 42] ; Veni. i, p. 27-29.
Notes. Bh. and SD. define the udbheda as a new sprouting of the
Germ and the latter cites as example Veni. 1. p. 30-31, which is quoted by
Dhanika as an illustration of the vidhana (DR. 1. 46).
II Bh. 19. 74 a; SD. 348.; Pratapar. 3. 9. Cf. Levi, p. 39.
"*• 5 1 ] BOOK ONE 15
49 (P. 29 b 1 ; H. 27 b 1 ).
karanam prakrtarambho.
'Activity (karana) is the beginning of the matter in
question.'
Com. Ex. : Ratn. 1, p. 19; Veni. 1, p. 30.
Notes. II Bh. ig. 74 b; SD. 349; Pratapar. 3. 9. Cf. Levi, p. 40.
50 (P. 29 b 2 ; H. 27 b 2 ).
bhedah protsahana mata.
'Incitement {bheda) is the term for an urging on.'
Com. Ex. : Veni. r, p. 31-32. — Of the twelve divisions of the Opening
the following six must always be employed: Suggestion, Enlargement,
Establishment, Resolve, Disclosure, and Settling [cf . SD. 405, com. ; Prata-
par. 3. 9, end].
Notes. Bh. and SD., evidently on etymological grounds, explain bheda
as a breach of union. As an example SD. quotes Venl. 1, p. 12, where
. Bhima breaks his alliance with his brothers. The SD. commentary adds :
ke cit tu 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 r. 55; 2. 70, 71).
II Bh. 19. 75 a; SD. 350; Pratapar. 3. 9. Cf. Levi, p. 39, 40.
The Progression and its Subdivisions
51 (P. 30; H. 28).
laksyalaksyatayodbhedas tasya pratimukham bhavet
binduprayatnlnugamad angany asya trayodasa.
'The Progression (pratimukha) is the development of
that [Germ] in accordance with its quality of being perceptible
and not perceptible [by turns]. Its subdivisions, [arising] from
the sequenceof the Expansion (bindu) and the Effort (prayatm),
are thirteen [in number].'
Com. Ex. : Ratn. 2, where the iove of the king for Sfigarika prospers
and is impeded in turn; Veni. 2. S, p. 38; Veni. 2. 28, p. 60.
Notes. takfyalakfyatayo° Hall p. 38, P; lakfyatakfya ivo" H, V. — The
terms bindu and prayatna are defined at 1. 26, 30.
II Bh. 19. 38 b, 39 a; SD. 334! Pratapar. 3. 10. Cf. Levi, p. 40.
l6 BOOK ONE [*• S 2-
52 (P. 31, 32a; H. 29, 3oa).
vilasah parisarpas ca vidhutam samanarmanl
narmadyutih pragamanam nirodhah paryupasanam
vajratn puspam upanyaso varnasamhara ity api.
' [The thirteen subdivisions of the Progression are] : Amo-
rousness (vilasa),Fursuit (parisarpa), Unrequitedp.ess (vidhuta),
Alleviation (tema), Joke (narman), Amusement (narmadyuti) ,
Response (pragamana) , Frustration (nirodha), Courtesy (pary-
upasana), Thunderbolt (vajra), Gallantry (puspa), Intimation
(upanyasa), and Combination of the Castes (varnasamhara).'
Notes, pragamanarp Hall p. 38, P; pragayanam H, V (Bh. has pra-
gapam, pragayanam; SD., pragamanam; Pratapar., pragamah).
II Bh. 19. 59 b, 60, 61 a; SD. 351; Pratapar. 3. 11.
53 (P. 32 b 1 ; H. 30 b').
ratyartheha vilasah syad.
'Amorousness (vilSsa) is desire for the object of
pleasure.'
Com. Ex. : Ratn. 2, p„ 23-24.
Notes, ratyartheha H, V (in V the letter t h is defective, looking like
y), P; ratyuttheha Hall p. 38.
. || Bh. 19. 75 b; SD. 352; Pratapar. 3. 11. Cf. Levi, p. 40.
54 (P. 32 b 2 , 33 a 1 ; H. 30 b 2 , c 1 ).
drstanastanusarpariam
parisarpo.
'Pursuit (parisarpa) is the pursuing of one seen and
then lost.'
Com. Ex. : Veni. 2, p. 34-35 ; Ratn. 2, p. 47.
Notes. ||Bh. 19. 76 a; SD. 353; Pratapar. 3. 11. Cf. Levi, p. 41.
55 (P. 33 a 2 ; H. 30 c 2 ).
vidhutam syad aratis.
-I'S8] BOOK ONE 17
'Unrequitedness (yidhata) is absence of pleasure [due
to unrequited love].'
Com. Ex. : Ratn. 2, p. 28 [with variations] ; Veni., in the case of
Bhanumati.
Notes. In SD. this is variously called vidhrta (ed. Roer), vidhuta (tr.
Mitra), and vidhuta (ed. Dviveda and Parab). It is there defiikd as
'a non-acceptanee, at first', of a courtesy,' but the commentary adds: ke
cit iu vidhrtam sySd aratir iti vadanti, ' some say, however, that the
vidhrta is absence of pleasure ' — which is clearly a ref erence to the defini-
tion of DR. (cf. the notes on 1. 50 above).
II Bh. 19. 76 b ; SD. 354 ; Pratapar. 3. u. Cf. LeVi, p. 41.
56 (P. 33 a 8 ; H. 30 c 3 ).
tacchamah samah.
'Alleviation (sama) is the allaying of this [Unre-
quitedness] .'
Com. Ex. : Ratn. 2, p. 43.
Notes. The SD. (355) substitutes for this an element named tapana,
' torment,' which it illustrates by the passage f rom Ratn. (2, p. 28) quoted
by Dhanika as an example of the vidhuta (DR. 1. 55).
II Bh. 19. 77 a; Pratapar. 3. u. Cf. Levi, p. 41.
57 (P. 33^; H. 31 a 1 ).
parihasavaco narma. "
'Joke (narman) is a humorous rematk.'
Com. Ex. : Ratn. 2, p. 45 ; Veni. 2, p. 49.
Notes. This narman must not be confused with the term narman,
' Pleasantry,' defined at 2. 79.
II Bh. 19. 77 b; SD. 356; Pratapar. 3. ir. Cf. LeVi, p. 41.
58 (P. 33 b*.; H. 31 a 8 ).
dhrtis tajja dyutir mati.
'Amusement (dyuti = narmadyuti) is considered to be the
satisfaction caused by this [Joke].'
Com. Ex. : Ratn. 2, p. 49.
3
18 BOOK ONE [l« 58-
Notes. No definition of thc narmadyuti occurs in the text' of Bh. 19
given by Hall, although it is mentioned at 19. 60 a, in the preliminary
enuraeration. Ms. P of that work defines it directly after narman, and
that definition is quoted in the commentary on SD. 357 (cf. Levi, pt. 2,
p. 8-9).
II SD. 357; Pratapar. 3. 11. Cf. Levi, p. 42.
59 (P.34S 1 ; H. 3Tb 1 ).
uttara vak pragamanam.
'Response (pragamana) is a reply.'
Com. Ex. : Ratn. 2, p. 39-44'
Notes, pragamanam Hall p. 38, P; pragayanatn H, V (Bh. has pra~
ganam, pragananam [Ms. P, pragayana] ; SD., pragamanam ; Pratapar.,
pragamali).
|| Bh. 19. 78 a; SD. 358; Pratapar. 3. n. Cf. Levi, p. 42.
60 (P. 34 a 2 ; H. 31 b 2 ).
hitarodho nirodhanam.
'Frustration (nirodhana — nirodha) is a beneficial pre-
vention.'
Com. £x. : Ratn. 2, p. 50.
Notes. Pratapar. has virodha, as also SD., which defines this sub-
.division as ' falling into danger.'
|| Bh. 19. 78 b; SD. 359; Pratapar. 3. 11. Cf. Levi, p. 42.
61 (P. 34b*; H. 32E 1 ).
paryupastir anunayah.
'Courtesy (paryupSsti=paryupSsana) is politeness.'
Com. Ex. : Ratn. 2. 18, p. 54.
Notes. J|Bh. 19. 79 a; SD. 360; Pratapar. 3. 11. Cf. Levi, p. 42.
62 (P. 34 b'; H. 32 a 2 ).
puspam vakyam visesavat.
'Gallantry (puspa) is a remark in relation to special
[excellent] qualities.'
!• ^5] BOOK ONE 19
Com. £x. : Ratn. 2, p. 49.
Notes. ||Bh. 19. 79 b; SD. 361; Pratapar. 3. 11. Cf . Levi, p. 43.
63 (P- 35 a 1 ; H. 32 b').
« upanyasas tu sopayam.
'Intimafion («/>o»y3ja) is [a remark] embodying a
stratagem.'
Com. Ex. : Ratn. 2, p. 47.
Notes. «/>onji3iai tu sopayam H, V, P; prasOdanam upanyaso Hall
p. 38 (= SD. 363, but in inverted order) . The variant reading given by
Hall may be due to some copyist familiar with SD. The SD. commen-
tary quotes f rom some treatise a definitiow largely identical with that of Bh.
II Bh. 19. 80 b; SD. 363; Pratapar. 3. 11. Cf. Levi, p. 43.
64 (P. 35a 2 ; H. 3 2b 2 ).
vajram pratyaksanisthuram.
"Thunderbolt (vajra) is a cruel remark made to one's
face.'
Com. Ex. : Ratn. 2, p. 53, 54.
Notes. ||Bh. 19. 80 a; SD. 362; Pratapar. 3. 11. Cf. Levi, p. 43.
65 (P. 35 b; H. 32 c).
caturvarnyopagamanam varnasamhara isyate.
'Combination of the Castes (varnasatnh&ra) is re-
garded as a coming together of the four castes.'
Com. Ex. : Mahavira. 3. 5. P- 93- — The most important divisions of the
Progression are: Pursuit, Response, Thunderbolt, Intimation, and Gal-
lantry. [The word prasama should evidently be corrected to pragama.
— Cf. SD. 405, com.; Pratapar. 3. 11, end]
Notes, caturvarffyo" Hall p. 38, P; caturvarno" H, V. — According to
the commentary on SD. 364, Abhinavagupta interpreted var$a as 'char-
acters' and samhara as 'drawing together.' This close association of
characters he illustrated by an incident in the second act of the RatnavaH
(P- 47, 49, 50).
|| Bh. 19. 81 a; SD. 364; Pratapar. 3. .11. Cf. Levi, p. 43. 44-
20 BOOK ONE [i. 66-
The Development and its Subdivisions
66 (P.«£; H. 33).
garbhas tu drstanastasya bijasyanvesanam muhuh
dvadasangah pataka syan na va syat praptisambhavah.
'The Development (garbha) is a searching after the
Germ (blja), which is seen and lost by turns. It has twelve
subdivisions. [In it] there should be an Episode (pataka), or
[else] there should not be Prospect of Success (praptisambhava
= prUptytisa) .'
Com. Ex: : Ratn. 3, p. 73.
Notes. On the Episode see 1. 21 ; on the Prospect of Success, 1. 31.
Bh. and SD. add a thirteenth subdivision; see DR. 1. 80, notes.
II Bh. 19. 30 b, 40 a; SD. 335; Pratapar. 3. 12. Cf. Levi, p. 44. 57.
67 (P. 37. 38 a; H. 34, 35 a).
abhutaharanam margo rupodaharane kramah
samgrahas canumanam ca totakadhibale tatha
udvegasambhramaksepa laksanarn ca praniyate.
' [ The twelve subdivisions of the Development are] : Mis-
statement (abhutuharana) , Indication (marga), Supposition
(rupa), Exaggeration (udaharana) , Progress (krama), Pro-
pitiation (samgraha), Deduction (anutnana), Quarrel (totaka),
Outwitting (adhibala), Dismay (udvega), Consternation (sam-
bhrama), and Revelation (aksepa). Their definitions are given
[in the following sections].'
Notes. Bh. and SD. add a thirteenth subdivision called prarthanS;
see DR. 1. 80, notes.
II Bh. 19. 620-64 a; SD. 365 a-c; Pratapar. 3. 13.
68 (P. 3 8b 1 ;H. 3 5b 1 ).
abhutaharanam chadma.
'Mis-statement (abhQta"harapa) is deception.'
Com. Ex. : Ratn. 3, p. 56.
Notes. II Bh. 19. 82 a ; SD. 365 d ; Pratapar. 3. 13. Cf . Levi, p. 44.
-I « 7 3 ] BOOK ONE 21
69 (P. 3 8b 2 ; H. 35 b 2 ).
margas tattvarthaklrtanam.
'Indication (marga) is a pointing out of one'o real
purpose.'
Com. Ex.: Ratn. 3, p. 61 [with variations].
Notes. II Bh. 19. 82 b; SD. 366; Pratapar. 3. 13. Cf. Levi, p. 44.
70 (P. 39*; H. 36^).
rupam vitarkavad vakyarn.
'Supposition (rupa) is a remark which embodies a
hypothesis.'
Com. Ex. : Ratn. 3, p. 65.
Notes. H Bh. 19. 83 a ; SD. 367 ; Pratapar. 3. 13. Cf. Levi, p. 45.
71 (P. 39 a 2 ; H. 36 a 2 ).
sotkarsam syad udahrtih.
'Exaggeration (udahrti = udaharana) is [a remark]
that contains an over-statement/
Com. £x. : Ratn. 3, p. 60.
Notes. Levi observes (p. 45) : ' D'apres Bharata et Vi?vanatha, uda-
harana designe rextraordinaire, le surnaturel.' I cannot find any warrant
for this statement. Bh. and SD. are substantially in accord with DR. on
this point, and the exatnple given in the SD. commentary is appropriate.
The illustration from the Sakuntala given by Levi was selected by hira
in accordance with the statements of the native commcntaries (see Livi,
P- S).
|| Bh. 19. 83 b; SD. 368; Pratapar. 3. 13. Cf. Levi, p. 45.
72 (P. 39 b l ; H. 36 W),
kramah samcintyamanaptir.
'Progress (krama) is attainment of what one is thinking
earnestly about.'
Com. Ex. : Ratn. 3, p. 67.
22 BOOK ONE
Notes. For parallel passages see the notes on the following section.
Cf. LeVi, p. 45-
73 (P- 39 1 2 ? H. 3 6b>).
bhavajnanam athapare.
'Others [say it is] a knowledge of the feelings [of another].'
Com. Ex.: Rata. 3, 11-13, p. 68-70. •
Notes. This ia the mterpretation 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 Malatlm.
HBh. 19. 84 a; SD. 369; PratSpar. 3. 13. Cf. Levi, p. 46.
74 (P. 40 a 1 ; H. 37 a 1 ).
samgrahah samadanoktir.
'Propitiation (satngraha) is a speech in making a con-
ciliatory present.'
Com. Ex. : Rata. 3, p. 61.
Notes. H Bh. 19. 84 b; SD. 370; Prajapar. 3. 13. Cf. Levi, p. 46.
75 (P. 4 oa a ; H. 37a 2 ).
abhyuho lihgato 'numa.
'Deduction (anutna—anumana) is an inference from
sorne characteristic sign.'
Com. Ex. : Rata. 3, p. 72-73.
Notes. ||Bh. 19. 85 a; SD. 371; Pratapar. 3. 13. Cf. Levi, p. 46.
76 (P. 40 b»; H. 37 b>).
adhibalam abhisamdhih.
'Outwitting (adhibala) is a [clever] deception.'
Com. Ex.: Rata. 3, p. 66.
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 abhibala in Roer's text of SD. 375 is clearly a misprint. The
correct form adhibala occurs in the preliminary enumeration, SD. 365 c.
||Bh. 19. 87 a; SD. 375; Pratlpar. 3. 13. Cf. Levi, p. 47.
-I. 80] BOOK ONE 23
77 (P.4<>b';H. 37 b 2 ).
samrabdham totakam vacah.
' Q u a r r e 1 ( totaka) is an angry speech.'
Com. Ex.: Ratn. 3, p. 78-79; Veni. 3. 34-46, p. 87-93. Quotation
from some other treatise:
[P. 41 a] totakasytttiyathabhavam bruvate 'dhibalam budhah.
'The leamed say that the adhibala is another form of totaka.' Ex.:
Ratn. 3, p. 71. [Continuation of the quotation:]
[P. 41 b] satprobdhavacanam yat tu totakatfi tad udahrtam.
'Quarrel (totaka) is declared to be the speech of angry persons.' [Or
'an angry speech.'] Ex.: Ratn. 3, p. 70; Veni. 4, p. 106-107 [with
variations].
Notes. I follow Hall i« regarding these interpolated definitions as part
of the commentary, rather than of the text. 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
prints them in the same type as the text, with the number 41. — In SD.
the subdivision defined in this section is called trotaka.
II Bh. 19. 86 b; SD. 374; Pratapar. 3. 13. Cf. Levi, p. 46, 47.
78 (P. 42 a 1 ; 38 a 1 ).
udvego 'rikrta bhitih.
'Dismay (udvega) is fear caused by an enemy.'
Com. Ex. : Ratn. 3, p. 79 [with variants] ; Veni. 4, p. 97.
Notes. II Bh. 19. 87 b; SD. 376; Pratapar. 3. 13. Cf. Levi, p. 47.
79 (P. 42 a'; H. 38 a 2 ).
sahkatrasau ca sambhramah.
'Consternation ( sambhrama) is fear and trembling.'
Com. Ex. : Ratn. 3» P- 75 [with variants] ; Veni. 3, p. 94; Veni. 3, p. 73.
Notes. This subdivision of the Development is called vidrava in Bh.
and SD. See DR. 1. 85 and the notes on that section.
II Bh. 19. 88 a; SD. 377; Pratapar. 3- 13- Cf.'Levi, p. 47.
80 (P. 42b; H. 38b).
garbhabijasamudbhedad aksepah parikirtitah.
£j! BOOK ONE [X. 80-
'Revelation (&k$epa) is declared [to result] from the
unfolding of the Germ (teja) in the Development (garbha).'
Com. Ex.: Ratn. 3, p. 73, 78, 80; Veni. 4, p. 105. — The most impor-
tant of these subdivisions of the Development are: Mis-statement, Indica-
tion, Cjuarrel,- Outwitting, and Revelation. The others are employed when
possible. [Cf. SD. 405, com.; Pratapar. 3. 13, end.]
Notes. Bh. gives a definition similar to the above, but employs the
designation upakfipta (as one must emend, following Levi, p. 47.) In the
preliminary summary (Bh. 19. 63 a) it is called aksipta, with the change
of prefix frequently necessitated by the meter in technical treatises of this
kind. The text of Bh. given by Hall, which unfortunately shows evidences
of hasty preparation, has prSrthani kfipram (for prirthanaksiptam =prllr-
thanS + Okfiptam) in 19. 63 a, and upasthitam (for upakfiptam) in 19.
86 a. The Ms. P of Bh. reads kfipti (Levi, p. 47).— SD., under the
designation kfipti, gives a somewhat different definition and an obscure
example. — Pratapar. has the following definition: iftarthopByanusaranam
akfepah.
Bh. 19. 85 b and SD. 372 mention and define a thirteenth division of
the Development, the prSrthanO,, ' Invitation ', a summons to enjoyment or
festivity. This is inserted so that those who exclude the Benediction
(pralasti) from the number of divisions of the Conclusion (nirvahana)
may still have the f uli complement of 64 subdivisions (SD. 372, com).
II Bh. 19. 86 a; SD. 373; Pratapar. 3. 13. Cf. Levi, p. 47-48.
The Pause and its Subdivisions
81 (P. 43; H. 39).
krodhenavamrsed yatra vyasanad va vilobhanat
garbhanirbhinnabijarthah so 'vamarso 'hgasarngrahah.
'The Pause (avamar&a, lit. deliberation) is that group of
subdivisions [of the Junctures] in which one stops to reflect
(aruamried) because of anger or passion or temptation, and
which has as its subject the Germ (blja) that has been unfolded
in the Development (garbha).'
Com. Ex.: Ratn. 4, as far as the excitement caused by the fire; Veni.
6. 1, p. 158.
Notes, so 'vamario 'ngasaifigrahofi V, P; °safig[r]ahab H; so 'vamaria
iti smrtajt Hall p. 38 (apparently a reminiscence of Bh. 19. 41 a). — SD.
calls this Juncture vimarsa; Bh. (and sometimes DR.), vimaria. — On the
use of avamr&'ed to explain avamaria see the notes on DR. 1. 19.
OBh. 19. 40 b, 41 a; SD. 336;. Pratapar. 3. 14. Cf. Levi, p. 48.
-*■ 85] BOOK ONE 25
82 (P. 44, 45 a; H. 40).
tatrlpavldasamphetau vidravadravaSaktayah
dyutih prasangas chalanam vyavasayo virodhanam
prarocana vicalanam adanam ca trayodasa.
'The thirteen [subdivisions] of it [i. e. of the Pause] are:
Censure (apavada), Altercation (sampheta), Tumult (vidrava),
Contempt {drdva), Placation (iakti), Rebuke (dyuti), Rever-
ence (prasanga), Humiliation (chalana), Assertion (vyavas&ya) ,
Opposition (virodhana) , Foresight (prarocana), Boastfulness
(vicalana), and Summary (Sdana).'
Notes. || Bh. 19. 64, 65, 66 a; SD. 378 a, b, c; Pratapar. 3. 15.
83 (P. 45 b 1 ; H. 41 a 1 ).
dosaprakhya 'pavadah syat.
'Censure (apavada) is the proclaiming of a fault [of
another] .'
Com. Ex. : Ratn. 4, p. 82-83, 87; Veni. 6, p. 160-161.'
Notes. II Bh. 19. 89 a ; SD. 378 d ; Pratapar. 3. 15. Ci . Levi, p. 48.
84 (P. 45 b 2 ; H. 41 a 2 ).
sampheto rosabhasanam.
'Altercation (sampheta) is speaking in anger.'
Com. Ex. : Veni. 6, p. 168-169.
Notes. || Bh. 19. 89 b; SD. 379; Pratapar. 3. 15. Cf. Levi, p. 49.
85 (P. 45 c 1 ; H. 41 W),
vidravo vadhabandhadir.
'Tumult (vidrava) is slaying, taking prisoner, and the like.'
Com. Ex. : yendvrtya mukh°, stanza from the Chalitarama [an un-
published drama]; Ratn. 4. 14, P- 99; Ratn. 4. P- 99 [with many varia-
tions].
Notes. In Bh. and SD. vidrava is used as the equivalent of the term
sambhrama defined at DR. 1. 79. In place of vidrava as a subdivision of
26 BOOK ONE [X. 85
the avamaria Bh. substitutes an eletnent called vyihUra, which is de-
fined at 19. 94 b as ' a relating of what one has seen in person ' ; SD. 385
substitutes kheda, ' Lassitude,' with an example from Malatim. 6. — For
vadhabandha see Manavadharmasastra 5. 49.
II Pratapar. 3. 15. Cf . Levi, p. 49.
86 (P. 45 c 2 ; H. 41 b 2 ).
dravo gurutiraskrtih.
'Contempt (drava) is disrespect to one's elders/
Com. Ex. : Uttararama. 5. 34. p. I3S ', Veni. 6, p. 182.
Notes. II Bh. 19. 90 a; SD. 381; Pratapar. 3. 15. Cf. Levi, p. 50.
87 (P. 46 a 1 ; H. 42 a 1 ),
virodhasamanam Saktis.
'Placation (tokti, lit. power) is the allaying of disa-
greement.'
Com. Ex.: Ratn. 4. 1, p. 85; Uttararama. 6. 11, p. 142.
Notes. From the examples it seems that DR. refers this to a dis-
agreement of facts, SD. to a disagreement between persons.
II Bh. 19. 90 b; SD. 383; Pratapar. 3. 15. Cf. Levi, p. 50.
88 (P. 46 a 2 ; H. 42 a 2 ).
tarjanodvejane dyutih.
'Rebuke (dyuti, lit. flash) is reprimanding and hurting the
feelings/
Com. Ex. : Veni. 6, p. 164-167.
Notes. ||Bh. 19. 95 a; SD. 382; Pratapar. 3. 15. Cf. Levi, p. 50.
89 (P. 46^; H. 42 b 1 ),
gurukirtanam prasangas.
'Reverence (prasanga) is mentioning one's elders.'
Com. Ex. : Ratn. 4, p. 97 [with many variations]; Mrcch. 10, p. 259
[the stanza is quoted also at DR. 2. 4].
Notes. ||Bh. 19. 91 a; SD. 584; Pratapar. 3. 15. Cf. Levi, p. 50.
-I. 93] BOOK ONE 27
90 (P. 46b»; H. 42b 2 ).
chalanam cavamananam.
'Humiliation (chalana, lit. deceit) is disrespect [shbwn
to one] .'
Com. Ratn. 4, p. 87; the abandoning of Sita in the Ramabhyudaya fa
drama written by Yasovarman in the latter part of the seventh century,
mentioned also at SD. 427; cf. ZDMG. 36 (1882), p. 521].
Notes. SD. calls this element chadana; Pratapar. calana. For another
definition of chalana, cited in the Arthadyotanika, see Levi, pt. 2, p. 9.
II Bh. 19. 94 a; SD. 390; Pratapar. 3. 15. Cf. Levi, p. 50.
91 (P. 47 a 1 ; H. 43^).
vyavasayah svasaktyuktih.
'Assertion (vyavasaya) is mention of one's own power.'
Com. Ex. : Ratn. 4. 8, 9, p. 91-92 [the words between the stanzas,
ahavi kiffi bahuna jampiena, constitute an alternative reading of the open-
ing words of the second stanza] ; Veni. 6. 6, p. 162.
Notes. ||Bh. 19. 91 b; SD. 380; Pratapar. 3. 15. Cf.'Levi, p. 51.
92 (P. 47 a 2 ; H. 43 a 2 ).
samrabdhanam virodhanam.
'Opposition (virodhana) is [the same thing in the case]
of those that are excited.'
Com. Ex. : Veni. 5, p. 150-152 [quoted in part also at DR. 3. 20].
Notes, samrabdhanam H, V, P; samrambhoktir Hall p. 38. — Bh. calls
this virodha and defines it as an exchange of remarks; SD. explains it as
an apprehension of failure. In Pratapar. this is named nirodhana and
defined as krodhasamrabdhanam anyonyaviksepo.
II Bh. 19. 5W a; SD. 387; Pratapar. 3. 15. Cf. Levi, p. 51.
93 (P. 47 b; H. 43 b).
siddhamantranato bhavidarsika syat prarocana.
'Foresight (prarocana) is seeing what is to come because
of an assurance of success.'
28 BOOK ONE [i. 93"
Com. Ex. : Veni. 6, p. 169-171.
Notes. II Bh. 19. 9* b; SD. 388; Pratapar. 3. 15. Cf. Levi, p. 51-
94 (P. 48 a 1 ; H. 43 c 1 ),
vikatthana vicalanam.
' B o a s t f u 1 n e s s (vicalana) is bragging.'
r
Com. Ex.: Venl. 5, p. 149-150 [in editions of the text of the play the
words api ca tata 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 substitutes for the vicalana an element called pratifeda,
' Obstruction.'
|| Bh. 19. 93 a; Pratapar. 3. 15. Cf. Levi, p. 52.
95 (P. 48 a 8 ; H. 43 c 2 ).
adanam karyasarngrahah.
' S u m m a r y (adana) is a resume of the action.'
Com. Ex. : Venl. 6, p. 199; Ratn. 4, p. 101 [with variations] ; Ratn.
4. 18 c, p. 105. — The most important divisions of the Pause are : Censure.
Placation, Assertion, Foresight, and Summary [cf. SD. 405, com.].
Notes. II Bh. 19. 93 b; SD. 389; Pratapar. 3. 15. Cf. Levi, p. 52.
The Conclusion and its Subdivisions
96 (P. 48b,49a; H. 44).
bijavanto mukhadyartha viprakirna yathayatham
aikarthyam uparuyante yatra nirvahanam hi tat.
'The Conclusion (nirvahana) is that [Juncture] in which
the rnatters that occurred in the Opening (mukha) and in the
other Junctures, and that contained the Germ (btja) and were
distributed in due order, are brought together to one end.'
Com. Ex. : Veni. 6, p. 202; Ratn. 4, p. 103.
Notes. In 1. 36, where the names of the five Junctures are given, the
concluding one, here called nirvahana, is designated as upasanthrti. The
same change of name is found also in SD. (cf. 332, 337), and the two
terms may be regarded as synonymous. — Bh. has nibarhana.
II Bh. 19. 41 b, 42 a; SD. 337; Pratapar. 3. 16. Cf. Le>i, p. 52.
-I. 99] BOOK ONE 29
97 (P. 49b, 50; H. 45).
samdhir vibodho grathanam nirnayah paribhasanam
prasadanandasamayah krtibhasopaguhanah
purvabhavopasamharau prasastis ca caturdasa.
'The fourteen^ [subdivisions of the Conclusion] are: Junction
(samdhi), Vigilance (vibodho), Hint (grathana), Narration
(nirnaya), Conversation (paribh&sana) , Graciousness (prasada),
Bliss (ananda), Deliverance (samaya), Confirmation (krti),
Expression of Satisfaction (bhasa — bhdsana), Unforeseen Cir-
cumstance (upagUhana), Anticipation (pUrvabhUva) , Termina-
tion (upasamhara— kavyasamhara) , and Benediction (prasasti).'
Notes. ||Bh. 19. 66 b, 67, 68; SD. 391; Pratapar. 3. 18.
98 (P. 51 a 1 ; H. 46 a 1 ).
samdhir bijopagamanam.
'Junction (samdhi) is the coming up [again] of the Germ
(blja):
Com. Ex. : Ratn. 4, p. 103 ; Veni. 1, p. 25 [the stanza is quoted also at
DR. 1.45].
Notes. This subdivision of the nirvahana must not be confused with
satfidhi, 'Juncture'; cf. 1. 35.
II Bh. 19. 96 a; SD. 392; Pratapar. 3. 18. Cf. L6vi. p. 53.
99 (P.5ia 2 ;H. 4 6a').
vibodhah karyamarganam.
'Vigilance (vibodho) is seeking for the Denouement
(karya).'
Com. Ex.: Ratn. 4, p. 103; Veni. 6, p. 204-205.
Notes. Pratapar. has the form virodha (observe that it reads niro-
dhana for the virodhana oi DR. 1. 92), but the same definition as DR.
II Bh. 19. 96 b; SD. 393! Pratapar. 3. 18. Cf. Uvi, p. 53-
30 B00K ONE [i. 100-
100 (P. 51 b 1 ; H. 46 b 1 ).
grathanam tadupaksepo,
'Hint (grathana) is an intimation of this [Denouement, as
if attained] .'
Com. Ex. : Ratn. 4, p. 105 ; Veni. 6, p. 201.
Notes. II Bh. 19. 97 a; SD. 394; Pratapar. 3. 18. Cf. Levi, p. 54.
101 (P. 51 b 2 ; H.46b 2 ).
'nubhutakhya tu nirnayah.
'Narration (nirnaya) is a relation of experience.'
Com. Ex. : Ratn. 4, p. 106; Veni. 6, p. 203.
Notes. ||Bh. 19. 97 b; SD. 395; Pratapar. 3. 18. Cf. Levi, p. 54.
102 (P. 52 a 1 ; H. 47 a 1 )-
paribhasa mitho jalpah.
'Conversation (paribhasa = paribha?ana) is talking [of'
persons] with one another.'
Com. Ex.: Ratn. 4, -p. 104-105; Venl. 6, p. 205-206.
Notes. Bh. and SD. define this subdivision of the nirvahana as a
speech implying censure.
II Bh. 19. 98 a; SD. 396; Pratapar. 3. i& Cf. L6vi, p. 54.
103 (P. 52 a 2 ; H. 47 a 2 ).
prasadah paryupasanam.
'Graciousness (prasada) is courtesy.'
Com. Ex. : Ratn. 4, p. 105; Venl. 6, p. 205.
Notes. ||Bh. 19. 99 a; SD. 398; Pratapar. 3. 18. Cf. Levi, p. 55.
104 (P. 52 b 1 ; H. 47 b 1 ),
anando vanchitavaptih.
' B 1 i s s (Snanda) is the attainment of one's desires.'
-2. 108] BOOK ONE 31
Com. Ex. : Ratn. 4, p. 107 [differs from the ordinary text] ; Veni 6,
p. 206.
Notes. II Bh. 19. 99 b; SD. 399? Pratapar. 3. ia Cf. Levi, p. 55.
105 (P. 52 b 2 ; H. 47 b 2 ).
samayo duhkhanirgamah.
'Deliverauce {samaya, lit. occasion) is escape from mis-
fortune.'
Com. Ex. : Ratn. 4, p. 104; Veni. 6, p. 208.
Notes. ||Bh. 19. 100 a; SD. 400; Pratapar. 3. 18. Cf. Levi, p. 55.
106 (P. 53 a 1 ; H. 48 a 1 ).
krtir labdharthasamanam.
'Confirmation (krti, lit. fact) is substantiation of the
result attained.'
Com. Ex.: Ratn. 4, p. 107; a passage from Veni. [substantially equi-
valent to the stanza 6. 44, p. 209].
Notes. ||Bh. 19. 98 b; SD. 397; Pratapar. 3. 18. Cf. LeVi, p. 55.
107 (P. 53 a s ; H. 48 a 2 ).
manadyaptis ca bhasanam.
'Expression of Satisfaction (bhSsana) is the attain-
ment of one's expectations and the like.'
Com. Ex. : Ratn. 4, p. 108.
Notes. Pratapar. calls this subdivision SbhSfana and defines it as
prllptakSryanumodanam. — Bh. has BbhBfana.
II Bh. 19. 101 a ; SD. 402 ; Pratapar. 3. 18. Cf. Levi, p. 56.
108 (P. 53 b; H. 4 8b).
karyadrstyadbhutapraptl purvabhavopaguhane.
'Anticipation (pUrvabhava) and Unforeseen Cir-
cumstance (upagiihana) are [respectively] the foreseeing of
the Denouement (k&rya) and the experiencing of something
wonderful.'
$2 BOOK ONE [i. I08-
Com. Ex^ : Ratn. 4, p. 106-107 (Anticipation) ; Venl. 6, p. 207 (Unfore-
seen Circumstance).
Notes. For the parvabhava SD. 403 substitutes the parvavakya, or
allusion to words spoken before.
II Bh. 19. 100 b, toib; SD. 401; Pratapar. 3. 18. Cf. Levi, p. 56.
109 (P. 54 a 1 ; H. 48 c 1 ),
varaptih kavyasamharah.
'Termination (kavyasamhara) is obtaining a boon.'
Com. Ex. : Ratn. 4, p. 108 [cf. Nagananda S» P- n>5; Priyadarsika 4,
P- 9Sl •
Notes. The illustrative example here and in SD. shows that this
kivyasatithSra is merely a designation for the phrase ' What f urther can I
do for you?' which in many of the dramas precedes the final Benediction.
II Bh. 19. 102 a; SD. 404; Pratapar. 3. 18. Cf. Levi, p. 56.
110 (P. 54 a 2 ; H. 48 c 2 ).
prasastih gubhasamsanam.
'Benediction (prasasti), is a prayer for good things.'
Com. Ex. : Venl. 6, p. 210-21 1.
Notes. The principal divisions of the Conclusion are the End of the
Drama and the Benediction; these must always be employed in the order
named (SD. 405, com.).
II Bh. 19. 102 b; SD. 405; Pratapar. 3. 18. Cf. Levi, p. 56.
m (P. 54b; H. 49a).
uktanganam catuhsastih sodha caisam prayojanam.
' The sixty-four subdivisions have now been spoken of . Their
application is sixfold.'
Notes. II SD. 406 a; Pratapar. 3. 18. Cf. L6vi, p. 36.
Sixfold Application of the Subdivisions
:i2 (P. ss ; H. 49 b, c).
istasyarthasya racana gopyaguptih prakasanam
ragah prayogasyaScaryam vrttantasyanupaksayah.
-*• "5 ] BOOK ONE 33
' [These six applications are] : the arranging of the subject
chosen, concealing what is to be concealed, disclosing [what is t6
be disclosed], emotion, the element of surprise iri the representa-
tion, and sustaining interest in the story.'
Notes. ||Bh. 19. 48 b, 49; SD. 407 a, b, c; AP. 337. 24, 25; Pratapar.
3. 18. Cf. Levi, p. 36.
TWOFOLD TREATMENT OF THE SUBJECT-MATTER.
113 (R 56; H. 50).
dvedha vibhagah kartavyah sarvasyapiha vastunah
sucyam eva bhavet kim cid drsyasravyam athaparam.
' And here [i. e. in the play] a twofold division of the whole
subject-matter must be made: some [of it] is to be intimated,
and the rest is to be seen and heard.'
Notes. II Pratapar. 3. 18. Cf . Levi, p. 57.
114 (P. 57; H. 51).
niraso 'nucitas tatra samsucyo vastuvistarah
drsyas tu madhurodattarasabhavanirantarah.
' Minute details of the subject-matter that are deficient in Sen-
timent and unsuitable are [merely] to be intimated in it
[i. e. in the play] ; but what has constantly sweet and exalted
Sentiments and States istobe presented in action/
Notes. For an enutneration of actions considered unsuitable for actual
presentation in the play see 3. 39. Cf. Levi, p. 57.
The Five Kinds of Intermediate Scene
115 (P. 58; H. 52).
arthopaksepakaih sucyam pancabhih pratipadayet
viskambhaculikankasyankavatarapravesakaih.
' What is to be [merely] intimated one should make clear by
means of the five Intermediate Scenes (arthopak?epaka) ,
34 BOOK ONE [i. XI5 -
[namely]": the Explanatory Scene (viskambha), the Intimation-
scene (cUlika), the Anticipatory Scene (ank&sya), the Continua-
tion-scene (ankavatara) , and the Introductory Scene (prave-
iafia)'.
Notes. flBh. 19. 109; SD. 305, 308 a, b; Pratapar. 3. 18. Cf . Levi, p. 59.
116 (P. 59; H. 53 a, b).
vrttavartisyamananam kathamsanarn nidarsakah
samkseparthas tu viskambho madhyapatraprayojitah.
'The Explanatory Scene (viskambha = viskambhaka),
which is presented by middling characters and is for the purpose
of condensing, explains parts of the story that have happened or
are about to happen.'
Notes. This is called vifkambhaka in Bh. and SD. and also in many
dramas; DR. often uses the form vifkambha. — In explanation of the vif-
kambhaka the com. on Mankhakosa 563 (ed. Zachariae, Vienna, 1897,
p. 77) quotes Bh. 18. 35.
|| Bh. 19. 1 10; 18. 34, 51; SD. 308 c, d; Pratapar. 3. 19. Cf. Levi, p. 59.
117 (P. 6oa; H. 53C).
ekanekakrtah suddhah samkirno nicamadhyamaih.
'When performed by one or more persons [of one class], it
. [is called] pure (iuddha) ; when by inferior and middling [char-
acters], it [is called] mixed (samkirna) .'
Notes. The pure variety is a soliloquy or a dialogue in Sanskrit and
is presented by one or two middle-class characters; the tnixed variety is
in Prakrit and is presented by middling and inferior characters together
(whence the designatiom).
|| Bh. 19. m; 18. 35, 52; SD. 308 e, f; Pratapar. 3. 19. Cf. L6vi, p. 59.
118 (P. 6ob,6ia; H. 54).
tadvad evanudattoktya nicapatraprayojitah
praveso 'hkadvayasyantah sesarthasyopasucakah.
'The Introductory Scene (pravesa = pravdsaka),
which is quite similar [to the preceding] and is performed by
-I. 120] BOOK ONE 35
inferior characters in langiiage that is not elevated, explains,
between two Acts, matters that have been omitted.'
Com. The phrase ' between two acts ' prohibits the use of the Introduc-
tory Scene in the first act.
Notes, 'nkadvayasyantah H, V, P; "nte Hall p. 38. — The pravesaka,
as distinguishcd from the viskambhaka, is always in Prakrit. Gray, JAOS.
25. 205, note 1, rightly protests against the misleading translation 'inter-
lude,' which has an entirely different connotation in English.
II Bh. 19. 113, 114= 18. 30, 31 ; SD. 309; Pratapar. 3. 22. Cf. Levi, p. 61.
119 (P. 61 b; H. 55 a).
antaryavanikasamsthais culika 'rthasya sucana.
'The Intimation-scene (ciilika) is an explanation of a
matter by persons stationed behind the curtain.'
Com. Ex. : Uttararama. 2, p. 47 ; Mahavira. 4, p. 125.
Notes, antaryavanika," H, V; antarjavanika, Hall p. 38, P. — On the
curtain in the Hindu theater see Levi, p. 373-374.
II Bh. 19. 112; SD. 310; Pratapar. 3. 20. Cf. Levi, p. 60.
120 (P. 62 a; H. 55 b).
ankantapatrair ankasyam chinnankasyarthasucanat.
'The Anticipatory Scene (aitkasya) [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
(fromit)].'
Com. Ex. : Mahavira. 2, p. 87 ; 3, p. 89.
Notes. In Bh. and SD. this is called ankamukha in both summary and
definition; here only ankSsya (anka + Hsya) . The variation is of no sig-
nificance, since isya and mukha are synonymous. — SD. gives, in addition
to the explanatio» of aAkasya as a ref erence to the opening of the succeed-
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 ankivatUra,
with which some persons (according to SD. 313, com.) claimed it was
identical.
II Bh. 19. 116; SD. 312, 313; Pratapar. 3. av. Cf. Levi, p. 60.
$6 BOOK ONE [i. 121-
iai (P. 62 b, 63 a; H. 56).
ankavataras tv ankante pato 'hkasyavibhagatah
ebhih samsucayet sucyam drsyam ankaih pradarsayet.
'The Continuation-scene (atikavatSra) is the occur-
rence of an Act at the end of [the previous] Act, without separa-
tion from it. — By means of these [Intermediate Scenes just
enumerated] one should intimate what is to be intimated ; [but]
what is to be seen one should represent by means of the acts
[themselves].'
Com. Ex. of ankSvat&ra : Malav. 1, p. 21 [with variants].
Notes, pato 'nkasya' H, V, P; pitrankasya" Hall p. 38. — The Con-
tinuation-scene is evidently a continuation of the action by the same
characters in a succeeding act, without other interruption than the technical
separation between the acts. A remarkable instance of the application of
this device on the modern stage is to be found in a drama by Charles
Rann Kennedy, The Servant in the Housc (published at New York, 1008),
in which every act is thus continued in the following one. — The Continua-
tion-scene does not seem to belong properly in the category of Intermediate
Scenes, according to the definition of these in the latter part of this sec-
tion; it is not clear how it informs the audience of matters that cannot
be presented on the stage (cf. 1. 114).
II Bh. 19. 115; SD. 311; Pratapar. 3. 23. Cf. Levi, p. 60.
AS1DES, CONFIDENTIAL REMARKS, AND THE LIKE
122 (P. 63 b; H. 57 a).
natyadharmam apeksyaitat punar vastu tridhesyate.
' This subject-matter [just mentioned] is further declared to be
of three kinds, with regard to the dramatic rules (natyadharma).'
Notes. This section serves as an introduction to sections 123-128.
Contrary to the usual practice of our author, the three kinds are not
specially named and enumerated before they are taken up individually in
sections 123-124, 125-127, and 128. — Cf. Levi, p. 61.
123 (P. 64 a; H. 57 b).
sarvesam niyatasyaiva Sravyam asravyam eva ca.
' Of the matter in hand some is to be heard by all, some is not
to be heard by all.'
-I. 127] BOOK ONE 37
Notes. The technical terms are given in the following section. Cf.
Levi, p. 61.
124 (P. 64b; H. 58a).
sarvasravyam prakasam syad asravyam svagatam matam.
' What is tojje heard by all is [called] an A 1 o u d (prakata) ;
what is not to be heard [by all] is known as an A s i d e (svagata).'
Notes. An Aside is also called atmagata. The adverbial forms atma-
gatam and svagatam occur frequently in the stage-directions of the dramas.
H SD. 425 a, b. Cf. Levi, p. 61.
125 (R 65 a; H. 58 b).
dvidha 'nyan natyadharmakhyam janantam apavaritam.
' There is another so-called dramatic rule that is twofold : Per-
sonal Address (jand,nta=jand,ntika) and Confidence (apavarita) .'
Notes. Cf. Levi, p. 61.
126 (P. 65 b, 66 a; H. 59 a, b).
tripatakakarenanyan apavaryantara katham
anyonyamantranam yat syaj janante taj janantikam.
'Personal Address (janantika) is mutual conversation
in the presence of [other] persons by shutting out the others
in the middle of a story by the hand with three fingers raised
(tripataka) .'
Notes. The word tripataka, explained briefly in the commentary on this
section and in detail in Bh. 9. 28-38, designates the hand with three
fingers outstretched, the thumb and ring-finger being curved inward. As
can be seen from the passage of Bh. referred to, this was one of the con-
ventional gestures of the Hindu stage. — For an example of the janantika
see Sakuntala 6. 24 -f- , p. 221.
II SD. 425 d, e. Cf. Levi, p. 61.
127 (P. 66b; H. S9c).
rahasyam kathyate 'nyasya paravrttya 'pavaritam.
38 BOOK ONE [i. 127-
'A Confidence (apavSrita) is a secret told to another
by turning arounfl [to him] .'
Notes. The apavarita is understood to be heard only by the person
addressed.
H SD. 425 b, c. Cf. Levi, P- 61.
128 (P. 67; H. 60).
kim bravisy evam ityadi vina patram braviti yat
srutvevanuktam apy ekas tat syad akasabhasitam.
'When [one actor] alone, without [another] actor [on the
stage] says ' Do you say so ? ' or the like, as if hearing something,
though it is [really] not spoken, that is [called] Conversation
with Imaginary Persons (akasabhasita) .'
Com. 'Some persons name other dramatic rules besides, such as pra-
thamakalpa [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. This device is frequently employed in the Bhana, or Mono-
logue; see DR. 3. 53. An interesting illustration of its use is found at
the opening of the second act of the Mudraraksasa. For an Occidental
parallel see Maeterlinck, L'Oiseau bleu, beginning of tableau 5, act 3 (ed.
Paris, 191 1, p. 108-109).
II SD. 425 f, g. Cf. Levi, p. 61, 62.
CONCLUSION OF THE FlRST BOOK
129 (P. 68; H. 61).
ityady asesam iha vastuvibhedajatam
Ramajranadi ca vibhavya Brhatkatham ca
asutrayet tad anu netrrasanugunyac
citram katham ucitacaruvacahprapancaih.
'After examining the entire body of divisions of the subject-
matter here [presented] in these and the following [sections],
-I. 129] B00& ONE 39
as well as the Ramayana and the like, and the Brhatkatha, one
should thereupon compose a story diversified with the appro :
priate selection of Hero and Sentiments, together with amplifica-
tions of appropriate and pleasing words.'
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
i (P. i, 2; H. i, 2 a, b).
neta vinito madhuras tyagi daksah priyamvadah
raktalokah §ucir vanml rudhavamSah sthiro yuva
buddhyutsahasmrtiprajnakalamanasamanvitah
- suro drdhasi ca tejasvi Sastracaksus ca dharrnikah.
'The Hero should be well-bred, charming, liberal, clever,
affable, popular, upright, eloquent, of exalted lineage, resolute,
and young; endowed with intelligence, energy, memory, wisdom,
[skill in the] arts, and pride ; heroic, mighty, vigorous, familiar
with the codes, and a just observer of laws.'
Com. Ex. : Mahavira. 4. 21, p. 146* (well-bred) ; Mahavira. 2. 36, p. 75
(gentle) ; Spr. 1547 (liberal) ; Mahavira. 1. 53, p. 37 [quoted also at DR. '
2. 16] (clever) ; Mahavira. 2. 35, p. 75 (affable) ; Mahavira. 4. 44, p. 164
(popular) ; Raghuvamsa 16. 8 (upright) ; Mahanafaka 2. 14, p. 52 [= Bala-
ramayana 4. 60, p. 108] (eloquent) ; Anargharaghava 3. 21, p. 123 (of
exalted lineage) ; Mahavira. 3. 8, p. 95 [quoted also at DR. 2. 20 and 4. 22]
(resolute) ; Bhartrhari, Nitis. 27= Spr. 4342 (resolute) ; Malav. 1. s, p. 8
(possessed of knowledge).
Notes. H SD. 64; Rudr. Sriig. 1. 27; Rudr. Kavyal. 12. 7, 8; Sarasv.
5. 103 a, 122, 123 (ed. B. S- 104 a, 123, 124) ; Hem. KSvyan. 7, p. 295 ;
Vagbhatal. 5. 7; Vagbh. Kavyan. 5, p. 62; Pratapar. 1. 11, 22; Alamkara-
sekhara 20. 6; Kamasutra, p. 308-309; Kandarpacudamani and Paficasa-
yaka, cited by Schmidt. Ci. Schmidt, p. 147-150 (2d ed., 109-m) ; Levi,
p. 62-64.
The Four Types of Hero
2 (P.3a;H. 2c).
bhedais caturdha lalitasantodattoddhatair ayam.
'He [i. e. the Hero] is of four kinds, being light-hearted
(lalita), calm (Santa), exalted (udatta), or vehement (uddhata).'
40
-2-5] BOOK TWO 41
Notes. In the definitions of these four kinds of hero, which follow
in sections 3-6, each of the terms lalita, f anto, etc. has prefixed to h
the word dhlra, ' seK-controlled,' in order to indicate that the hero, unlike
the heroine, must always have himself under control. — The Sahityasara
mentions only the first three types.
|| Bh. 24. 3, 4; SD. 65; AP. 338. 37 b, 38 a; Sarasv. 5. 1093 (ed. B. S-
iioa) ; Hem. Kavyan. 7, p. 299; Vagbh. Kavyan. s, p. 61; Pratapar. 1. 27;
Sahityasara 11. 2.
3 (P. 3 b;H. 3 a).
niscinto dhiralalitah kalasaktah sukhi mrduh.
'The self-controlled and light-hearted [Hero] (dhlra-
lalita) is free from anxiety, fond of the arts [song, dance, etc.],
happy, and gentle.'
Com. Ex. : Ratn. 1. 9, p. 6 [quoted also at DR. 4. 14].
Notes. ||Bh. 24. 5 a; SD. 68; Sarasv. 5. 556 (ed. B. p. 342); Hem.
Kavyan. 7, p. 299; Pratapar. 1. 32; Sahityasara 11. 4. Cf. Levi, p'. 64.
4 (P. 4 a;H. 3 b).
samanyagunayuktas tu dhirasanto dvijadikah.
'The self-controlled and calm [Hero] (dhtrasanta) is a
Brahman or the Hke, possessed of the generic merits [of a Hero].'
Coli. Ex. : Malatim. 2. ro, p. 73; Mrcch. 10. 12, p. 259 [quoted also
at DR. 1. 89].
Notes. ||Bh. 24. 6 a.; SD. 69; Sarasv. S. 557 (ed. B. p. 343); Hem.
Kavyan. 7, p. 299; Pratapar. 1. 33; Sahityasara u. 5. Cf. Levi, p. 64.
5 (P.4b,5a; H. 4).
mahasattvo 'tigambhirah ksamavan avikatthanah
sthiro nigudhahamkaro dhirodatto drdhavratah.
'The self-controlled and exalted [Hero] (dklrodatta) is
of great excellence, exceedingly serious, forbearing, not boastful,
resolute, with self-assertion .suppressed, and firm of purpose.'
Com. Ex. : Nagan. 5. IS, p. 89 [quoted also at DR. 2. 23] ; Mahanataka
3- 25, p. 97 [quoted also at DR. 2. 19]. The objection may be raised by some
that Jimutavahana, the hero of the NagSnanda, belongs more properly in
the category of 'calm' heroes, as would appear from Nagan. i. 6, p. 4
42 BOOK two [a. 5-
and i. 4, p. 3. But [says Dhanika] he is really an ' exalted ' hero, in spite
of his great tranquillity, profound sympathy, and lack of passion, and his
disregard for personal pleasure is due to a desire for achievement, such as
is seen also in Sakuntala 5. 7, p. 158 (=Spr. 7328). [For det'ails of the
argument see Levi, p. 65-66.]
Notes. ||Bh. 24. 5 b; SD. 66; Sarasv. 5. 558 (ed. B. p. 343); Hem.
Kavyan. 7, p. 299; Pratapar. 1. 28; Sahityasara 11. 3. Cf. Levi, p. 65-66.
<>% (P.5b,6a;H. 5).,
darpamatsaryabhuyistho mayachadmaparayanah
dhiroddhatas tv ahamkarl calas cando vikatthanah.
'The self-controlled and vehement [Hero] (dhlroddhata)
is altogether dominated by pride and jealousy, wholly devoted to
magic practices and deceit, self-assertive, fickle, irascible, and
boastful.'
Com. Ex. : Mahavlra. 2. 16, p. 57 ; trailokyaisvarya" [unidentified pas-
sage]. — The principal hero 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,
p. 51 [quoted also at DR. 4. 23 and Kavyapradlpa 5, p. 169] ; as ' vehement '
in 2. 16, p. 57 [quoted above] ; and as ' calm ' in 4. 22, p. 147 [quoted also
at DR. 2. 89]. [For details of the argument see Levi, p. 67-68.]
Notes. ||Bh. 24. 5 a; SD. 67; Sarasv. 5. 555 (ed. B. p. 342); Hem.
Kavyan. 7, p. 299; Pratapar. 1. 30. Cf. Levi, p. 66-68.
The Hero as Lover
7 (P. 6b; H. 6a).
sa daksinah satho dhrstah purvam praty anyaya hrtah.
' When he has been captivated by another woman, [the Hero
may be] clever (dakpna), deceitful (satha), or shameless
(dhrsta) toward his previous [love].'
Notes. II SD. 70; Rudr. Srng. 1. 28; Rudr. Kavyal. 12. 9a; AP. 33^
38b; Sarasv. 5. I09b (ed. B. 5. nob) ; Hem. Kavyan. 7, p. 299; Vagbhatal.
5. 8; Vagbh. KavySn. 5, p. 61; Rasamanjari, p. 208; Pratapar. 1. 34;
Alamkarasekhara 20. 7; Ratirahasya 2. 82 (ZDMG. 57, p. 728). Cf.
Schmidt, p. 152-153 (2d. ed., p ; 112-113).
- 2. 10 ] B00K TWO 43
8 (P. 7 a 1 ; H. 6 b 1 ).
daksino 'syam sahrdayo.
'A clever [Hero] (daksina) is [one that is] kind to her
[i. c. to his previous love].'
Com. Ex.: prasido", stanza by Dhanika; Malav. 3. 3, p. 40= Spr. 1158.
Notes. H SD. fi; Rudr. Srng. 1. 31; Rudr. Kavyal. 12. 10; Sarasv. S.
562 (ed. B. p. 343); Hem. Kavyan. 7, p. 300; Vagbhatal. 5. ob; Vagbh.
Kavyan. 5, p. 61; Rasamanjari, p. 210; Pratapar. 1. 36; Alarnkarasekhara
20. 8 b; Rasaratn. 49 a; Bhasabhusana 6 b. Cf. Schmidt, p. 154-155 (2d
ed., p. 114-115) ; Levi, p. 68.
9 (P. 7a 2 ; H. 6b 2 ).
gudhavipriyakrc chathah.
'A deceitful [Hero] (satha) [is one that] hides his un-
faithfulness.'
Com. Ex. : Amaru 73 = Spr. 6357 [quoted also at SD. 74]. — A
' clever ' hero, although equally unf aithf ul, differs f rom a ' deceitful ' hero
in that he is kind to his former love.
Notes. ||Bh. 22. 298; SD. 74; Rudr. Srng. 1. 33; Rudr. Kavyal. 12. n;
Sarasv. 5. 559 (ed. B. p. 343) ; Hem. Kavyan. 7, p. 301; Vagbhatal. 5. 10 a;
Vagbh. Kavyan. 5, p. 61; Rasamanjari, p. 213; Pratapar. 1. 39; Alam-
karasekhara 20. 9 a; Rasaratn. 50 a; Bhasabhu?ana 7 a; Ratirahasya 2. 84
(ZDMG. 57. P- 728). Cf. Schmidt, p. 155-157 («d ed., p. 115-116) ; LeVi,
p. 68.
10 (P. 7 b 1 ; H. 6 c 1 ).
vyaktangavaikrto dhrsto.
'A shameless [Hero] (dhrsta) [is one that] lets the
disfigurements on his body show.'
Com. Ex. : 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).
U SD. 72 ; Rudr. Srng. 1. 36 ; Rudr. Kavyal. 12. 12 ; Sarasv. 5. 560 (eA
B. p. 343) J Hem. Kavyan. 7, p. 300; Vagbhatal. 5. 10 b; Vagbh. Kavyan.
5, p. 61; Rasamanjari, p. 211; Pratapar. 1. 38; Alarnkarasekhara 20. 9 b;
Rasaratn. 49 b; Bhasabhusana 7 b; Ratirahasya 2. 85 (ZDMG. 57, p. 728).
Cf. Schmidt, p. 157-158 (2d ed., p. 116-117) ; L6vi, p. 68.
44 BOOK TWO [2. li-
li (P. 7 b 2 ; H. 6 c 8 ).
'nukulas tv ekanayikah.
'A faithful [Hero] (anukttla) [is one that] has only a
single lady-love.'
Com. Ex. : Uttarariima. 1. 39, p. 37. — The question arises as to the
classification of heroes of the Nafika, such as King Vatsa in the RatnavalI,
who are at first faithful and later unfaithful but courteows. They are not
to be regarded as ' deceitf ul ' and ' shameless,' even though they at first
conceal their love and afterwards openly confess it, for they always retain
some affection for their previous love, as can be seen from the works of
the great poets (for example, snata tifthati kunta" [unidentified stanza,
quoted also at SD. 71]) and from Bharata (Bh. 23. 54). Hence such a
hero is to be regarded as ' clever.'
Since each of the sixteen varieties [produced by the combination of
the four kinds mentioned in sections 3-6 with those mentioned in sections
8-11] may be superior, intermediate, or inferior, there are 48 varieties of
hero [cf. Bh. 24. 2; SD. 75; Kumarasvamin on Pratapar. 1. 27; Suka-
saptati, text. simpl. 57 (p. 162, 1. 4-9) ; and see Schmidt, p. 158-160].
Notes. H SD. 73; Rudr. Srng. 1. 29; Rudr.,Kavyal. 12. 9 b; Sarasv. 5.
561 (ed. B. p. 343) ; Hem. Kavyan. 7, p. 301 ; Vagbhatal. 5. 9 a ; Vagbh.
Kavyan. 5, p. 61; Rasamafijari, p. 208; Pratapar. 1. 35; Alamkarasekhara
20. 8 a; Rasaratn. 49 a; Bhasabhusana 6a; Ratirahasya 2. 83 (ZDMG. 57,
p. 728). Cf. Schmidt, p. 153-154 (2d ed., p. 113-114) ; Levi, p. 69.
COMPANIONS OF THE HERO
ia (P. 8; H. 7).
patakanayakas tv anyah pithamardo vicaksanah
tasyaivanucaro bhaktah kim cid unas ca tadgunaih. •
'The Hero of the Episode (pataks) is a separate person,
[called] Attendant (plthamarda) , intelligent, assisting him
[i. e. the principal Hero], devoted [to him], and possessed of
his qualities in a less degree.'
Com. Such are, for example, Makaranda in the Malatimadhava, and
Sugriva in [the dramas based on] the Ramayana.
Notes. ||SD. 76; Rudr. Srng. i- 39. 40; Rudr. Kavytl. 12. 13, 14; AP.
338. 39. 40 a ; Sarasv. 5. 597 (ed. B. p. 348) ; Vagbh. Kavyan. 5, p. 62 ;
Rasamafijari, p. 227; Pratapar. 1. 40; Rasaratn. 53 a; KSmasutra, p. 57-
58; Kandarpacudamani and Paflcasayaka, cited by Schmidt. Cf. Schmidt,
p. 197-200 (2d ed., p. 142-144) ; Levi, p. 72.
- 2. 15 ] BOOK TWO 45
13 (P. 9a; H. 8a).
ekavidyo vitas canyo hasyakrc ca vidusakah.
'Another [companion] is the Parasite (vita), who has
but a single accomplishment, and the Jester (vidUsaka), who
is the fun-maker.'
Com. An example of the vi(a is Sekharaka in the Nagananda ; the vidU-
faka is a familiar figure [and no example need therefore be mentioned].
Notes. II Bh. 24. 105, 107 b, 108 a ; SD. 77-79 ; Rudr. Srng. 1. 41 ; Rudr.
Kavyal. 12. 15; AP. 338. 40; Sarasv. 5. 598, 599 (ed. B. 5. 170*. 170, p. 348) ;
Vagbh. Kavyan. S, p. 62; Rasamafijari, p. 227; Pratapar. 1. 40; Rasaratn.
53 b, 55 a [by an oversight no section was numbered 54 in the printed
edition] ; Kamasutra, p. 58, 59; Ratirahasya 1. 21-26 (ZDMG. 57, p. 712-
713). CL Schmidt, p. 200-204 ( 2 d ed., p. 144-146); Levi, p. 122-123.
The Opponent of the Hero
14 (P. 9b; H. 8b).
lubdho dhiroddhatah stabdhah papakrd vyasanl ripuh.
'The Opponent [of the Hero] is avaricious, [of the type
known as] self-controlled and vehement (dhtroddhata) , stubborn,
criminal, and vicious '
Com. Ravana, for exaraple, is the opponent of Rama, and Duryodhana
the opponent of Yudhijthira.
Notes. The technical term for this type of character is pratin&yako,
' counter-hero.' The use of the word tipu here is due to metrical exi-
gencies. — Hem. Kavyan. (7, p. 308) mentions also a pratinHyika as a fotl
to the heroine. DR. makes no mention of such a character.
|| SD. 159 ; Sarasv. 5. 103 b (ed. B. 5. 104 b) ; Hem. Kavyan. 7, p. 301.
Cf. Levi, p. 72.
QUALITIES OF THE HERO
15 (P. 10; H. 9).
sobha vilaso madhuryam garnbhiryam sthairyatejasi
lalitaudaryam ity astau sattvajah paurusa gunah.
'The eight manly qualities that spring from one's nature are:
Beauty of Character (sobha), Vivacity (vilasa), £quanimity
46 BOOK TWO [ 2. 15 -
(madkuryd), Poise (gambhlrya), Firmness (sthairya), Sense of
Honor (tejas), Lightheartedness (lalita), and Magnanimity
(audarya).'
Notes, sthairya" Hall p. 38, P; dhairya" H, V (Bh. has sthairya; SD.,
dhairya). Hall remarks (p. 16, n. 3): 'The dliairya of my printed text,
in the ninth stanza, is clearly a clerical error for sthairya.' In spite of
this plain statement and the occurrence of the, forr.ejct v#ord in DR. 2. 20,
Vidyasagara's reprint of the text repeats the incorrect reading; see my re-
marks on that edition in the Introduction. — sattvajah H, V, P ; sSttvikah
Hall p. 38 (SD. has sattvajah).
Five of these technical terms reappear below in the enumeration of the
graces of women: iobha (2. 53), vilasa (2. 61), m&dhurya (2. 55), lalita
(2. 68), audarya (2. 58). In their application to feminine charms they
have a different meaning, and they are therefore rendered in that con-
nection by another set of English terms.
II Bh. 22. 31; SD. 89; AP. 338. 47; Hem. Kavyan. 7, p. 296.
16 (P. n a; H. ioa).
nice ghrna 'dhike spardha sobhayam sauryadaksate.
'In Beauty of Character {tobha) [are comprised] com-
passion for the lowly, emulation of one's superiors, heroism, and
cleverness.'
Com. Ex. : Mahavira. 1. 37, p. 27 (compassion) ; etam pasya purah"
[unidentified stanza, tr. Levi, p. 70] (emulation) ; stanza by Dhanika
= Sarng. 3973 [tr. Levi, p. 70] (heroism) ; Mahavira. 1. 53, p. 37 [quoted
also at DR. 2. 1] (cleverness).
Notes. ||Bh. 22. 32; SD. 90; AP. 338. 48; Hem. Kavyan. 7, p. 296.
Cf. Levi, p. 70.
17 (P. II b; H. 10 b).
gatih sadhairya drstis ca vilase sasmitam vacah.
'Vivacity (vilasa) includes a firm step and glance and a
laughing voice.'
Com. Ex. : Uttararama. 6. 19, p. 147.
Notes. || Bh. 22. 33; SD. 91 ; Hem. Kavyan. 7, p. 297. Cf. Levi, p. 70.
-3.21] BCOK TWO 47
18 (P. 12 a; H. n a).
slaksno vikaro madhuryam samksobhe sumahaty api.
'Equanimity (madhurya) [means] slight change of de-
meanor even in very great agitation.'
Com. Ex. : Mahanataka 3. 54, p. ii4 = Sariig. 3990 [tr. Levi, p. 70].
Notes. II Bh. 22. 34; SD. 92; Hem. Kavyan. 7, p. 297. Cf. Levi, p. 70.
19 (P. 12 b; H. II b).
gambhiryam yat prabhavena vikaro nopalaksyate.
'Poise (gambhtrya) [means] that, because of strength of
character, no change of demeanor whatsoever is observed [even
in Very great agitation] .'
Com. Ex. : Mahanataka 3. 25, p. 97 [quoted also at DR. 2. 5; tr.
Levi, p. 65].
Notes. ||Bh. 22. 36; SD. 93; Hem. Kavyan. 7, p. 298. Cf. Levi, p. 71.
ao (P. 133; H. I2a).
vyavasayad acalanam sthairyam vighnakulad api.
'Firmness (sthairya) is the not being swerved from one's
determination even by a multitude of obstacles.'
Com. Ex. : Mahavlra. 3. 8, p. 95 [quoted also at DR. 2. 1 and 4. 22].
Notes. ||Bh. 22. 35; SD. 94; Hem. Kavyan. 7, p. 298. Cf. Levi, p. 71.
21 (P. 13 b; H. 12 b).
adhiksepadyasahanarn tejah pranatyayesv api.
'Sense of Honor (tejas) is the not enduring insults and
the like, even at the cost of one's life.'
Com. Ex. : Sarng. 262.
Notes. The corresponding section of Bh., recorded by Hall (p. 16,
n. 3) as cited by Ks/irasvamin and by Rayamukutamani in their com-
mentaries on the Amarakosa, is found also in the com. on Hemacandra's
Anekarthasamgraha 2. 371 and 2. 569 (ed Zachariae, Vienna, 1893, Ex-
tracts from the Com., p. 58, top, and p. 83, middle). SD. repeats the defi-
nition of Bh. without change.
HBh. 22. 39; SD. 95 a, b; Hem. Kavyan. 7, p. 298. Cf. Levi, p. 71.
48 BOOK TWO [ 2. 22
33 (P. 14 a; H. 133).
srngarakaracestatvam sahajam lalitam mrdu.
'Lightheartedness (lalita) is the natural sweet appear-
ance and demeanor of love.'
Com. Ex. : lOvanyamanmatha ', stanza by Dhanika [tr. Levi, p. 71].
Notes. II Bh. 22. 37; SD. 95 c; Hem. Kavyan. 7, p. 29?. Cf. Levi, p. 71.
33 (P. 14 b; H. 13 b).
priyoktya jivitad danam audaryam sadupagrahah.
'Magnanimity (auddrya) is the gjving up of even as
much as (S) one's life with a kindly word, [and] the propitia-
tion of the virtuous.'
Com. Ex. : N agan. S. 15, p. 89 [quoted also at DR. 2. 5] ; Kumara-
sambhava 6. 63 (propitiation).
Notes. I take priyoktya, to represent priyoktya (instrumental) + a
(prepositional adv. with jivitad).
HBh. 22. 38; SD. 95 d; Hem. Kavyan. 7, p. 298. Cf. Levi, p. 71.
The Three Kinds of Heroine
34 (P. 15 a; H. i 4 a).
sva 'nya sadharanastri 'ti tadguna nayika tridha.
'The Heroine {nayika) is of three kinds: [the Hero's] own
wife (svS), [a woman who is] another's (anya), or a common
woman (sadharanastri) ; and she has his [ i. e. the Hero's]
qualities.'
Notes. A diagram illustrating Dhanamjaya's classification of the types
of heroine will be found on p. 149. — Bh. 24. 7-10 presents a different
classification recognizing four varieties: divya, nrpapatnl, kulastrl, ganikO^
II SD. 96; Rudr. Srng. 1. 46; Rudr. Kavyal. 12. 16; AP. 338. 41;'.
Sarasv. 5. 111 a, 112 b (ed. B. 5. 112 a, 113 b); Hem. Kavyan. 7, p. 301;
Vagbhatal. 5. 11; Vagbh. Kavyan. S, p. 62; Rasamanjari, p. 11; Alam-
karasekhara 20. 2 b, c; Rasaratn. 8b; Sahityasara 10. 2 a; Bhasabhusana
10; Ratirahasya 1. 27 (ZDMG. 57, p. 713). Cf. Schmidt, p. 256-258 i'd
«d., p. 186-187) ; Levi, p. 72.
- 2. i*] ] book two 49
The Hero's Wife as Heroine
25 (P. 15 b; H. 14 b).
mugdha madhya pragalbheti sviya silarjavadiyuk.
' [The Hero's] own wife (svlya=sva), who is possessed
of good character, uprightntss, and the like, [may be] inex-
perienced {mugdha), partly experienced (madhya), or experi-
enced (pragalbha) .'
Com. Ex. : Hala 871 (good character) ; Hala 867 (uprightness) ; Hala
866 [quoted also at SD. 97] (modesty).
Notes, svlya H, V, P; sva 'pi Hall p. 38.— This type of heroine is
called variously sva, svlya, or svaklya.
|| SD. 97, 98; Rudr. Sriig. 1. 47; Rudr. Kavyal. 12. 17; Sarasv. 5. nob
(ed. B. s. iii b); Hem. Kavyan. 7, p. 301; Vagbhatal. 5. 12, 13;
Vagbh. Kavyan. 5, p. 62; Rasamanjari, p. 11-12, 16; Pratapar. 1. 56;
Alarnkarasekhara 20. 3, 4; Rasaratn. 9; Sahityasara 10. 8; Ratirahasya 1.
28 (ZDMG. 57. P- 713). Cf. Schmidt, p. 258-260 (2d ed., p. 187-189);
L£vi, p. 72.
26 (P. i6a; H. 15 a).
mugdha navavayahkama ratau vama mrduh krudhi.
'The inexperienced [kind of wife] (mugdha) has the
desire of new youth, is coy in love and gentle in anger.'
Com. Ex.| Spr. 6238 (youth) ; ucchvasan" , stanza by Dhanika (youth) ;
drftify sltlasa" [unidentified stanza, quoted also at DR. 2. 50] (desire) ;
Kumarasambhava 8. 2 [quoted also at DR. 4. 61] (coyness in rati) ;
Subhasitavali 2060 (gentleness in anger) ; na madhye satpskfiratn kusum"
[unidentified stanza} (passion concealed because of modesty).
Notes. In most rhetorical treatises the mugdha is not further sub-
divided (cf. DR. 2. 31, com.: mugdha tv ekarupaiva; see also Schmidt,
p. 262-263; 2d ed., p. 191), but Rasamanjari, Rasaratnahara, and Bhasa-
bhfisana mention two varieties of mugdha.
H SD. 99; Rudr. Srng. 1. 48, 52, 54, 56; Rudr. Kavyal. 12. 18-20; Sarasv.
S- 566 (ed. B. p. 344); Rasamanjari, p. 16-17; Pratapar. 1. 56; Rasaratn.
10, 11 a; Bhasabhusana 11; Ratirahasya 1. 9-11 (ZDMG. 57, p. 710). Cf.
Schmidt, p. 260-262 (2d ed., p. r8o-i9i) ; Levi, p. 72-73-
27 (P. l6b; H. ISb).
madhyodyadyauvanananga mohantasurataksama.
50 BOOK TWO [2.27-
'The partly experienced [kind of wife] (madhya) has
the love of rising youth and permits its indulgence even to
fainting.'
Com. £x. : alapan bhrU" [unidentified stanza] (youth) ; Amaru 60
(love) ; Hala S (sambhoga).
Notes, "yavanananga H, V, P; clearly a mistake for "yauvanOnanga,
which I adopt. — The term madhya is here used to desjgnate the kind of
wife intermediate between the mugdha and the pragalbha. For another
use of the word see 2. 30, notes.
\\ SD. 100; Rudr. Srng. 1. 58, 63; Rudr. Kavyal. 12. 21, 22; Sarasv. 5.
567 (ed. B. p. 344) ,* Vagbh. Kavyan. s, p. 62; Rasamanjari, p. 31 ; Pratapar.
1. 56; Rasaratn. 11 b, 12 a; Bhasabhusana 12 a; Ratirahasya 1. 12, 13
(ZDMG. 57, p. 710). Cf. Schmidt, p. 263-264 (2d ed., p. 191-192) ; Levi,
P- 73-
28 (P. 17; H. 16).
dhira sotprasavakroktya madhya sasru krtagasam
khedayed dayitam kopad adhira parusaksaram.
' In her anger a [partly experienced wife who is] self-con-
trolled (dhira) rebukes her erring husband with sarcasm and
indirect speech; one that is partly self-controlled (madhya)'
[does the same] with tears; one lacking in self-control (adhira),
with harsh words.'
Com. Ex. : Magha 7. 53 (self-controlled); Amaru so=Spr. 4443
(partly self-controlled) ; Spr. 5447 (without self-control) ; Subha§itavali
2071 (other methods of procedure than those mentioned).
Notes. || SD. 102, 103; Rudr. Srng. 1. 65; Rudr. Kavyal. 12. 23; Hem.
Kavyan. 7, p. 303 ; Rasamafijari, p. 42 ; Rasaratn. 16. Cf. Schmidt, p. 266-
269 (2d ed., p. 194-196) ; Levi, p. 73.
29 (P. 18; H. 17).
yauvanandha smaronmatta pragalbha dayitahgake
vilfyamanevanandad ratarambhe 'py acetana.
'The 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] ' BOOK TWO SI
Com. Ex. : abhyunnata", stanza by Dhanika [tr. Levi, p. 74] (youth) ;
Spr. 7183 (youth) ; Amaru 2. 63, p. 128= Spr. 3246 (emotion) ; Amani 97
(rati) ; Amaru 65 (other methods of procedure than those mentioned). '
Notes. For pragalbha Sahityasara substitutes the term adhya (the
com. explains : Odhyatvam pragalbhyam eva) ; Pratapar. and Vagbh.
Kavyan. employ the synonymous designation praudha.
|| SD. 101; Rudr. Spig. 1. 69, 74; Rudr. Kavyal. 12. 24, 25; Sarasv. 5.
568 (ed. B. p. 344) ; Vagbh. Kavyan. s, p. 62; Rasamanjari, p. 34; Pratapar.
1. 56; Rasaratn..i2b; Bhasabhfisana 12 b; Ratirahasya 1. 14, 15 (ZDMG.
57. P- 7ii)- Cf. Schmidt, p. 264-266 (2d ed., p. 102-194) ; Levi, p. 74.
30 (P. 19; H. 18 a, b).
savahitthadarodaste ratau dhiretara krudha
samtarjya tadayen madhya madhyadhireva tam vadet.
'In her anger an [experienced wife who is] self-controlled
(dhira) is pretendedly respectful (savahitthsdara) and is indif-
ferent to the pleasures of love; the other [i. e. one who is
lacking in self-control (adhira) ] is wont to scold and strike [her
husband] ; one who is partly self-controlled (madhya) is wont
to speak to him like a partly experienced [wife] who is lacking
in self-control (madhyadkira) .'
Com. Ex. : Amaru 17 = Spr. 1363 (pretended respect) ; Amaru 63 (in-
differenoe to rati) ; Amaru 10 = Spr. 1938 (rebuke and striking) ; Amaru
33 = Spr. 1939 (like madhyS,dhlr&) .
Notes, madhya H, V, P; hantam Hall p. 38. — A further threefold
division of the 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),
lacking in self-control (adhlra), or of an intermediate type called either
madhya, as in the second line above, or dhlradhlra (dhlra -\- adhlra) , as
in Dhanika's commentary and several of the other treatises (cf. Rasa-
manjari, p. 41; Bhasabhiisana 23).
Both of these designations of the intermediate type cause occasional
obscurity. The term madhya is easily confused with the madhya that
denotes the intermediate between mugdha 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 dhlradhlradhiradhlrabheda& antye tredhd,
which seems unintelligible until the first element is analyzed as dhlra +
dhlrO-adhlra + adhlra. Similarly in Rasaratn. 14 a: dhlradhlra tathH
52 BOOK TWO [2.30-
dkiradhlreti trividhe striyau. — In the word madhyadklrS, {madhy&-\-
adhtra) in the second line of the text above, the fprmer element designates
the 'partly experienced' type of wife (see 2. 27, notes).
II SD. 104-106; Rudr. Srng. 1. 76, 79; Rudr. Kavyal. 12. 26, 27; Hem.
Kavyan. 7, p. 304; Rasamanjari, p. 42-43; Rasaratn. 17, 18. Cf. Schmidt,
p. 269-270 (2d ed., p. 196-107) ; Levi, p. 74-75.
31 (P. 20a; H. i8c).
dvedha jyestha kanistha cety amugdha dvadasoditah.
' [The varieties of wife-heroine] other than the inexperienced
are said to be tWelve [in number], being [each again] of two
kinds: older (jyesthti) and younger (kanistha).'
Com. There is only one type of tnugdha. The other six varieties [the
three kinds of madhya (2. 28) and the three kinds of pragalbhn (2. 30)]
are each twofold. Ex. : Amaru 18= Spr. 2937 [quoted also at DR. 2. 82] ;
Vasavadatta and Ratnavali in the drama Ratnavali. Aside from the
mugdha there are thus twelve varieties [cf. SD. 108 a, b].
Notes. II SD. 107 ; Rudr. Srng. 1. 83 ; Rudr. Kavyal. 12. 28 ; Sarasv.
S. m b (ed. B. 5. 112 b); Hem. Kavyan. 7, p. 303; Rasamanjari, p. 57;
Rasaratn. 13. Cf. Schmidt, p. 271-272 (2d ed., p. 197-198) ; Levi, p. 75.
A Maiden or Another's Wife as Heroine
32 (P. 20 b, 21 a; H. 19).
anyastri kanyakodha ca nanyodha 'ngirase kva cit
kanyanuragam icchatah kuryad angahgisarnsrayam.
' A woman who is another's (anyastri) is either a maiden
or a married woman. A woman who is married to another
should never [figure] in the principal Sentiment; [but] love for
a maiden one may employ at will, in connection with the prin-
cipal or the subordinate Sentiments.'
Com. Ex. : Sarng. 3769 (love for the wife of another) ; the love of
the hero for Sagarika in the Ratnavali, and that of the hero for Malaya-
vati in the Nagananda (love for a maiden).
Notes, icchatah H, V, P ; anvicchan Hall p. 38. — The usual designa-
tion for this type of heroine is paraklyi, but anyi, anyadlya, and anyastri
are also found. — On the principal and subordinate Sentiments see 3. 38;
4- 1, 52-
H SD. 108 c, 109, 1 10; Rudr. Srng. 1. 87; Rudr. Kavyal. 12. 30; Sarasv.
-2.35] BOOK two 53
S. iii b (ed. B. S. 112 b); Hem. Kavyan. 7, p. 305; Vagbhatal. S. 14;
Vagbh. Kavyan. S, p. 62; Rasamanjari, p. 64-65; Alatpkarasekhara 20. 4^
Rasaratn. 20-22. Cf. Schmidt, p. 272-278 (2d ed., p. 199-203) ; Levi, p. 75.
A COURTEZAN AS HEROINE
33 (P. 21 b; H. 2oa).
sadharanastri ganika kalapragalbhyadhaurtyayuk.
'A common woman (sadharanastri) is a courtezan,
skilled in the arts, bold, and cunning.'
Notes. For parallel passages in other treati&es see the notes on section
34. .Cf . Schmidt, p. 280 (2d ed., p. 204) ; Levi, p. 75.
34 (P. 22; H. 20b, 2ia).
channakamasukharthajnasvatantrahamyupandakan
rakteva ranjayed adhyan nihsvan matra vivasayet.
' She gratifies, as if she were in love with them, those that con-
ceal their amours, those that obtain wealth easily, the foolish,
the self-willed, the selfish, and the impotent, as long as they have
money; when they are without funds she has them turned out
of doors by her mothet .'
Notes. The cotnpound sukhartha might also be translated ' those that
have pleasure as their [sole] aim/ but the corresponding expressions in
other works (sukhaprOptadhana, Rudr. Srng. and SD.; sukhapraptavitta,
Vagbh. Kavyan.) show that it means 'those that obtain, wealth easily.'
Dhanika gives both interpretations without deciding on their tnerits.
II SD. 111; Rudr. Srng. 1. 120-126; Rudr. Kavyal. 12. 39, 40; Hem.
Kavyan. 7, p. 305; Vagbhatal. 5. 15, 16 a; Vagbh. Kavyan. S, p. 63; Rasa-
manjari, p. 88; Alatpkarasekhara 20. 5; Rasaratn. 27; Sahityasara 10. 3 b;
Ratirahasya 1. 62, 64 (ZDMG. 57, p. 7W)- Cf. Schmidt, p. 278-282 (2d
ed., p. 203-205) ; Levi, p. 75-
35 (P. 23 a; H. 21 b).
raktaiva tv aprahasane naisa divyanrpasraye.
' [She should be presented as] in love [with the Hero] except
in a Prahasana; she should not [figure] in a drama concerned
with a celestial king.'
54 BOOK TWO [*• 35"
Com. Except in a Prahasana, a courtezan may be enamored of the
hero, like Vasantasena in the Mrcchakatika. In the Prahasana she should
not be in love, for the sake of the comic effect. She must not be intro-
duced in a drama whose hero is a celestial king.
Notes. ,Text as above, H, V, P; rapakefv anuraktaiva karya pra-
hasanetare Hall p. 38. — Cf. Levi, p. 75-76.
Classification of Heroines accoeding to their Relations
with the Hero
36 (P. 23 b; H. 22 a).
asam astav avasthah syuh svadhlnapatikadikah.
'Of these [types of Heroine] there may be eight [varieties
according to their] conditions [in relation to the hero], "one
that has her husband in subjection " and so on.'
Notes. II Bh. 22. 197, 198; SD. 112; Rudr. Srng. r. 131, 132; Rudr.
Kavyal. 12, p. 154 (supposed interpolation) ; Sarasv. 5. 113 b (ed. B. 5.
114 b) ; Hem. Kavyan. 7, p. 305-306; Vagbh. Kavyan. 5, p. 63; Rasamafijari,
p. 105; Pratapar. 1. 41, 42; Alamkarasekhara 20, p. 70; Rasaratn. 37; cf.
Sahityasara 10. 21. Cf . Schmidt, p. 284-287 (2d ed:, p. 208-209) ; Levi, p. 76.
37 (P. 24 a; H. 22.b).
asannayattaramana hrsta svadhinabhartrka.
'"One that has her husband in subjection " (svadhinabhartrkS)
is one whose lover sits by her side and is at her service, and who
takes pleasure [in it].'
Com. Ex. : Amaru M 55, p. 141 [quoted also at SD. 145] •
Notes. In some treatises (Sarasv., Pratapar., etc.) this type of heroine
is called svOdhlnapatika.
il Bh. 22. 201; SD. 113; Rudr. Srng. 1. 133; Rudr. Kavyal. 12, p. 154
(supposed interpolation); 12. 45; Sarasv. 5. 118 (ed. B. 5. 119); Hem.
Kavyan. y', p. 306; Vagbh." Kavyan. 5, p. 63; Rasamafijari, p. 163; Pratapar.
1. 43; Rasaratn. 38 a; Bhasabhusana 20 a; Anangaranga, Pancasayaka,
and Smaradlpika, cited by Schmidt. Cf. Schmidt, p. 287-289 (2d ed., p.
. 209-211) ; Levi, p. 76.
38 (P. 2 4 b; H. 23 a).
muda vasakasajja svam mandayaty esyati priye.
-2.4°] BOOK TWO 55
' " One that is dressed up to receive " (vasakasajja) [is one
who] adorns herself for joy when her lover is about to come.' •
Com. She adorns herself and her house. Ex. : Magha 9. 52.
Notes. This type of heroine is also called vHsakasajjikd and v&saka-
sajjita.
HBh. 22. 190; SD. 120; Rudr Srng. 1. 137; Rudr. Kavyal. 12, p 154
(supposed interpolation) ; Sarasv. 5. 117 (ed. B. 5. 118) ; Hem. Kavyan.
7, P- 307; Vagbh, Kavyan. s, p. 63; Rasamaiijarl, p. 154; Pratapar. 1. 44;
Rasaratn. 38 b, 39 a ; Bha$abhusana 19 b ; Anangaranga, Paficasayaka, and
Smaradipika, cited by Schmidt. Cf. Schmidt, p. 292-294 (2d ed., p. 213-
216) ; Levi, p. 76.
39 (P. 2Sa; H. 23b).
cirayaty avyalike tu virahotkanthitonmanah.
' " One that is distressed at [her lover's] absence " (vira-
hotkanthiti) [is one who] is disturbed (unmanas) when he
tarries without being at fault.'
Com. Ex. : sakhi sa vijito vlna" [unidentified stanza, tr. Levi, p. 76].
Notes, virahotkanthitonmanah H, V, P; virahotkanfhita, mati Hall p.
38. — This type of heroine is also called utkd and utkanthits.
UBh. 22. 200; SD. 121; Rudr. Srng. 1. 135; Rudr. Kavyal. 12, p. 154
(supposed interpolation) ; Sarasv. 5. 120 (ed. B. 5. 121) ; Hem. Kavyan.
7, P- 307; Vagbh. Kavyan. s, p. 63; Rasamaftjari, p. 145; Pratapar. 1. 46;
Rasaratn. 39 b; Bhasabhu§ana 18; Anangaranga, Paficasayaka, and Smara-
dipika, cited by Schmidt. Cf. Schmidt, p. 289-292 (2d ed., p. 211-213) ;
Levi, p. 76.
40 (P. 25 b; H. 24a).
jnate 'nyasangavikrte khanditersyakasayita.
'"One that is enraged" (khandita) [is one who] is filled with
jealousy on discovering [her lover to be] disfigured through his
relations with another [woman].' ,
Com. Ex. : Magha n. 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 that lets his bodily disfigurements show is called
'shameless'; see 2. 10. These disfigurements include marks made by the
nails and teeth; see Schmidt, p. 478, 496 (2d ed., p. 356, 369).
56 BOOK TWO [ 3. 40 -
II Bh. 22. 203; SD. 114; Rudr. Srng. 1. 143; Rudr. Kavyal. 12, p. 155
(supposed interpolation) ; 12. 44; Sarasv. 5. 114 (e(J. B. 5. 115); Hem.
Kavyan. 7, p. 306; Vagbh. Kavyan. 5, p. 64; Rasamafijari, p. 118; Pratapar.
1. 49; Rasaratn. 41 a ; Bhasabhusana 17 a; Anangaranga, Pancasayaka, and
Smaradipika, cited by Schmidt. Cf. Schmidt, p. 299-301 (2d ed., p. 219-
221); L6vi, p. 76.
r'41 (P. 26a; H. 24b).
kalahantarita 'marsad vidhute 'nusayartiyuk.
'"One that is separated [from her lover] by a quarrel"
(kalahantarita) [is one who] suffers remorse after she has re-
pulsed [him] in indignation.'
Com. Ex. : Amaru 98 = Sarng. 3543.
Notes. vidhRte H, V, P; vibhute Hall p. 38. — In Rudr. Srng. and
Rudr. Kavyal. this type of heroine is called abhisamdhitU; the Smara-
dipika uses the term kupita.
|| Bh. 22. 202; SD. 117 e, f; Rudr. Srng. 1. 139; Rudr. Kavyal. 12, p. 154
(supposed interpolation) ; Sarasv. 5. 115 (ed. B. 5. 116) ; Hem. Kavyan. y,
p. 306; Vagbh. Kavyan. S, p. 63; Rasamafijari, p. 125; Pratapar. 1. 51;
Rasaratn. 41 b; Bhasabhflsana 16 b; Anangaranga, Pancasayaka, and
Smaradipika, cited by Schmidt. CfT Schmidt, p. 294-297 (2d ed., p. 216-
217) ; Levi, p. 77-
'42 (P. 26b; H. 25 a).
vipralabdhoktasamayam aprapte 'tivimanita.
'"One that is deceived" (vipralabdha) [is one who] is grtaitly
offended that [her lover] has not come to the rendezvous agreed
upon.'
Com. Ex. : Subhasitavali 1940 = Spr. 1191 [quoted also at SD. 118].
Notes. ||Bh. 22. 204; SD. 118; Rudr. Srng. 1. 141; Rudr. Kavyal. 12,
p. 154 (supposed interpolation); Sarasv. 5. 116 (ed. B. 5. 117); Hem.
Kavyan. 7, p. 307-308; Vagbh. Kavyan. i, p. 64; Rasamafijari, p. 133;
Pratapar. 1. 47; Rasaratn. 40 b; Bhasabhusana 19 a; Anangaranga and
Pancasayaka, cited by Schmidt. Cf. Schmidt, p. 297-299 (2d ed., p. 218-
219) ; LeVi, p. 77.
43 (P.2 7 a;H.25b).
duradesantarasthe tu karyatah prositapriya.
2. 45] BOOK two 57
'"One whose beloved is away" {prositapriyd) is one whose
lover is in a distant land on business.'
Com. Ex. : Amaru 91 = Spr. 937.
Notes. Cf . DR. 4. 70. — In most treatises this type is called profita-
bhartrka; in Rudr. Srng., profitapreyasl; in Rudr. Kavyal., profitanatha.
These names are all synonymou*, and the variation has no significance.
Rasamanjari (p. 184-185), Rasaratnahara (42 b), and Bhasabhusana
(20 b) mention aVi additional type called profyatpatika or pravatsyatpatiki,
' one whose husband is about to depart.' Cf. Schmidt, p. 307-309 (2d ed.,
p. 226-228).
{|Bh. 22. 205; SD. 119; Rudr. Srng- 1. 147; Rudr. Kavyal. 12, p. 155
(supposed interpolation) ; 12. 46; Sarasv. 5. H9b (ed. B. 5. 120 b) ; Hem.
Kavyan. 7, p. 306; Vagbh. Kavyan. 5, p. 63; Rasamanjari, p. 108; Pratapar.
1. 53; Rasaratn. 42 a; Bhasabhusana 16 a; Anangaranga, Pancasayaka,
and Smaradipika, cited by Schmidt. Cf. Schmidt, p. 305-307 (2d ed., p.
224-226) ; Levi, p. 77.
44 (P. 27b; H. 25 c).
kamarta 'bhisaret kantam sarayed va 'bhisarika.
' " One that goes after [her lover] " (abhisarika) [is one who],
lovesick, goes to her lover or makes him come to her.'
Com. Ex. : Amaru 29= Spr. 1316; Magha 9. 56.
Notes. II Bh. 22. 206; SD. 115; Rudr. Srng. 1. 145; Rudr. Kavyal. 12, p.
154 (supposed interpolation) ; 12. 42; Sarasv. 5. 119 a (ed. B. 5. 120 a) ; Hem.
Kavyan. 7, p. 308; Vagbh. Kavyan. 5, p. 64; Rasamanjari, p. 171; Pratapar.
1. 54; Rasaratn. 40 a; Bhasabhusana 17 b; Anangaranga, Pancasayaka, and
Smaradipika, cited by Schmidt. Cf. Schmidt, p. 302-304 (2d ed., p. 222-
223) ; Levi, p. 77.
45 (R 28; H. 26).
cintamhsvasakhedasruvaivamyaglanyabhusanaih
yuktah sad antya dve cadye kridaujjvalyapraharsitaih.
' Heroines of the last six varieties are characterized by reflec-
tion, sighing, dejection, weeping, change of color, weakness, and
absence of ornaments; those of the first two varieties, by play-
fulness, radiance, and joy.'
Com. The heroine connected with another, whether maiden or wife,
can not be of all these varieties. For example, Malavika, in Malav. 4. 14,
p. 79, etc, should not be considered as khonfiti. [For details of the argu-
ment see Leyi, p. 78.]
58 BOOK TWO [ 2. 45 -
Notes. For a still further subdivision of the heroine see Schmidt, p.
310-314 (2d ed., p. 228-232). According to the passages dted there — to
which might be added Sarasv. 5. 107, noa (ed. B. 5. 108, ma)— each
of the varieties thus far enumerated may be either uttama, madhyamU,
or adhama. We thus arrive, by successive multiplication, at the grand
total of 384 varieties (see SD. 122; Rudr. Srng. 1. 154, 155; Rudr. Kavyal.
12, p. 155 [supposed interpolation] ; Rasamanjari, p. 105; and cf. Schmidt,
p.. 315; 2d ed., p. 232). The DR. does not ihention this last differentiation
(except in a general way at 2. 75) and so admits of but "128 varieties.
Rasamanjari (p. 106) adds : yat tv etasam divyi'divyobhayabhedena
gananaya dvipanc&iadadhikaiatayutarp sahasram bheds bhavanti, thus claim-
ing the existence of 1152 varieties of heroine!
Messengers of the Heroine
46 (P. 29; H. 27).
dutyo dasi sakhi karur dhatreyi prativesika
lingini silpini svam ca netrmitragunanvitah.
'As messengers [the Heroine may employ] a maid-servant,
a female friend, a working-woman, a foster-sister, a neighbor, a
female ascetic, a crafts-woman.'and her own self : [all of these]
being possessed of qualities [to match those] of the friends of
the Hero.'
Com. Ex.: Malatim. 3. 11, p. 88=Spr. 6451; mrgafiSu [unidentified
stanza] (friend as messenger) ; Hala 12; Hala 877 [with variations]
(heroine as her own messenger).
Notes. On the ' friends of the Hero,' mentioned in the second line of
this section, see 2. 12, 13.
II SD. 157; Rudr. Srng. 2. 102; Vagbh. Kavyan. 5, p. 63; Pratapar. 1. 55;
Rasaratn. 46 b, 47 a; Kamasutra, p. 287; Ratirahasya (of Kokkoka), Anaft-
garanga, Pancasayaka, and Smaradipika, cited by Schmidt. Cf. Schmidt,
P- 777-779 (2d ed., p. 564-566) ; Levi, p. 123.
The Twenty Natural Graces of the Heroine
47 (P-3oa; H.28a).
yauvane sattvajah strinam alamkaras tu virnsatih.
' The natural graces of women in the prime of youth are twenty
[in number].'
-2. 49] BOOK TWO 59
Notes. ||Bh. 22. 4, 5; SD. 125 a; Hem. Kavyan. 7, p. 308; Rasaratn. .
58 b, 59 a.
48 (P. 30 b, 31; H. 28 b, 29).
bhavo havas ca hela ca trayas tatra sarirajah
sobha kantis ca diptis ca madhuryam ca pragaibhata
audaryarn idhairyam ity ete sapta bhava ayatnajah.
/Three of them are physical: Feeling (bhava), Emotion
(hava), and Passion (hela). These seven qualities come of their
own accord: Beauty (sobha), Loveliness (kanti), Radiance
(dipti), Sweetness (madhurya), Courage (pragaibhata), Dig-
nity (audSrya), and Self-control (dhairya).'
Notes. The three qualities in the first group, forming a progressive
serics of manifestations of love, are defined in sections 50-52; 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
enutnerated in the following section (49).
The terms sobhd, madhurya, and audSrya occur also in the list of quali-
ties of the hero; see DR. 2. 15 and the notes on that section.
Pratapar. omits sobha, kSnti, dipti, prSgalbhya, and audSrya ; it adds,
however, three other qualities named kutiihala, takita, and hasita (4. 65,
66, 68, p. 269-270), thus brr'nging the number up to eighteen. The list in
SaraSv. shows similar variations. — In the Alamkarasekhara these qualities
are enumerated as Consequents (see DR. 4. 3).
II Bh. 22. 6, 24; SD. 125 b, c, d; AP. 338. 49, 50 a; Sarasv. 5. 364, 3653
(ed. B. 5. 168, 169 a, p. 310) ; Hem. Kavyan. 7, p. 309, 314; Pratapar. 4. 53;
Alamkarasekhara 20. 33, 34; Rasaratn. 59 b, 60.
49 (P- 3 2 >33a; H. 30).
lila vilaso vicchittir vibhramah kilakincitam
mottayitam kuttamitam bibboko lalitam tatha
vihrtam ceti vijneya dasa bhavah svabhavajah.
' The ten qualities that arise f rom one's disposition are con-
sidered to be: Sportiveness (/T/3), Delight (vilasa), Tasteful-
ness (vicchitti), Confusion (vibhrama), Hysterical Mood (kila-
kiiicita), Manifestation of Affection (mottayita), Pretended
Anger (kuttamita) , Affected Indifference (bibboka), Lolling
(lalita), and Bashfulness (vihrta).'
60 BOOK TWO [ 2 «49~
Notes. These qualities are defined in sections 60-69. The terms
vilasa and lalita occur also in the list of qualities of the hero; see 2. 15
and the notes on that section. SD. mentions and defines eight additional
qualities; see SD. 125 f-h, 145, I47-IS3, and Levi, p. 83-84.
|| Bh. 22. 12, 13; SD. 125 e-g; AP. 340. 2, 3 a; Sarasv. 5. 41, 42 a;
Hem. KSvyan. 7, p. 311; Rasatar. 6, p. 58; Pratapar. 4. 53; Alamkaraie-
khara 20. 33, 34; Rasaratn. 61-63 a.
t
50 (P. 33 b; H. 31 a).
nirvikaratmaklt sattvad bhavas tatradyavikriya.
'Feeling (bhava) is the first touch of emotion in a nature
that was [previously] unaffected.'
Com. Ex.: Kumarasamhhava 3. 40; drsfih salasa" [unidentified stanza,
quoted also at DR. 2. 26] ; Kumarasamhhava 3. 67 [quoted also at Kavya-
pradipa S, p. 168] ; tam ccia vaa", stanza by Dhanika.
Notes. ||Bh. 22. 7, 8; SD. 126; AP. 338. 50 b; Hem. Kavyan. 7, p. 310;
Pratapar. 4. 53; Rasaratn. 63 b. Cf. Levi, p. 79.
Si (P. 34 a; H. 31 b).
hevakasas tu srhgaro havo 'ksibhruvikarakrt.
'Emotion (hdva) is ardent love which produces a change
in eyes and brows.'
Com. Ex. : jam kim pi peccha", stanza by Dhanika.
Notes, hevakasas H, V, P; alp&lGpas Hall p. 38. — The expression
aksibhrUvikSra is taken from Bh.
II Bh. 22. 7, 10; SD. 127; AP. 338. 50 b; Sarasv. 5. 353 (ed. B. p. 308) ;
Hem. Kavyan. 7, p. 310; Pratapar. 4. 54, p. 263; Rasaratn. 64 a. Cf. Levi,
P- 79-
52 (P. 34b; H. 32a).
• sa eva hela suvyaktasrngararasasucika.
'That [i. e. Emotion] is Pas s ion (hela), when it is a very
plain manifestation of the emotion of love.'
Com. Ex. : taha jhatti se paa", stanza by Dhanika [quoted, with some
variations, at SD. 128].
Notes. ||Bh. 22. 7, n ; SD. 128; Sarasv. S- 3Si (ed. B. p. 308) ; Hem.
Kavyan. 7, p. 310; Pratapar. 4. 54, p. 263; Rasaratn. 64 b. Cf. Levi, p. 79-
-2.5&] BOOK TWO 6 1
53 (P. 35 a; H. 32 b).
rupopabhogatarunyaih sobha "figanam vibhusanam.
' B e a u t y (fobha) is bodily adornment due to handsome form,
passionateness, and youthfulness.'
Com. Ex. : KumSrasambhava 7. 13 ; Sakuntala 2. 10, p. 72 = Spr. 271.
Notes, fl Bh. 22. 25; SD. 129; Hem. Kavyan. 7, p. 314; Rasaratn. 65 a.
Cf. Levi, p. 79.
54 (P. 35 b; H. 33 a).
manmathavapitacchaya saiva kantir iti smrta.
'Loveliness (kanti) is the name given to the touch of
beauty imparted by love.'
Com. Ex. : unmiladvadan" [unidentified stanza, tr. Levi, p. 75] ; as can
be seen in the Mahasvetavarnanavasara of Bhatta Ban a.
Notes, manmathav&pita" H, V, P; manmathadhyasUa Hall p. 38. —
A highe' - degree of this quality is called dlpti (see 2. 56).
HBh. 22. 26 a; SD. 130; Hem. Ka\yan. 7, p. 314; Rasaratn. 65 b. Cf.
Levi, p. 79.
55 (P. 36 a 1 ; H. 33 b 1 ),
anulbanatvam madhuryam.
'Sweetness (madhurya) is a quality not very intense.'
Com. Ex. : Sakuntala 1. 17, p. 28 = Spr. 6896.
Notes. ||Bh. 22. 27; SD. 132; Hem. Kavyan. 7, p. 315; Pratapar. 4 SS,
P- 263 [59 >s a misprint for 55]; Rasaratn. 66 b. Cf. Levi, p. 80.
56 (P. 36 a 2 ; H. 33 b 2 )-
diptih karites tu vistarah.
'Radiance (dlpti) is a higher degree of Loveliness.'
Com. Ex. : Dhvanyaloka 1. 4. com., p. 22.
Notes. «Bh. 22. 26 b; SD. 131; Hem. Kavyan. 7, p. 314; Rasaratn.
66 a. Cf. Levi, p. 80.
62 BOOK TWO [2.57-
57 ^P.36b>;H. 34 a*).
nihsadhvasatvam pragalbhyam.
'Courage (pr&galbhya=pragalbhata) is the quality of not
becoming agitated.'
Com. Ex. : tatha virida°, stanza by Dbanika [tr. Levi, p. 80].
Notes. HBh. 22. 29 a; SD. 133; Hem. Kavyan. 7, _p. 316; Rasaratn.
67 a. Cf . Levi, p. 80.
58 (P. 36 b a ; H. 34 a 2 ).
audaryam prasrayah sadl.
'Dignity (audarya) is courteous bearing at all times.'
Com. Ex. : Hala 226; Ratn. 2. 19, p. 55.
Notes. l|Bh. 22. 29 b; SD. 134; Hem. Kavyan. 7, p. 315; Rasaratn.
67 a. Cf . Livi, p. 80.
59 (P. 37a; H. 34b).
capalavihata dhairyam cMvrttir avikatthana.
'Self-control (dhairya) is a state of mind not aflected by
inconstancy and free from boastfulness.'
Com. Ex. : Malatim. 2. 2, p. 62.
Notes. ||Bh. 22. 28; SD. 135; Hem. Kavyan. 7, p. 315; Prata>ar. 4. 56;
Rasaratn. 67 b. Cf. Levi, p. 80. * . „
60 (P. 37 b; H. 35 a).
priyanukaranam Hla madhurangavicestitaih.
'Sportiveness (ft/5) is the imitation of a lover in the
actions of a fair-limbed [maiden].'
Com. Ex. : taha dittham taha bhan", stanza by Dhanika ; tenoditam
vod" [unidentified quotation].
Notes. HBh. 22. 14; SD. 136; AP. 340. 3 b; Sarasv. 5. 340 (ed. B. p.
307) ; Hem. Kavyan. 7, p. 311; Rasatar. 6, p. 58; Pratapar. 4. 57; Rasaratn.
68; Bhasabhusana 27.a. Cf. Levi, p. 81.
-2.64] BOOK TWO 63
61 (P. 3 8a; H. 35 b).
tatkaliko viSesas tu vilaso 'ngakriyidisu.
'Delight (vilasa) is an immediate change in appearance,
actions, and the like [at. the sight of the beloved, etc.].'
Com. Ex. : Malatim. 1. 29, p. 32.
Notes, 'kriyadifu H, V, P; "kriyoktifu Ha» p. 38. — The words in
brackets in the translation are justified by Dhanika's commentary.
II Bh. 22. is ; SD. 137 ; AP. 340. 4 a ; Sarasv. S- 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.
62 (P. 3 8b;H.36a).
akalparacana 'lpa 'pi vicchittih kantiposakrt.
'Tastefulness (vicchitti) is an arrangement, though
slight, of adornment so as to increase loveliness.'
Com. Ex. : Kumarasambhava 7. 17.
Notfs. HBh. 22. 16; SD. 138; Sarasv. 5. 342 (ed. B. p. 307); Hem.
Kavyan. 7, p. 311; Rasatar. 6, p. 58; Pratapar. 4. -58; Rasaratn. 70 a;
Bhasabhusana 29 a. Cf. Levi, p. 81.
63 (P- 39a; H. 3 6b).
vibhramas tvaraya kale bhusasthanaviparyayah.
'Confusion (vibhrama) consists in misplacing ornaments
irf haste on some occasion.'
Com. Ex. : abhyudgate iasini pc£a° [unidentified stanza] ; Spr. 6576,
stanza by Dhanika [quoted, with one variation, at SD. 143].
Notes. HBh. 22. 17; SD. 143; Sarasv. 5. 343 (ed. B. p. 307); Hem.
Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 59; Rasaratn. 74; Bhasa-
bhusana 29 b. Cf . Levi, p. 81.
64 (P. 39 b; H. 37 a).
krodhairuhareabhityadeh samkarah kilakincitam.
'Hysterical Mood {kilakincita) is a combination of
anger, weeping, joy, fear, and the like.'
64 book two [ a. 64 -
Com. Ex. : ratikri4a°, stanza by Dhanika [tr. Levi, p. 81].
Notes. ||Bh. 22. 18; SD. 140; AP. 340. 4b; Sarasv. 5. 344 (ed. B. p.
307) ; Hem. Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 60; Rasaratn.
71 ; Bhasabhusana 30 a. Cf. Levi, p. 81.
65 (P. 40 a; H. 37 b).
mottayitam tu tadbhavabhavanestakathadisu.
'Manifestation of Affection (mottayita) is being
absorbed in thought of him [i. e. one's lover] at a mention of
him or the like.'
Com. Ex. : Padmagupta, Navasahasankacarita 6. 42 [tr. Levi, p. 82] ;
mutah kam hfd" [unidentified stanza] ; smaradavathu" , stanza by Dhanika.
Notes. II 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; Bhasa-
bhusana 32. Cf. Levi, p. 82.
66 (P. 40b; H. 38a).
sananda 'ntah kuttamitam kupyet kesadharagrahe.
'Pretended Anger (kuttamita) [is said to exist when
a maiden], although inwardly filled with joy, is angry at [her
lover's] touching her hair or her lip.'
Com. Ex. : nSndlpad° [unidentified stanza, tr. Levi, p. 82] .
Notes. HBh. 22. 20; SD. 142; Sarasv. 5. 346 (ed. B. p. 307); Hem.
Kavyan. 7, P- 313; Rasatar. 6, p. 58; Pratapar. 4. 62; Rasaratn. 73; Bhasa-
bhusana 30 b. Cf. Levi, p. 82.
67 (P. 41 a; H. 3 8b).
garvabhimanad iste 'pi bibboko 'nadarakriya.
'Affected Indifference (bibboka) is neglectful be-
havior, even toward one that is loved, because of haughtiness
due to pride.'
Com. Ex. : savy&jatp tilaki", stanza by Dhanika.
Notes. Owing to dialectic preference for v, this quality is called
viwoka in SD.
{| Bh. 22. 21 ; SD. 139; AP. 340. S a; Sarasv. 5. 347 (ed. B. p. 308) ; Hem.
Kavyan. 7, p. 312; Rasatar. 6, p. 58; Pratapar. 4. 63; Rasaratn. 70 b; Bhasa-
bhusana 31. Cf.Levi, p. 82. •
- 2. 71 ] BOOK TWO 65
68 (P. 41 b; H. 393).
sukumarangavinylso masrno lalitam bhavet.
'Lolling (lalita) is a graceful pose of one of f air form.'
Com. Ex. : sabhrabhatigaip. kara°, stanza by Dhanika.
Notes. U Bh. 22. 22; SD. 144, AP. 340. s a; Sarasv. 5. 348 (ed. B. p.
308) ; Hem. Kavyan. 7, p. 313; Rasatar. 6, p. 58; Pratapar. 4. 64; Rasaatn.
75 a ; Bhasabhusaoa 28 b. Cf. Levi, p. 82.
69 (P. 423; H. 39b).
praptakalam na yad bruyad vridaya vihrtarn hi tat.
'Bashfulness {vihrta) is not speaking, because of mod-
esty,- [even] when there is an opportunity.'
Com. Ex. : Amaru 136 (ed. Bombay, 1889, p. 80) = Subhasitavali
1377= Sarng. 3463 [tr. Levi, p. 83].
Notes. This is called vikrta in SD., which defines: vaktavyakale
'py avaco vridaya vikrtam matam.
HBh. 22. 23; SD. 146; Sarasv. 5. 349 (ed. B. p. 308); Hem. Kavyan.
7< P- 313; Rasatar. 6, p. 59; Pratapar. 4. 67; Rasaratn. 76 a; Bhas5bhu§ana
27 b. Cf. Levi, p. 82.
ASSISTANTS OF THE HERO WHEN A KlNG
70 (P. 42b; H. 40a).
mantri svam vobhayam va 'pi sakha tasyarthacintane.
'A minister (mantrin), [or the Hero] himself, or both
[together] are his [i. e. the Hero's] assistants in deliberations
on affairs of state.'
Notes. This section is criticized by Visvanatha, SD. 80, com., om the
ground that it belongs rather to a treatmerrt of the means of handling
affairs of state than to an account of assistants in that task; and that,
f urthermore, the mere statement ' The minister is the assistant in delibera-
tions on affairs of state ' would have sufficed to show the participation of
the hero.
II Bh. 24. 70 b, 71 a; SD. 80.
71 (P. 43»; H. 40 b).
mantrina lalitah Sesa mantrisvayattasiddhayah.
6
66 BOOK two [2. 7*-
'A Hero [of the kind known as] light-hearted has his affairs
attended to by a minister; the other [kinds of Hero], by their
ministers and themselves.'
Notes. This section is criticized by Viivanatha, SD. 8o, com., on the
ground tHat, f rotn the mere characterization of the ' light-hearted ' hero,
it is clear that he leaves his affairs of state entirely to his minister. And,
i f that is the case, the minister is not an assistant in these affairs at all,
since he has complete charge of them. <
72 (P. 43 b; H. 41 a).
rtvikpurohitau dharme tapasvibrahmavadinah.
' In his religious duties [the assistants of the Hero are] his
chaplain (rtvij), his domestic priest (purohita), ascetics (tapas-
vin), and expounders of sacred lore (brahmavSdin) .'
Notes. II SD. 83.
73 (P.44a; H. 41 b).
suhrtkumiratavika dande samantasainikah.
'In the matter of [inflicting] punishment [the assistants of
the Hero are] his friends, princes, foresters, officers, and
soldiers.'
Notes. II SD. 82.
74 (P. 44 b, 45 a; H. 42).
antahpure varsavarah kirata mukavamanah
mlecchabhirasakaradyah svasvakaryopayoginah.
' In the harem [the assistants of the Hero are] eunuchs, moun-
taineers, mutes, dwarfs, barbarians, cowherds, the brother of
a concubine (Sakara), and such persons — each being charged
with his own particular task.'
Notes. || SD. 8i.
-2. 77] BOOK TWO 67
Grouping of Ch/racters accoeding to Rank
75 (P. 45 b, 46 a; H. 43 a, b).
jyesthamadhyadhamatvena sarvesam ca trirupata
taratamyad yathoktanam gunanam cottamadita.
'AH [these characters are divided into] three groups, higher,
middling, and lower; and their relative supremacy [is deter-
mined] by their possession of the aforementioned qualities in
different degrees.'
Notes. II Bh. 24. 2 b, 86; SD. 84, 85. Cf. Levi, p. 121-122.
76 (P. 4 6b; H. 43 c).
evarn natye vidhitavyo nayakah saparicchadah.
' In such manner are the Hero and his attendants to be repre-
sented in a drama.'
Notes, saparicchadah H, V, P ; saparigrahah Hall p. 38.
The Gay Style of Procedure
77 (P. 475 H. 44 a, b).
tadvyaparatmika vrttis caturdha tatra kaisiki
gitanrtyavilasadyair mrduh srhgaracestitaih.
'The Style of Procedure which is based on his f i. e. the
Hero's] conduct is of four kinds. Of these [four Styles of
Procedure] the Gay Style (kcUMkl) is delightful through
its outward expressions of love, [such as] song, dance, coquetry,
and the like/
Notes. On the character and legendary.origin of the Styles of Pro-
cedure see Levi, p. 87-89. The f6ur Styles are: kaiMkl (2.77),sattvatl (2.
83), Srabhatl (2. 88), and bharatl (3. 5).
II Bh. 6. 25 ; (18. 4, S); 20- 45; SD. 410, 4" a-d; R^""- Srng. 1. 19; 3.
52-54; AP. 339. 5; Sarasv. 2. 64-66 a (ed. B. 2. 34-36») ; 5- 733 (ed. B. 5-
194, P- 378) ; Pratapar. 2. 15 a. Cf. Levi, p. 89.
68 BOOK TWO [ 2. 78 -
78 (P. 48a; H. 440).
narmatatsphurjatatsphotatadgarbhais caturangika.
'[The Gay Style is] of four varieties: Pleasantry (narman),
Outburst of Affection (narma-sphurja), Disclosure of Affec-
tion (narma-sphota) , and Development of Affection (narma-
garbha).' f
Notes. "sphRrja" (sphanja, sphinja), with reference to these readings
see section: 80, notes.
UBh. 20. 46; SD. 411 e, f; Sarasv. 5. 746 (ed. B. p. 380).
79 (P. 48D-SO; H. 45,46).
vaidagdhyakriditam narma priyopacchandanatmakam
hasyenaiva sasrnglrabhayena vihitam tridha
atmopaksepasambhogamanaih grnglry api tridha
Suddham angam bhayam dvedha tredha vagvesacestitaih
sarvam sahasyam ity evam narmastadasadhoditam.
'Pleasantry {narman) is- clever jesting that serves to con-
ciliate the beloved. It is of three kinds, according as it is done
merely in fun, or through love, or through fear. [Pleasantry]
connected with love is of three kinds also, [being caused] by
an allusion to oneself, by [manifestation of a desire for] enjoy-
ment, or by [show of] jealousy. [Pleasantry connected with]
fear is twofold, either pure or subordinated [to some other senti-
ment]. The comic element as a whole is [furthermore] of three
kinds, that of words, that of costumes, and that of action. Con-
sequently Pleasantry is said to be eighteenfold.'
Com. Ex. : Kumarasatnbhava 7. 19 (Pleasantry in words) ; the incident
of the vidBfaka and Sekharaka in Nagan. ( Pleasantry in costume) ; in
Malav., the scene where Nipunika drops a stick upon the awakening
vidUfaka, who takes it to be a snake (Pleasantry in action) ; madhyahnam
gama" [unidentified stanza] (Pleasantry connected with love, allusion to
oneself) ; Hala 130 (manifestation of desire for pleasure) ; Magha n. 33
(show of jealousy) ; Ratn. 2, p. 46 [with variations] (Pleasantry con-
nected with fear) ; abhivyaktabkaJjt sakala", stanza by Dhanika [quoted
also at DR. 4. 69] (Pleasantry connected with fear subordinate to love).
- 2. 8a ] BOOK TWO 69
Notes. This narman must not be confused with the term narman,
' Joke,' defined at 1. 57.
|[Bh. 20. 47, 48; SD. 412; Sarasv. 5. 747 (ed. B. p. 380). Cf. Levi, p.
89-90.
80 (P. 51 a; H. 47a).
narmasphjirjah sukharambho bhayanto navasamgame.
'Outburst of Affection (narmasphurja) at the first
meeting [of lovers] is characterized by happiness at the begin-
ning, [but] ends in fear.'
Com. Ex. : Malav. 4. 13 +, p. 78 [the stanza = Spr. 6234].
Notes, narmasphUrjah, correct reading adopted on the authority of
BR. S. 1537 (s. v.) ; 7. 1369 (s. v. sphanja) ; 7. 1372 (s. v. sphiiija: ' wohl
nur fehlerhaft fiir sphurja'); narmasphinjah H, V, P; narmasphanjah
Hall p. 38, p. 21 note 3 (Bh., ed. Sivadatta and Parab, 20. 4 8, 51, has
narmaspunja ; Bh:, ed. Hall, 20. 46, 49, narmasphatija; SD. 411, 413, narma-
sphUrjja; Sarasv. 5. 746, 748, narmasphija) .
H Bh. 20. 49; SD. 413; Sarasv. 5. 748 (ed. B. p. 380). Cf. Levi, p. 00.
81 (P. 51 b; H. 47 b).
narmasphotas tu bhavanam sucito 'Iparaso lavaih.
'Disclosure of Affection (narmasphota) is moderate
sentiment indicated by slight expressions of the feelings.'
Com. Ex. : Malatlm. 1. 20, p. 22.
Notes. The word lava, here t'ranslated ' slight expression,' means liter-
ally 'particle.'
HBh. 20. so ; SD. 414; Sarasv. 5. 749 (ed. B. p. 380). Cf. Levi, p. 90.
82 (P. 52; H. 48).
channanetrapraticaro narmagarbho 'rthahetave
angaih sahasyanirhasyair ebhir esa 'tra kaisiki.
'Development of Affection (mrmagatbha) is the
coming up of the hidden Hero for the attainment of his
purpose. — These are the comic and non-comic varieties of the
Gay Style.'
70 B00K two [2.82-
Com. Ex. : Amaru i8=Spr. 2937 [quoted also at DR. 2. 31]; as m
the case of the appearance of Vatsaraja himself in place of Susamgata
[error ! it is Manorama] dressed up as Vatsaraja, in the play within a play
in the drama Priyadarsika.
Notes. ■> The word pratlc&ro is not contained in the smaller Petersburg
lexicon; I have taken it as an equivalent of prati-cUra, 'approach.'
HBh. 20. si; SD. 41S; Sarasv. 5. 750 (ed; B. p. 380). Cf. Levi, p. 90.
The Grandiose Style of Procedure
83 (P. 535 H. 49)-
visoka sattvati sattvasauryatyagadayarjavaih
samlapotthapakav asyam samghatyah parivartakah.
"The Grandiose Style (sattvati) is free from grief
[and is characterized] by [examples of] virtue, courage, self-
sacrifice, compassion, and uprightness. [The four divisions]
in it are Discourse (samlapa=samlapaka), Challenge (uttha-
paka), Breach of Alliance (samghatya), and Change of Action
(parivartaka) .'
Notes, "arjavaih, corrected in accordance with SD. 416 a ; "ajavaifi H,
V, P. The latter reading is probably due to a typographical blunder in
Hall's text, copied without change in the later editions of the text. The
word irjava is far more appropriate to the passage than java, the last
component of the compound in the printed texts. The gloss of the com-
mentary, harfa, does not explain either word.
UBh. 20. 37-40; SD. 416 a-d; Rudr. Srng. 3. 63, 64; Sarasv. 2. 67 b (ed.
B. 2. 37 b) ; 5. 734 (ed. B. 5. 195, p. 378) ; Pratapar. 2. 16 b. Cf. Levi, p. 91.
84 (P. S4a; H. 5oa).
samlapako gabhiroktir nanabhavarasa mithah.
'Discourse (saipl&paka) is mutual talk of a serious nature,
expressing various feelings and sentiments/
Com. Ex.: Mahavira. 2, p. 72-74.
Notes, 'rasa mithah H, V, P; "rasatmakah Hall p. 38. The former
reading is clearly preferable.
U Bh. 20. 43; SD. 418; Sarasv. S- 753 (ed- B. p. 381). Cf. Levi, p. 92.
-2.88] BOOK TWO /I
85 (P. 54b; H. 5 ob).
utthapakas tu yatradau yuddhayotthapayet param.
'Challenge (utthapaka) is [a situation] in which, at the
outset, one challenges another to combat.'
Com. Ex. : Mahavira. S. 49, p. 209 of the supplement.
Notes. j|Bh.«,2o. 41; SD. 416 e; Sarasv. 5. 751 (ed. B. p. 381). Cf.
Levi, p. 91.
86 (P. 55 a; H. si a).
mantrarthadaivasaktyadeh samghatyah samghabhedanam.
'Breach of Alliance (sUmghatya) is a violation of alli-
ance under the influence of advice, gain, fate, or the like/
Com. As in the Mudraraksasa (under the influence of advice and of
desire for gain) ; as in [stories based on] the Ramayana (under the
influence of fate).
Notes. This is called sanghatya and sanghataka in Bh. ; samhatya in
SD. In Sarasv. the term appears in the form sarngkatyaka.
H Bh. 20. 44; SD. 417; Sarasv. 5. 754 (ed. B. p. 381). Cf. Levi, p. 91.
87 (P. 55 b; H. 51 b).
prarabdhotthanakaryanyakaranat parivartakah.
'Change of Action (parivariaka) [arises] from doing
something else than the thing whose development is already
begun.'
Com. Ex. : Mahavira. 2. 37 -)-, p. 76.
Notes. 41 Bh. 20. 42 ; SD. 419; Sarasv. S- 752 (ed. B. p. 381). Cf. Levi,
p. 91.
The Horrific Style of Procedure
88 (P. 5 6,5 7 a;H. 52). '
ebhir angais caturdheyam sittvaty arabhati punah
mayendrajalasamgramakrodhodbhrantadiceftitai^
samksiptika syat sampheto vastutthanavapatane.
72 book two [ a. 88 -
'Because of these divisions [just mentioned] the Grandiose
Style is fourfold. — The Horrific Style (arabhatl), on
the other hand, [consists of] deeds of magic, conjuration, con-
flict, rage, frenzy, and the like. [Its four subdivisions are] Com-
pression (samksiptika'—samksipti) , Conflict (sampheta), Pro-
duction of a Matter (vastittthana=vastutthapana) , and Tumul-
tuous Disturbance (avap&tana — avapata).' •
Notes. ||Bh. 20. 53-55; SD. 420 a-d; Rudr. Srng. 3. 58, 59; AP. 339.
10 b, c; Sarasv. 2. 66 b (ed. B. 2. 36 b); 5. 732 (ed. B. 5. 193, p. 378);
Pratapar. 2. 15 b. Cf. Levi, p. 92.
89 (P. 57 b, 58 a; H. 53).
samksiptavasturacana sarnksiptih silpayogatah
purvanetrnivrttya 'nye netrantaraparigraham.
'Compression (samksipti) is arranging a matter con-
cisely by an artful device; others [take it to be] the substitution
of another [secondary] hero on the withdrawal of a previous one.'
Com. Ex. : Mahavlra. 4. 22, p. 147 [quoted also at DR. 2. 6].
Notes. ° parigraham, corrected in accordance with the commentary
(° parigraham anye samjifiptikam manyante) ; "parigrahah H, V, P.
II Bh. 20. 56; SD. 422; Sarasv. 5. 743 (ed. B. p. 379)- Cf. Levi, p. 92.
90 (P. 58b; H. 5 4 a).
samphetas tu samaghatah kruddhasamrabdhayor dvayoh.
'Conflict {sampheta) is an encounter of two angry and
excited persons.'
Com. As the encounter between Madhava and Aghoraghanta in the
Malatimadhava, and between Indrajit and Laksmana in plots based on the
Ramayana.
Notes. flBh. 20. 59; SD. 421; Sarasv. 5. 746 (ed. B. p. 380). Cf.
Levi, p. 93.
91 (P. 59a; H. 54 b).
mayadyutthapitam vastu vastutthapanam isyate.
'Production of a Matter (vastutthapana) is the name
- 2. 94 ] BOOK TWO
73
given to [a case where] a matter [is] produced by magic or the-
like.'
Com. Ex. : flyante jayi", stanza from the Udattaraghava of Mayuraja
[a drama apparently not extant; the lines are quoted also at SD. 420].
Notes. || Bh. 20. 58; SD. 420 e; Sarasv. 5. 745 (ed. B. p. 380). Cf. Levi,
p. 92.
92 (P. 59 b; H. 54 c).
avapatas tu niskrlmapravesatrasavidravaih.
'Tumultuous Disturbance (avapata) [is character-
ized] by exits and entrances, terror and flight.'
Com. Ex.: Ratn. 2. 2, p. 29; 2. 3, p. 29 [quoted also at DR. 4. 861 ; the
tumult in the attack on Vindhyaketu in the first act of the Priyadarsika.
Notes. ||Bh. 20. 57; SD. 423; Sarasv. 5. 744 (ed. B. p. 379). Cf. LeVi,
P- 93-
93 (P. 60 a 1 ; H. 55 a 1 ).
ebhir angais caturdheyam.
' Because of these divisions this [Horrific Style] is fourfold.'
Other Styles of Procedure
94 ( P. 60 a 2 , b, 61 ; H. 55 a 2 , b, 56) .
narthavrttir atah para
caturthi bharati sa 'pi vacya natakalaksane
kaisikim sattvatim carthavrttim arabhatim iti
pathantah pancamlm vrttim Audbhatah pratijanate.
'There is no other Style of Procedure than these [three].
The fourth Style is the Eloquent Style (bharati). That, how-
ever, will be spoken of in describing the Nataka. The followers
o f Udbhata, when mentioning the Gay, the Grandiose, and the
Horrific Style of Procedure [in addition to the Eloquent Style],
recognize [also] a fifth Style.'
Notes. The bharati, which differs from the other Styles in that it
consists chiefly of declamation as distinguished from action, is defined at
74 BOOK TWO [ 2 «94~
3. s — On the rhetorician Udbhata (fl. c. 800 a. d.) see Jacob, 'Notes on
Alankara Literature,' JRAS. 1897, p. 286-287, 829-847.
|| See the parallel passages listed at 2. 77 and 3. 5. Cf. Levi, p. 93.
•> Employment of the Styles of Progedure
95 (P. 62; H. 57).
srngare kaisikl vire sattvaty arabhati punah
rase raudre ca bibhatse vrttih sarvatra bharati.
'The Gay Style [is to be used] in [expressing] the Erotic
Sentiment; the Grandiose Style in [expressing] the Heroic
Sentiment; the Horrific Style, on the other hand, in [express-
ing] the Furious and Odious Sentiments; the Eloquent Style
everywhere.' •
Notes. The word ca in the second line connects raudre and bibhatse,
a second ca after the latter word being omitted, as is occasionally the case
(cf. for 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. 4- 56-57, 79-87.)
U Bh. 20. 61, 62 ; SD. 410 a, b.
Local Characteristics of a Drama
96 (P. 63; H. 58).
desabhasakriyavesalaksanah syuh pravrttayah
lokad evavagamyaita yathaucityam prayojayet.
' Actions are to be characterized by the language, gesture, and
costume of a [special] region; [the dramatist] is to employ these
suitably, taking them from common life.'
Notes, evavagamy" H, P; evagamy" V (merely a haplographic mis-
print) ; for the verbal prefix ava-, the variants adhi-, upa-, and anu- also
occur, Hall p. 38.
II Bh. 17. 63 b.
-2. 99] BOOK TWO 75
Language of the Various Characters
97 (P. 64; H. 59).
pathyam tu samskrtam nfnam anicanam krtatmanam
lingininam mahadevya mantrijavesyayoh kva cit.
' S a n s k r i t is to be spoken by men that are not of low tank,
by devotees, and in some cases by female ascetics, by the chief
queen, by daughters of ministers, and by courtezans.'
Notes. II Bh. 17. 31, 37, 40, 41 ; SD. 432 a, r, s. Cf. Levi, p. 130.
98 (P. 65a; H. 6oa).
strinam tu prakrtam prayah sauraseny adhamesu ca.
'Prakrit is generally [to be the language] of women, and
Sauraseni in the case of male characters of low rank.'
Notes. Sauraseny Hall p. 38; sauraseny Hall p. 38, P; Suraseny H, V.
(In using the list of readings given by Hall on pages^ and 39, it is neces-
sary to bear in mind that he always records variants in their pause-form,
without regard to the context.)
II Bh. 17. 35, 36, 51 b; SD. 432 b, m, n, o. Cf. Pischel, Grammatik der
Prakrit-Sprachcn, p. 20-21 ; Levi, p. 130.
99 (P. 65 b, 66; H. 60 b, 61).
pisacatyantanicadau paisacam magadham tatha
yadde§am nicapatrarn yat tadde^am tasya bhasitam
karyatas cottamadinam karyo bhasavyatikramah.
' In like manner Pisacas, very low persons, and the like are to
speak Paisaci and Magadhi. Of whatever region an
inferior character may be, of that region is his language to be.
For a special purpose the language of the highest and subse-
quent characters may 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.
|[Bh. 17. 50 a; SD. 432 d, 1, t, u. Cf. Levi, p. 130-131.
76 book two [ 2. ioo -
Prescribed Modes of Address
ioo (P. 67; H. 62).
bhagavanto varair vacya vidvaddevarsilinginah
vipramatylgrajas carya natisutrabhrtau mithah.
'Learned men, divine sages, and ascetics are tp be addressed
by the best persons as "blessed one" (bhagavant) ; Brahmans,
ministers, and elder brothers [are to be addressed as] "sir"
(Srya), and the chief actress and the Stage-manager (sutrabhrt)
mutually [also employ this mode of address].'
Notes. || Bh. 17. 82 b ; SD. 431 j, d, f. Cf. Levi, p. 129.
101 (P. 68; H. 63).
rathi sutena cayusman pujyaih sisyatmajanujah
vatseti tatah pujyo 'pi sugrhitabhidhas tu taih.
' A chariot-rider [is to be called] by his charioteer " long-lived
one " (dyusmant) ; a pupil, a son, or a younger brother [is to be
called] by venerable .persons "child" (vatsa) ; a venerable person
[is to be called] by these " father " (tata) or "thou of auspicious
name" (sugrhltabhidha) .'
Com. The term tSta may also be used by a venerable person in ad-
dressing a pupil, a son, or a younger brother.
Notes. ||Bh. 17. 74 a, 77; SD. 431 1, m, n. Cf. Levi, p. 129.
102' (P. 69a; H. 64a).
bhavo 'nugena sutri ca marsety etena so 'pi ca.
'The Stage-manager (sutrin) [is to be called] "respected sir"
(bhava) by his assistant, and the latter [is to be called] "worthy
frierid" (marsa) by the former.'
Notes. For marfa SD. has milrifa. See also DR. 3. 8 and the notes
on that section.
II Bh. 17. 73; SD. 431 g, h.. Cf. Levi, p. 380-
-2.105] book two 77
103 (P. 69 b, 7oa; H. 6$b, 65 a).
devah svaml 'ti nrpatir bhrtyair bhatteti cadhamaih
amantraniyah pativaj jyesthamadhyadhamaih striyah.
'A king [is to be called] "lord" (deva) or "sire" (svamin)
by his servants, and "master" (bhatta) by inferior persons.
Women are to be addressed by the highest, middling, and lowest
persons like their husbands.'
Notes. II Bh. 17. 79; SD. 431 a, v. Cf. Levi, p. 129.
104 (P. 70 b, 71; H. 65 b, 66).
sama haleti presya ca hafije vesya 'jjuka tatha
kuttiny ambety anugataih pujya va jarati janaih
vidusakena bhavati rajni ceti 'ti sabdyate.
' [Among the women] an equal [is to be addressed with the
word] " friend ! " (hala) ; a serving-maid, [with the word]
"servant!" (haihje); a courtezan [is to be called] "mistress"
(ajjuka). A bawd [is to be called] "madam" (amba) by her
followers, and an honorable old woman [is also to be called
" madam "] by [all] persons. The queen, [as also] her servant
(c<tfl),is addressed as "lady" (bhavati) bythe jester (vidttsaka).'
Notes. veSyajjuka H, V, P; veiyarjaka Hall p. 38. — Line 2 as above
H, V, P; kuf(iny anugataih pUjyd, ambeti yuvatl janaih (observe the
hiatus!) Hall p. 38. — rajnl H, V, P; rajnS Hall p. 38. — The word iti in
the last line has been forced from the expected position after bhavati by
the requirements of the meter.
II Bh. 17. 81 a, 85 a, 89, 90 ; SD. 431 w, x, k. Cf . Levi, p. 129.
CONCLUSION OF THE SECOND BOOK
ios (P. 72; H. 67).
cestagunodahrtisattvabhavan
asesato netrdasavibhinnan
ko vaktum Iso Bharato na yo va
yo va na devah Sasikhandamaulih.
7% BOOK TWO [2. 105-
' Who but Bharata or the crescent-crested god [Siva] is able
to enumerate without omission [all] the varieties of action, the
qualities, the utterances, and the Involuntary States (sattvcir
bh&va) that are inseparable from (a-vibhinna) the ten varieties
of leading character?'
Com. The idea is, the present work is merely an outline of these
subjects.
Notes. The word netrdaia I take to refer to four varieties of hero
(see 2. 2) and six varieties of heroine (three mentioned in 2. 25 ; two in
2. 32; and the last in 2. 33). — Meter: upajati.
BOOK THREE
The Nataka as the Typical Variety of Drama
i (P. i; H. j).
prakrtitvad athanyesam bhuyo rasaparigrahat
sampurnalaksanatvac ca purvam natakam ucyate.
'The Nataka is spoken of first, because of its being the
type of all [the varieties of drama] , f urthermore because of its
comprising [all] the Sentiments (rasa), and [also] because of
the fact that it fulfils the definitions [to be given].'
Notes. Sections 1-43 of Book 3 are concerned with various ^spects of
the nataka, or 'play' par excellence — the typical variety of Hindu dra-
matic composition and the one that best exemplifies the rules laid down
for such works. The other varieties of drama are then briefly defined (in
sections 44-64), chiefly by the enumetation of their points of divergence
from the nataka. (Cf., for example, the phrase icfatn natakavat, 3. 44 d.)
For a brief definition of the nataka see SD. 277; Pratapar. 3. 32, 33.
The Beginning of a Play
2 (P. 2; H. 2).
purvarangam vidhayadau sutradhare vinirgate
pravisya tadvad aparah kavyam asthapayen natah.
'When the Stage-manager (sutradhara) has gone out after
disposing of the Preliminaries (parvaranga) at the beginning
[of the play], another actor, entering in like manner, shall intro-
duce the drama.'
Com. . . . ' entering in like manner,' that is, with Visnu-like stride, etc.
[cf. Bh. 5. 165 a]. From his function of introducing (sthapano) and in-
dicating what is to come, he is called Introducer (sthapaka).
Notes. The word parvaranga is the technical name for the ceremonies
preliminary to a dramatic perfortnance, which are described in detail at
79 .
80 BOOK THREE [3- 2-
Bh. S. 1-175. — No mention is made of the sthapaka in most of the known
plays; he is found in action, however, in the Karpuratnafijari (1. 12*).
See the edition of Konow and Lanman, Cambridge, Mass., 1901, p. 196.
II Bh. 5. 163, 164; SD. 2833, b; cf. AP. 337. 8. Cf. Levi, p. 135. 376.
3 (P- 3; H. 3).
divyamartye sa tadrupo misram anyataras tayoh
sucayed vastu bijam va mukham patram' athapi va.
' [A play] dealing with gods or one dealing with mortals [he
shall introduce] in that form [i. e. divine or human, respectively] ;
[a play whose characters are gods and mortals] commingled,
[he shall introduce] as either of these. He shall allude to the
Subject-matter (vastu), or the Germ (blja), or the Opening
(mukha), or to one of the characters (patra).'
Com. Ex. : rHmo mUrdhni nidha", stanza from the Udattaraghava of
Mayuraja [a drama apparently not extant] (allusion to the subject-
matter) ; Ratn. 1. 6, p. 4 = Spr. 3026 [quoted also at DR. 1. 39 and 3. 10]
(allusion to the Germ) ; 8s3dita° [unidentified stanza from a drama,
quoted also at DR. 3. 11 and SD. 283; tr. Levi, p. 139] (allusion to the
Opening) ; Sakuntala 1. 5, p. 14 [quoted in part also at DR. 3. 12] (allu-
sion to a character).
Notes. ||Bh. 5. 169, 170; SD. 283 c, d. Cf. Levi, p. 379.
4 (P. 4; H. 4).
rangam prasadya madhuraih slokaih kavyarthasucakaih
rtum kam cid upadaya bharatim vrttim airayet.
' After propitiating the audience with pleasing verses that hint
at the subject of the composition, he shall use the Eloquent Style
(bharatt) in describing some season.'
Com. Ex. : Ratn. 1. 2, p. 1 [quoted also at Kavyapradipa 7, p. 315].
Notes. The first line of this section refers to the nSndl, a benediction
consisting of one or more stanzas, with which a play opens. No special
prescriptions regarding the nllndl are given in DR.; see Bh. 5. 106-111;
SD. 282 ; Pratapar. 3. 34. — This section is quoted at Pratapar. 3. 35, p. 124.
II Bh. s. 167; SD. 284; Pratapar. 3. 35, p. 124. Cf. Levi, p. 137; pt. 2,
p. 27.
_ 3» 7] BOOK THREE 8 1
The Eloquent Style
5 (R 5! H. 5).
bharati samskrtaprayo vagvyaparo natasrayah
bhedaih prarocanayuktair vithlprahasanamukhaih.
'The Eloquent Style (bharati) is a manner of speaking,
chiefly in Sansfcrit, employed by actors (nata) [i. e. not by ac-
tresses], which has as varieties, in addition to the Laudation
(prarocana), the Vlthl, the Prahasana, and the Introduction
(amukha).'
Notes. AP. has the statement striyukta prakrtoktitd, 'when used by
women it is in Prakrit.' — On the Styles of Procedure see DR. 2. 77, 83,
88, 94, 95-
II Bh. 20. 25; SD. 285, 286 a; Rudr. Srng. 3. 69, 70; AP. 339. 6, 7;
Sarasv. 2. 67 a (ed. B. 2. 37 a) ; 5. 731 (ed. B. 5. 192, p. 378) ; Pratapar.
2. 16 a. Cf. Levi, p. 93.
6 (P. 6a; H. 6a).
unmukhlkaranam tatra prasamsatah prarocana.
'Among these [varieties] the Laudation (prarocana) is a
means of arousing expectancy by means of praise [of the matter
in hand] .'
Com. Ex. : Ratn. 1. 5, p. 3 [ = PriyadarSika 1. 3, and, with change of
one word, Nagan. 1. 3].
Notes. <| Bh. 20. 27; SD. 286 b; AP. 337. 10; Sarasv. 5. 735 (ed. B. p.
378). Cf. Levi, p. 137-
7 (P. 6b, 7a; H. 6b,c).
vlthl prahasanam capi svaprasange 'bhidhasyate
vithyahgany amukhangatvad ucyante 'traiva tat punah.
' The Vithl and the Prahasana also, will be mentioned, [each]
in its proper connection ; the subdivisions of the Vlthl, however
(tat punah), are mentioned at this point because they form sub-
divisions of the Introduction (Smukha).'
7
82 BOOK THREE [3* 7~
Notes. For the subsidiary parts of the vithl see 3. 13. — DR. seems to
confuse the vithl 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. 5. 737, 742 (ed. B. p. 378, 379), where these varieties are defined.
|| Bh. 20. 35 ; Pratapar. 3. 30 a. Cf . Levi, p. 137.
The Introduction and its Various Forms
8 (P. 7b,8a,b 1 ; H. 7, Sa 1 ).
sutradharo natim brute marsam va 'tha vidusakam
svakaryam prastutaksepi citroktya yat tad amukham
prastavana va.
'The Introduction (amukha) or Induction (pra-
stavana), is that [variety of the EIoquent Style] in which the
Stage-manager (sutradhSra) addresses an actress (natt) or an
assistant (mSrsa) or the Jester (vidilsaka) on a matter of his
own, in bright conversation, hinting at the matter in progress.'
Notes. On marfa see DR. 2. 102. In itsdefinition of the Induction
SD. substitutes the term pariparhiikn. — The assignment of a f emale role
to an actress {nafi) is substantiated by KarpuramanjarI 1. 12* (see the ed.
of Konow and Lanman, Cambridge, Mass., 1901, p. 196).
HBh. 20. 28, 29 a; SD. 287; AP. 337. nb-i3a; Sarasv. 5. 736 (ed. B.
p. 378) ; Pratapar. 3. 25, 26 a. Cf. Levi, p. 138.
9 (P. 8b 2 , oa; H. 8a 2 , b).
tatra syuh kathodghatah pravrttakam
prayogatisayas catha vithyangani trayodasa.
' Of this there are [three forms] : the Opening of the Story
(kathodghata), the Entrance of a Character (pravrttaka) , and
the Particular Presentation (prayogdtiJaya). The subdivisions
of the Vithl are thirteen [in number].'
Notes. The words vlthyaiigSni trayodaia are somewhat out of place
here. One would expect them to come directly before the enumeration of
the subdivisions (3. 13), as in AP. 339. 7-9. — SD. mentions five forms
of Introduction, the udghatyaka (DR. 3. 14) and the avalagita (DR. 3. 15)
being included here as well as among the subdivisions of the vithl (SD.
521). Cf. Bh. 20. 30 b.
II Bh. 20. 29 b, 30 a ; SD. 288; AP. 337. 13 b, 14 a ; 339- 7 b ; Pratapar. 3- 26-
~3' 12 ] BOOK THREE 83
10 (P. 9b, ioa; H. 9).
svetivrttasamam vakyam artham va yatra sutrinah
grhitva praviset patram kathodghato dvidhaiva sah.
'The Opening o f the Story (kathodghato) [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 re-
mark], which corresponds with sorae incident connected with
himself. It is of two kinds.'
Com. Ex. : Ratn. 1. 6, p. 4=Spr. 3026 [quoted also at DR. 1. 39 and 3.
3] (taking up of a remark) ; Veni. 1. 7, p. 10 [spoken by the stage-manager,
but -here erroneously assigned to Bhima; quoted also at Kavyapradlpa 7,
p. 302] and 1. 8, p. u [quoted also at DR. 4. 81] (taking up of the mean-
ing of a remark).
Notes. Line 1, as above, H, V, P; vSkyam v&hy&rtham atha vU
prastutatp yatra sutrinah Hall p. 39. — The word sUtrin is used for
sUtradhUra because of metrical requirements. — The kathodghata is of
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. 20. 31 b, 32 a ; SD. 290 ; AR 337. 15 b, 16 a ; Pratapar. 3. 27. Cf.
Levi, p. 138.
11 (P. 10 b; H. 10 a).
kalasamyasamaksiptapravesah syat pravrttakam.
'The Entrance of a Character (pravrttaka) is the
entering of [a person] hinted at by the similarity of [the nature
of] the season [described].'
Com. Ex. : asSdita" [unidentified stanza f rom a drama, quoted also at
DR. 3. 3 and SD. 283; tr. Levi, p. 139].
Notes. This form of Induction is called pravartaka 'm SD. — On the
description of a season in the Induction see 3. 4.
II Bh. 20. 33 b, 34 a; SD. 292; AP. 337. 14 b, 15 a; Pratapar. 3. 28. Cf.
L6vi, p. 139-
12 (P. II; H. lob, c).
.- eso 'yam ity upaksepat sutradharaprayogatah
patrapraveso yatraisa prayogatisayo matah.
84 BOOK THREE [3. 12-
'Particular Presentation (prayogatiiaya, lit. excess
of representation) is that [fortn of the Induction] in which a
character enters in accordance with a reference [to him] by
(prayogatas) the Stage-manager (sUtradhara) in the words
"HereheW"
Com. Ex. : Sakuntala 1. S b, p. 14 [this stanza is quoted in full at
DR. 3- 3]-
Notes. |[Bh. 20. 32 b, 33 a; SD. 291; AP. 337. 16 b, 17 a; Pratapar. 3.
29. Cf. Levi, p. 139.
The Subdivisions of the VIthi
13 (P. 12, i3a; H. n).
udghatyakavalagite prapancatrigate chalam
vakkelyadhibale gandam avasyanditanalike
asatpralapavyaharamrdavani trayodasa.
' The thirteen [subdivisions oi the Vithi are] : Abrupt Dia-
logue (udghatyaka) , Continuance (avalagita), Compliment
{prapanca), Triple Explanation (trigata), Deception (chala),
Repartee (y&kkett), Outvying (adhibala), Abrupt Remark
(ganda), Re-interpretation (avasyandita) , Enigma (nalikS),
Incoherent Chatter (asatpralapa) , Humorous Speech (vy&hara),
and Mildness (mrdava).'
Notes. The vlthl itself is defined at DR. 3. 62. See the notes on 3. 7
and 3. 9-
II Bh. 18. 104, 105; SD. 521 ; AP. 339. 8, 9; Pratapar. 3. 30 b, 31.
14 (P. 13 b, 14 a; H. 12).
gudharthapadaparyayamala prasnottarasya va
yatranyonyam samalapo dvedhodghatyam tad ucyate.
'Abrupt Dialogue (udgha'ty a — udghatyaka), which is
of two kinds, is a series of successive words whose meaning is
hidden, or of questions and answers, where there is mutual con-
versation.'
-3' *7] BOOK THREE 85
Com. Ex. : Vikramorvasi [a passage not located] (first variety) ;
ka ttaghya gutfi", stanza [tr. Levi, p. 112] from the Pancjavananda Ia
drama otherwise unknown] (second variety).
Notes. II Bh. 18. 106; SD. 289; Pratapar. 3. 32, p. 120. Cf. Levi, p. 112.
15 (P. 14 b, 15 a; H. 13).
yatraikatra samavesat karyam anyat prasadhyate
prastute 'nyatra va 'nyat syat tac cavalagitam dvidhi.
'Continuance (avalagita), which is of two kinds, is that
[subdivision of the VIthl] in which, on the one hand, a different
matter is carried out because of a simultaneous occurrence, or,
on the other hand, there is a different [turn] in a matter in
progress (prastuta).'
Com. Ex. : the sending away of Sita in the Uttararamacarita ; a
passage from the Chalitarama [an unpublished drama].
Notes, if Bh. 18. 107; SD. 293; Pratapar. 3. 32, p. 120. Cf. Levi, p. 113.
16 (P. i 5 b; H. i 4 a).
asadbhutam rnithahstotram prapafico hasyakrn matah.
'Compliment (prapatica) is mutual praise that is untrue
and causes a laugh,'
Com. Ex. : Karpuramanjari 1. 23, p. 24.
Notes, asadbhutam rnithahstotram Hall p. 39, P ; asadbh&tamithahsto-
tram H, V. — The example given in the commentary seems very inap-
propriate.
|| Bh. 18. 1 10; SD. 522; Pratapar. 3. 32, p. 120. Cf. Levi, p. 113.
17 (P. 16; H. I4b, c).
srutisamyad anekarthayojanarn trigatam tv iha
nataditritayalapah purvarange tad isyate.
'Triple Explanation (trigata) is a combination of sev-
eral meanings because of similarity of sound. This is declared
to be a conversation of a'triad of actors and the like in the Pre-
liminaries (purvaranga ) .'
Com. Ex.: Vikramorvasi 1. 3, p. 9 [sec Levi, pt. 2, p. 36, note on
p. 177]-
86 BOOK THREE [ 3- x 7 ~
Notes. SD. 523, com., quotes a definition similar to that of DR. — On
the term pfirvaranga see Bh. S; SD. 281.
|| Bh. ia 115 (cf. also S- I3S-I36) ; SD. 523; Pratapar. 3- 3*. P- "i. Cf.
Levi, p. 11+
18 (P. 17 a; H. 15 a).
priyabhair apriyair vikyair vilobhya chalanac chalam.
'Deception (chala) [arises] from deceit that raisleads by
means of unfriendly words that seem friendly.'
Com. Ex. : Veni. 5. 26, p. 148 [lines b and c are transposed].
Notes, chalanac Hall p. 39 (Hall prints chalanat, in disregard of
samdhi), P; chalana H, V.
H Bh. 18. U3a; SD. 524, 525 a, b; Pratapar. 3. 32, p. 121. Cf.Levi.p. 114,
19 (P. 17 b; H. 15 b).
vinivrttya 'sya vakkeli dvis trih pratyuktito 'pi va.
'Repartee (vakkeU) [arises] from stopping short in it
[i. e. in a speech] or from replying two or three times.'
Com. Ex. : Uttararama. 3. 26, p. 80 (stopping short) ; Ratn. 1, p. 10
(reraark and reply).
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.
II Bh. 18. in b; SD. 5250 and com. (SD. tr. 525, 526) ; Pratapar. 3. 32,
p. isi. Cf. Levi, p. 114.
20 (P. i8a; H. i6a).
anyonyavakyadhikyoktih spardhaya 'dhibalam bhavet.
'Outvying (adhibala) is a dialogue [of two persons] in
emulation, each of which outdoes the other in his remarks.'
Com. Ex. : Veni. 5. 27 +, p. 149-152 [quoted in part also at DR. 1. 92
•and 1. 94].
Notes. Literal translation: 'Outvying is a mutual-speech-preponder-
ance-dialogue in emulation.' — This adhibala is carefully to be distin-
guished from the element of the Development defined in 1. 76.
II Bh. 18 112; SD. 526; Pratapar. 3. 32, p. 121. Cf. Levi, p. 115.
•3» *4] BOOK THREE 87
21 (P. i8b; H. i6b).
gandah prastutasambandhibhinnartham sahasoditam. -
'Abrupt Remark (gan<fa) is a separate matter, suddenly
mentioned, that has some connection with the matter in prog-
ress (prastuta).'
Com. Ex. : Uttararama. 1. 38 -f, p. 36.
Notes. II Bh. 18. 116; SD. 527; Pratapar. 3. 32, p. 121. Cf. Levi, p. 115.
22 (P. 193; H. 17&).
rasoktasyanyatha vyakhya yatravasyanditam hi tat
'Re-interpretation (avasyandita) is that [subdivision
of the Vithi] in which there is an explariation in another way of
words uttered because of sentiment.'
Com. Ex. : a passage [tr. Levi, p. 115] from the Chalitifama [an un-
published drama].
Notes. ||Bh. 18. 108; SD. 528; Pratapar. 3. 32, p. 121. Cf. Levi, p. 115.
23 (P. ipb; H. 17 b).
sopahasa nigudhartha nalikaiva prahelika.
'Enigma (nalika) is an enigmatical remark that is humor-
ous and whose meaning is hidden.'
Com. Ex. : Mudrarak?asa 1, p. 74-75 (ed. Kale, p. 27-28).
Notes. II Bh. 18. m a; SD. 529; Pratapar. 3. 32, p. 121. Cf. Lew, p. 116.
24 (P. 2oa; H. i8a).
asambaddhakathaprayo 'satpralapo yathottarah.
'Incoherent Chatter (asatpral&pa) , [here mentioned]
in due order, consists of (prdya) incoherent talk.'
Com. This is not the rhetorical fault called asamgati, which consists in
lack of coherence, but the incoherent talk of persons that are just awak-
ing, drunk, insane, or childish. Ex.: Sarng. 105; Vikramorvaii 4. 33, p.
102 = Spr. 7357 ; bhukta hi maya gir" [unidentified stanza].
Notes, yathottarah H, V, P; yathottaram Hall p. 39.— After defining
asatpralapa as an irrelevant speech or reply, SD. adds that'it may also
88 BOOK THREE [3« 2 4~
be salutary advice given to a foolish person who does not accept it
II Bh. 18. 109; SD. 530; Pratapar. 3. 32, p. 121-122. Cf. L6vi, p. 116.
25 (P. 20b; H. i8b).
anyartham eva vyaharo hisyalobhakaram vacah.
'Humorous Speech (vyaharo) is a remark made for the
sake of some one else and causing laughter and "desire/
Com. Ex. : Malav. 2, p. 20-31 [departs widely from the published text].
Notes. || Bh. 18. 1 13 b ; SD. 531 ; Pratapar. 3. 32, p. 122. Cf . Levi, p. 1 16.
26 (P. 21 a; H. i8c).
dosa guna guna dosa yatra syur mrdavam hi tat.
'Mildness (mrdava) is that [subdivision of the Vithi] in
which faults are [considered as] merits and merits [as] faults.'
Com. Ex. : Sakuntala 2. s, p. 64 (a- fault, hunting, considered as a
merit) ; satatam anirvrta [unidentified stanza] (a merit, sovereignty, con-
sidered as a fault) ; Spr. 6783 (both together).
Notes. II Bh. 18. 114; SD. 532; Pratapar. 3. 32, p. 122. Cf. Levi, p. 117.
USE OF THESE INTRODUCTORY ELEMENTS
27 (P. 21 b, 22 a; H. 19).
esa» anyatamenartham patram caksipya sutrabhrt
prastavanante nirgacchet tato vastu prapantayet.
'The stage-manager, after hinting at the theme and a char-
acter with any one of these [elements just enumerated], shall
go out at the end of the Induction (prastavana) and then begin
the detailed presentation (prapaiicayet) of the Subject-matter/
Notes. The word sutrabhrt, like s&trin in 3. 10, is used for s&tradhara
because of metrical requirements.
HSD.29S.
~3« 2 9] book three 89
Selection of the Principal Subject
28 (P. 22b-24a; H. 20, 21).
abhigamyagunair yukto dhirodattah pratapavan
kirtikamo mahotsahas trayyas trata mahipatih
prakhyatavamso rajarsir divyo va yatra nayakah
tatprakhyatam vidhatavyam vrttam atradhikarikam.
' [In a play] in which the Hero is endowed with attractive
qualities, [of the type known as] self-controlled and exalted
(dhirodatta) , glorious, eager for fame, o f great energy, a pre-
server of the three Vedas (trayt), a ruler of the world, of re-
nowned lineage, a royal seer or a god — in that the incident for
which he is renowned is to be made the Principal Subject
(adhik&rika).'
Com. A hero with all these qualities, such as is exemplified in the
Ramayana and Mahabharata.
Notes, abhigamya" H, V, P; abhigUmF and adhigamya" Hall p. 39.
— The ' self-controlled and exalted' hero is defined.at 2. 5; the adhikirika,
at 1. 19. — Cf. Levi, p. 31.
Adaptation of the Story
29 (P. 24 b, 25 a; H. 22).
yat tatranucitam kim cin nayakasya rasasya va
viruddham tat parityajyam anyatha va prakalpayet.
'Whatever in it [i. e. in the original story] is at all unsuited
to the hero or inconsistent with the Sentiment is 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 Mahaviracarita, where Vali is represented as coming,
because of his friendship with Ravana, in order to kill Rama [who there-
upon slays him in self-defence, not treacherously].
Notes. ||SD. 304 (cf. 409) ; Sarasv. S- 730 (ed. B. p. 377). Cf. Levi,
p. 31.
90 book three [3« 3°~
Arrangement of the Dramatic Structure
30 (P. 25 b, 26 a; H. 23).
adyantam evam niscitya pancadha tad vibhajya ca
khandasah samdhisamjnams' ca vibhagan api khan'dayet.
v ' After determining upon the beginning and end [of the play]
in this manner and after dividing it into five paijs, [the author]
should furthermore (ca-\-api) break up into small sections the
divisions called Junctures {satpdhi) .'
Notes. The subject-matter, which contains the five Elements of the
Action (1. 27) corresponding to the five Stages (1. 28), is first divided
into five Junctures (1. 34-36) and these again into their various sub-
divisions (1. 37-m). — Cf. Levi, p. 32.
31 (P. 26 b, 27; H. 24).
catuhsastis tu tani syur angamty aparam tatha
patakavrttam apy unam ekadyair anusamdhibhih
ahgany atra yathalabham asamdhira prakarim nyaset.
'These subdivisions should be sixty-four [in number]. — In
like manner, moreover, [one should divide] the incidents of the
Episode (patakS), [which should have] one or more Sub-junc-
tures (anusamdhi) less [than the principal subject]. In this
[i. e. in the Episode] the [number of] subdivisions [may be]
as it turns out. One should insert the Episodical Incident
{pr akari) without any Juncture.'
Com. . . . The Episodical Incident is to be employed without a com-
plete Juncture.
Notes. II Bh. 19. 27 b, 28 a. Cf . Levi, p. 57.
Appropriate Arrangement of the Beginning
32 (P. 28 a; H. 25 a).
adau viskambhakam kuryad ahkam va karyayuktitah.
' At the beginning [of the play] one should put an Explanatory
Scene or an Act, according to the appropriateness of the action.'
-3-35] BOOK THREE 91
33 (P. 28 b, 29»; H. 25 b, c).
apeksitam parityajya nlrasam vastuvistaram
yada samdarsayec chesam kuryad viskambhakam tada.
' When, after omitting an extensive part of the subject-matter,,
that is required, but is without Sentiment, one wishes to present
the rest,thenone should put an Explanatory Scene (viskambhaka)
[at the beginning].'
Notes. The vifkambhaka, one of the five varieties of Intermediate
Scene, is defined at i. 116, 117.
H SD. 314
34 (P. 29 b, 30 a; H. 26).
yada tu sarasam vastu mulad eva pravartate
adav eva tada 'nkah syad amukhaksepasamsrayah.
'When, on the other hand, the subject-matter proceeds with
Sentiment right from the start, then there should be at the begin-
ning an Act following up the hints [givenj.in the Introduction.'
Notes. On the Introduction (Induction) and references in it to the
subject of the play, see 3. 8.
N SD. 315.
Characteristics of an Act
35^(P-3ob,3ia; H. 27).
pratyaksanetrcarito binduvyaptipuraskrtah
anko nanaprakararthasarnvidhanarasasrayah.
' An Act visibly represents the doings of the Hero, is attended
with inherence of the Expansion, and is based on purposes, con-
trivances, and Sentiments of various kinds.'
Notes. Further details concerning the arrangement of an Act are
given at DR. 3. 41, 42.
|| Bh. 18. 14, 15; SD. 278 a, c, e; Pratapar. 3. 24. Cf. Uvi, p. 58.
94 BOOK THREE [3*4 X
and with three or four characters — these making their exit at
its end.'
Notes, "caritaikartham H, V, P; "caritaik k&ryam Hall p. 39. — Ccr-
tain features of the Act are mentioned also in 3. 35.
H Bh. 18. 22 a, 24 a ; SD. 278 g, h, p. Cf . Levi, p. 58.
42 (P. 37b, 38a; H. 34a,b).
patakasthanaklny atra bindur ante ca bljavat
evam arikah prakartavyah pravesadipuraskrtah.
'In it [there should be] the Episode-indications and, at the
end, the Expansion, just like the Germ [at the beginning (?)].
In this way the Acts are to be prepared, prefaced by Introductory
Scenes and the like.'
Notes. The technical terms patakasthanaka, blja, and hindu are defined
at 1. 22, 25, 26.
The Number of Acts in the Nataka
43 (P. 3 8b; H. 34 c).
pancankam etad avaram dasankam natakam param.
' When it has five Acts, this [kind of drama] is a lesser Nataka ;
when it has ten Acts, a greater.'
Notes. That is, a regular nataka has five acts ; one with ten acts, such
as Rajasekhara's Balaramayana, is called a mahSnStaka.
«Bh. 18. 50; SD. 510. Cf. Levi, p. 140.
Description of the Prakarana
44 (P. 39.40; H. 35, 36).
atha prakarane vrttam utpadyam lokasamsrayam
amatyavipravanijam ekarn kuryac ca nayakam
dhiraprasantam sapayam dharmakamarthatatparam
sesam natakavat samdhipravesakarasadikam.
'Now ina Prakarana the action should be invented and
should take place on the earth, and one should make the Hero
-3*46] BOOK THREE 95
a minister, a Brahman, or a'merchant, [of the type known as]
self-controlled and calm (dhlrapra£Snta=dhlra£linta), under-
going misfortune, and with virtue, pleasure, and wealth as his
chief objects. The remaining [features] — Junctures, Introduc-
tory Scenes, Sentimenis, and the like — are as in the Nataka.
Notes, sap&yam H, V, P; sopiyam Hall p. 39. — The three aims in
lif e — virtue, pleaspre, and wealth — are ref erred to, under the desiguation
trivarga, in 1. 24.
flBh. 18. 41-49; SD. 511; Pratapar. 3. 4 (p. 103), 35. Cf. Levi, p. 141.
45 (P. 41, 42; H. 37.38).
. nayika tu dvidha netuh kulastri ganika tatha
kva cid ekaiva kulaja veSya kvapi dvayarn kva cit
kulaja 'bhyantara bahya vesya natikramo 'nayoh
abhih prakaranam tredha samklrnam dhurtasamkulam.
'[In a Prakarana] the Heroine [may be] of two Kinds: the
high-born wife of the hero or a courtezan. In some plays [there
should bej only the high-born woman ; in some plays, the courte-
zan; in some plays, both. The high-born woman should be in-
doors, the courtezan without; and the two should never meet.
Because of these [varieties of heroine] the Prakarana is of three
kihds [i. e. suddha, with the wife as Heroine; vikrta, with the
courtezan; samkirna, with both]. The mixed variety (satnklrna)
abounds in rogues.
Com. [The commentary quotes :] Kamasutra 3, p. 41. The heroine is a
courtezan, for example, in the Tarangadatta [a drama apparently not
extant] ; a high-born woman in the Puspadflsitaka [a drama apparently
not extant, mentioned as Pu§pabhu?ita in SD. 512, com.] ; of both kinds
in the Mrcchakatika.
Notes. II SD. 512. Cf. Levi, p. 141.
Description of the Natika
46 (P. 43 a ; H. 39 a). '
laksyate natika 'py atra samkirnanyanivrttaye.
'At this point the Natika, also, is defined for the purpose
96 BOOK THREE [3'4<>-
of disposing of the other [kinds of drama] that are commingled
[in it].'
Com. By a false interpretation of Bh. 18. 54, a kind of drama called
prakaranika has been predicated as a lesser form of the prakarana, on the
analogy of the natika as a lesser form of the nataka. The prakaraniks,
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 of the natika does not come
within the scope pf this work, which is limited by its title to the ten
principal forms of drama (see also 1. 11). The nafika deserves notice,
however, because of its frequent occurrence; our author therefore intro-
duces some account of it on the ground that it combines certain features
of the nataka and the prakarana.
47 (P. 43 b, 44a; H. 39 b, c).
tatra vastu prakaranan natakan nayako nipah
prakhyato dhiralalitah srngaro 'figi salaksanah.
' In that [i. e. in the Natika] the subject [is taken] from the
Prakarana, and the Hero, who is a renowned king and is [of the
type known as] self-controlled and light-hearted (dhtralalita) ,
from the Nataka; the principal Sentiment (angin, sc. rasa) is the
Erotic, with its [various] characteristics.'
Notes. II Bh. 18. 54-56 a ; SD. 539 a, b. Cf. Levi, p. 146.
48 (P. 44 b, 45 a; H. 40).
striprayacaturahkadibhedakam yadi cesyate
ekadvitryankapatradibhedenanantarupata.
' Even if there is a definition to the effect that it contains an
abundance of women, has four acts, and so forth, [yet] there is
an endless variety of forms [of the Natika] because it may be
subdivided according to its having one, two, or three acts, [vari-
ous combinations of ] characters, and the like.'
Notes. The words strlprayacaturanka are evidently an allusion to Bh.
18. 55 a, and this section modifies to a certain extent the definition given
there.
HBh. 18. 55 a; SD. 539 a. Cf. Levi, p. 146.
- 3« 5 3 ] BOOK THREE 97
49 (P. 45 b, 46a; H. 41)*
devi tatra bhavej jyestha pragalbha nrpavam§aja
gambhlra maninl krcchrat tadvasan netrsamgamah.
' In it the oldest wife should be a queen, [of the type known
as] experienced, of royal lineage, serious, disdainful on account
of her troubles; the union of the Hero [with the Heroine is
brought about]*because of her consent.'
Notes, netrsamgamal} H, V, P; netfsamgame Hall p. 39. — The term
pragalbha, ' experienced,' is defined at 2. 29.
U SD. 539 i, g- Ct . Levi, p. 146.
50 (P. 46 b; H. 42 a).
nayika tadrsi mugdha divya catimanohara.
'The Heroine is of the same kind [i. e. also of royal lineage],
[of the type known as] inexperienced, and is charming and
exceedingly fascinating.'
Notes, nayika H, V, P ; prapya 'nyi Hall p., 39. — The term mugdha,
' inexperienced,' is defined at 2. 26.
H SD. 539 d. Cf. Levi, p. 146.
51 (P. 47, 48 a ; H. 42 b, 43 a, b).
antahpuradisambandhad asanna srutidarsanaih
anurago navavastho netus tasyarn yathottaram
neta tatra pravarteta devitrasena sankitah.
' [The Heroine] is near [the Hero] because of her connection
with the harem and the like ; through her hearing and seeing him,
newly-awakened passion for the Hero arises in her in its regular
stages; the Hero in it [i. e. in the Natika] is apprehensive
through f ear of the queen.'
Notes. H SD. 539 c, d, e. Cf. Levi, p. 146.
52 (P. 4 8b; H.43C).
kaisikyangais caturbhis ca yuktankair iva natika.
8 •
98 BOOK THREE [ 3« 52 -
'The Natika contains the four subdivisions of the Gay Style
(kaitikl), as if joined [respectively] to the [four] acts.'
Notes. The Gay Style and the four subdivisions here referred to are
described at 2. 77-82.
U SD. $39 h. Cf. Levi, p. 146.
Description of the Bhana !
53 (P. 49-5i; H. 44-46).
bhanas tu dhurtacaritam svanubhutam parena va
yatropayarnayed eko nipunah pandito vitah
sambodhanoktipratyukti kuryad akasabhasitaih
sucayed vlrasrngarau sauryasaubhagyasarnstavaih
bhuyasa bharati vrttir ekankam vastu kalpitam
mukhanirvahane sange lasyangani dasapi ca.
'The Bhana (Monologue) [is a kind of drama] in which a
single clever and shrewd parasite describes roguish exploits
engaged in by himself or by some one else. He is to make
remarks conveying information, as well as replies [to imaginary
remarks], by means of Conversations with Imaginary Persons
(akasabhasita) ; and he should indicate the Heroic and Erotic
Sentiments by means of descriptions of prowess and o f beauty.
Generally the Eloquent Style [is employed] ; the subject, which
is invented [by the author], is treated in a single Act. , [The
Bhana has two Junctures], the Opening (mukhd) and the Con-
clusion (nirvahana), with their subdivisions, and also the ten sub-
divisions of the Gentle Dance (lasya).'
Notes. The term HkaJabhSfita, ' Conversation with Imaginary Persons,'
is defined at 1. 128; the Eloquent Style (bhdratt) at 3. 5. — One would
rather expect svSnubhata to have the meaning ' experienced by himself ' ;
in my translation I follow Dhanika, who glosses the word by svakrta.
|| Bh. 18. 99-101; 19. 45 b, 46 a; SD. 513; Pratlpar. 3. 4 (p. 103), 36, 37.
Cf. Levi, p, 141.
-3-56] book three 99
The Forms of Gentle Dance
54 (P- 52. 535 H. 47.48).
geyam padam sthitam pathyam asinam puspagandika
pracchedakas trigudham ca saindhavakhyam dvigudhakam
uttamottamakam caiva uktapratyuktam eva ca
lasye dasavidham hy etad ariganirdesakalpanam.
'The tenfold enumeration of the subdivisions in the Gentle
Dance (lasya) is: the Geyapada (Song), the Sthitapathya
(Recitation by one standing), the Aslnapathya (Recitation by one
seated), the Puspagandika, the Pracchedaka, the Trigudha, the
one called Saindhava, the Dvigiidha, the Uttamottamaka, and the
Uktapratyukta (Amoebean Song).'
Notes, caiva ukta" H, V, P ; c&nyadukta" Hall p. 39. — This enumera-
tion is taken 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.
505-509. The DR. makes no further reference to these terms.
II Bh. 18. 117-119; SD. 504. Cf. Levi, p. 119-120.
Description of the Prahasana
55 (P. 54a; H. 49»).
tadvat prahasanam tredha suddhavaikrtasamkaraih.
'Similar is the Prahasana (Farce), which is of three
kinds: regular, modified, and mixed.'
Notes. ||Bh. 18. 93 b; 19. 45 b, 46 a; SD. 533; Pratapar. 3. 38. Cf.
Levi, p. 142.
56 (P. 54b, 553; H. 49b, c).
pakhandivipraprabhrticetacetlvitakulam
cestitam vesabhasabhih suddham hasyavaconvitarn.
'The regular [Prahasana] (suddha) contains heretics, Brah-
mans, and other such characters; servants, serving-maids, and
parasites. [It is] performed with [appropriate] costume and
language, and is full of (anvita) comic speeches.'
100 B00K THREE
[3-S6-
Notes, vefdbhdtabhih H, V, P; vefabhasadi and deSabhOfOdi Hall p.
39. — On pakhanda f or pOfanda (North Indian kh for f) see Wackernagel,
Altindische Grammatik, 1. 136, § 118.
II Bh. 18. 94b-96a; SD. 535; Pratapar. 3- 4 (P- i°3). 395 cf. AP. 339.
10 a. Cf. Levi, p. 142.
57 (P- 55 b, S6a; H. soa, b).
kamukadivacovesaih sandhakancukitapasaih
vikrtam samkarad vithya samkirnam dhurtasamkulam.
'The modified [Prahasana] (vikrta) contains eunuchs, cham-
berlains, and ascetics [represented] with the speech and dress
of lovers and the like; the mixed [Prahasana] (samklrna), [so
called] because of its admixture of [features of] the Vlthi, is
filled with rogues.'
Notes. ||Bh. 18. 96D-98; SD. 536-S38; Pratapar. 3. 40, 41. Cf. Levi,
p. 142.
58 (P. 5 6b; H. soc).
rasas tu bhuyasa karyah "sadvidho hasya eva tu.
'The sixfold Comic Sentiment (hasya) is generally to be em-
ployed [in it].'
Notes. ||SD. 534; Pratapar. 3. 4 (p. 103), 38 b. Cf. Levi, p. 142.
Description of the Dima
59 (P. 57-60 a; H. 51-53).
dime vastu prasiddham syad vrttayah kaisikim vina
■ netaro devagandharvayaksaraksomahoragah
bhiitapretapisacadyah sodasatyantam uddhatah
rasair ahasyasrngaraih sadbhir diptaih samanvitah
rnayendrajalasarngramakrodhodbhrantadicestitaih
candrasuryoparagais ca nyayye raudrarase 'ngini
caturahkas catuhsarndhir nirvimarSo dimah smrtah.
'In the Dima the subject must be well-known; all the Styles
[may be employed in it] except the Gay Style; its Heroes, six-
teen [in number], [should be] gods, Gandharvas, Yaksas, Rak-
-3«60] BOOK THREE IOl
sasas, Mahoragas, Bhutas, Pretas, Pisacas, and the like, all [of
the type known as] vehement. It contains the six excited Senti-
ments, omitting the Comic and the Erotic, the customary prin-
cipal Sentiment being the Furious, [called forth] by deeds of
magic, sorcery, combat, writh, excitement, and the like, and by
eclipses o f the sun and moon. The Dima is declared to have
four acts and four Junctures, there being no Pause [Juncture].'
Com. This kind of play is called dima because it involves the procedure
of injuring on the part of the hero — dima being equivalent to sattigkitOi
'in j uring.' ... In other respects [than those mentioned] it is like
the nataka. The sage Bharata himself refers to the Burning of Tripura
as a suitable subject for a dima, in the words idam tripura" [unidentified
line] and tatas tripura" [=Bh. 4. 10 b].
Notes. ||Bh. 18. 78-82; 19. 43 b, 44 a; SD. 517; Pratapar. 3. 4 (p. 103),
42-44. Cf. Levi, p. 142.
Description of the Vyayoga
60 (P. 6ob-62a; H. 54, 55).
khyatetivrtto vyayogah khyatoddhatanarairayah
hino garbhavimarsabhyarn diptah syur dirnavad rasah
astrinimittasamgramo jamadagnyajaye yatha
ekahacaritaikanko vyayogo bahubhir naraih.
'The Vyayoga (Military Spectacle) has a well-known sub-
ject, and 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
not occasioned by a woman, as in the case of the Victory of
Parasurama [ Jamadagnya] . The Vyayoga consists of one act,
[presenting] the doings of a single day, and contains many male
characters.'
Com. This kind of drama is called vySyoga because many men disagree
with one another (vyHyujyante) in it . . .
Notes. II Bh. 18. 83-85; 19. 44 b, 45 a; SD. 514; Pratapar. 3. 4 (p. 103),
45. Cf. Levi, p. 143.
102 BOOK THREE [3. 6l-
Description OF THE Samavakara
61 (P.62b-68a; H. 56-61).
karyam samavakare 'pi amukham natakadivat
khyatam devasuram vastu nirvimarSas tu samdhayah
vrttayo mandakaisikyo netaro devadanavah
dvadasodattavikhyatah phalam tesam prthak prthak
bahuvirarasah sarve yadvad ambhodhimanthane
ankais tribhis trikapatas trisrngaras trividravah
dvisamdhif arikah prathamah karyo dvadasanalikah
caturdvinalikav antyau nalika ghatikadvayam
vastusvabhavadaivarikrtah syuh kapatas trayah
nagaroparodhayuddhe vatagnyadikavidravah
dharmarthakamaih srngaro natra bindupravesakau
vlthyangani yathalabham kuryat prahasane yatha.
'In the Samavakara there is to be an Introduction, as in
the Nataka and the other [varieties of drama]. The subject
[is to be] well-known and connected with gods or demons; [it
should have all] the Junctures except the Pause, and [all] the
Styles, with but little of the Gay Style. Its Heroes [are to be]
gods and demons, t'welve [in number], [of the type known as]
exalted, and far-famed, each [striving for and attaining] a sepa-
rate object. [It contains] all the Sentiments, with much of the
Heroic, as in [the story of ] the Churning of the Ocean. In its
three Acts [it presents] the three kinds of deception, the three
kinds of love, and the three kinds of excitement. The first
Act, with two Junctures, should have [a 'duration of] twelve
nalikas; the last two [should have a duration] of four and
two nalikas [respectively], a nalika consisting of two ghatikas.
The three kinds of deception should be those caused by the
nature of the subject, by supernatural action, and by enemies;
the [three] kinds of excitement [should be those resulting] from
the besieging of a city, from a battle, and from violent winds, fires,
and the like ; the [three kinds of ] love [should be] that accord-
ing to virtue, that actuated by love of gain, and that actuated by
-3*62] BOOK THREE 103
passion. [The Samavakara has] no Expansion and no Intro-
ductory Scene. One may employ the subdivisions of the Vithi
[in it] according to one's requirements, as in the Prahasana.'
Com. This kind of drama is called samavakara because varions themes
are scattered about (samavaklryante) in it. . . . Its heroes are twelye
in number — gods, demons, and the like. The ends attained by these are
to be separate and distinct, as, for example, the obtaining of Laksmi and
the like by Vastideva and the others in the Churning of the Ocean
(Samudramonthana) [cf. SD. 516, com.] . . .
Notes, "nalikah, "nOlikav, nalika H, V, P; "nadikah, "nafckav,
nadiku Hall p. 39. — Levi (p. 143) assigns to the third act a duration of
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
thr'ee 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 1.
|| Bh. 18. 57-70; 19. 43 b, 44 a; SD. 515, S16; Pratapar. 3. 4 (p. 103),
46-49. Cf. Levi, p. 143-144.
Description of the Vithi
62 (P. 68b-7oa; H. 62,63).
vithi tu kaisikivrttau samdhyangankais tu bhanavat
rasah sucyas tu srngarah sprsed api rasantaram
yukta prastavanakhyatair ahgair udghatyakadibhih
evam vithi vidhatavya dvyekapatraprayojita.
' The Vithi [is written] in the Gay Style and resembles the
Bhana in its Junctures, subdivisions, and Acts. The Erotic
Sentiment is to be indicated, but one should touch on another
Sentiment as well. [The Vithi] contains [the parts] named
Induction and so forth, and the subdivisions, beginning with the
Abrupt Dialogue (udghatyaka) . In this way the Vithi is to
be arranged, with the employment of one character or of. two.'
Com. [This kind of drama receives its name because it is] like a
vithi — this word meaning either ' road ' or ' series of subdivisions.' . . .
Notes. The Induction is defined at 3. 8. The word a&ga in the com-
pound samdhyangankais refers to the subdivisions of the Junctures (see
DR. 1. 37-1«) ; the word anga in the third line of the text refers to the
subdivisions of the Vithi defined at 3. 13-26.
10+ B00K THREE [ 3« fa-
il Bh. 18. 102-103; J9. 45 b, 46 a; SD. s»; Pratipar. 3. 4 (p. 103), 50.
Cf. L6vi, p. 144.
Description of the Utsrstikanka
63 (P. 7ob-72a; H. 64,65).
utsrstikanke prakhyatam vrttam buddhya prapancayet
rasas tu karunah sthayi netarah prakrta narah
bhanavat samdhivrttyahgair yuktah striparidevitaih
vaca yuddham vidhatavyam tatha jayaparajayau.
'Inthe Utsrstikanka one should develop a well-known
subject by means of the imagination. The Pathetic should be
the pefmanent Sentiment, and the 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
[ultimate] victory or defeat'
Com. This is called utsrftikUnka [instead of merely anka] for the pur-
pose of distinguishing it from the anka (act) included in a play (nataka)
[cf. SD. 510, com.].
Notes. This kind of drama is occasionally referred to merely as anka;
see, for example, Bh.- 19. 45 b. — Hall's text of Bh. gives the name as
utkrftikanka; in view of SD. 519, com., and of the inaccuracy of Hall's
text in other respects [see my notes on DR. 1. 80] this may safely be
regarded as an error.
II Bh. i& 86b-«9a; 19. 45 b, 46 a; SD. 519; Pratapar. 3. 4 (p. 103-104),
51. Cf. Levi, p. 144.
Description of the Ihamrga
64' (P. 72b-7S; H. 66-68).
misram Ihamrge vrttam caturankam trisamdhimat
naradivyav aniyaman nayakapratinayakau
khyatau dhlroddhatav antyo viparyasad ayuktakrt
divyastriyam anicchantim apaharadinecchatah
srngarabhasam apy asya kim cit kim cit pradarsayet
samrambham param anlya yuddham vyajan nivarayet
vadhapraptasya kurvita vadharn naiva mahatmanah.
-3*65] BOOK THREE 105
'In the Ihamrga the story is mixed [i. e. partly legendary
and partly invented] ; it is divided into four Acts with three
Junctures. The Hero and the Opponent of the Hero may be either
human or divine, without restriction ; both [should be] renowned
and [of the type known a ] self-controlled and vehement, the
latter committing improper acts by mistake. One should also
present, though only to a slight extent, the semblance o£ love
on the part of one who tries to obtair a divine woman against
her will by carrying her off or some such means. Though hos-
tile wrath is provoked, the battle should be prevented by an
artifice. One should not present the death of a great person,
[eyen though he is] killed [in the legend from which the plot
is derived].'
Com. This kind of drama is called Ihamrga because in it the hero pur-
sues (Ihate) a woman as unobtainable as a gazelle (mrga). . . .
Notes. For the regulation concerning the death of a character see
DR. 3. 40 and the notes on that section.
|| Bh. 18. 72-76; 19. 44b, 45 a; SD. 518; Pratapar. 3. 4 (p. 104), 52, 53:
Cf. Levi, p. 145.
CONCLHSION OF THE THIRD BOOK
65 (P. 76; H. 69).
ittham vicintya dasarupakalaksmamargam
alobya vastu paribhavya kaviprabandhan
kuryad ayatnavad alamkrtibhih prabandham
vakyair udaramadhuraih sphutamandavrttaih.
'After observing in this manner the series of definitions of
the ten forms of drama (dasarilpaka) , considering one's subject-
matter, and examining the works of the poets, one may produce
without effort a literary work that has rhetorical embellishment,
eloquent and pleasing words, and clear and slow meters.'
Notes. Meter: vasantatilaka.
BOOK FOUR
Sentiment and its Production
i (P. i; H. i).
vibhavair anubhavaiS ca sattvikair vyabhicaribhih
anlyamanah svadyatvam sthayl bhavo rasah smrtah.
'Sentiment (rasa) results when a Permanent State
produces a pleasurable sensation through [the operation of]
the Determinants, the Consequents, the Involuntary States,
and the Transitory States.'
Com. Hence the spectator may be called rasika, 'perceiver of Senti-
ment' [as in 4. 47, 48], and the piece may be called rasavant, 'possessing
Sentiment'
Notes, svadyatvatn H, V, P; svddutvam Hall p. 39. — This is merely
an introductory section mentioning- the various technical terms to be de-
fined in the course of the book. The rasa receives further elucidation at
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. 1, p. 219.
The individual Sentiments are defined at DR. 4. 56-87; the Permanent
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 roso-theory is given by Zachariae, ZDMG. 56
(1902), p. 394-396; see also Grierson, The Satsaiya o f Bihari, Calcutta,
1896, p. 43-48, where the material is conveniently tabulated. For an
attempt to apply the Hindu system in the analysis of an' Occidental drama
(Racine's Phidre) see Regnaud, p. 361-364.
Determinants and Consequents Defined
a (P. 2; H. 2).
jnayamanataya tatra vibhavo bhavaposakrt
alambanoddipanatvaprabhedena sa ca dvidha.
'Among these a Determinant (vibhava) is that which
causes the development of the States by its being recognized.
, 106
-4« 4] BOOK FOUR I07
Determinants are of two kinds, being divided into Fundamental
Determinants (dlambana, sc. vibhava) and Excitant Determi-
nants (uddlpana, sc. vibh&va)'
Com. The Fundamental Determinants are the hero and the other
characters of the drama ; the Excitant Determinants are the circumstances
of time and place [cf. SD. 161J. . . . idbdopahita" , [unidentified sloka]
by Bhartrhari ; Bh. 7, prose af ter v. 6. Ex. : Vikramorvasi 1. io, p 18 =
Sarng. 3268 [quotld also at Kavyapradtpa 10, p. 383] (Fundamental Deter-
minant) ; ayam udayati candr" [unidentified stanza] (Excitant Determi-
nant).
Notes. Line 2, as above, H, V, P; alambanoddipanSbhyitjt ksnto-
dySnSdinS dvidhd, Hall p. 39.
HBh. 7. 4; SD. 61, 62, 160, com. on 37; AP. 338. 36; Rasatar. 2, p. 47-48;
Candraloka 6. 1 a; Pratapar. 4. 1, p. 122; Alamkarasekhara 20, p. 76; Rasa-
gang. p. 33 ; Rasaratn. 4 a ; Sahityasara 4. 51 a, 52 a ; Sahityakaumud! 4, p. 29 ;
Bha?abhu?ana 39 a, 40 al Cf. Regnaud, p. 352-353.
3 (P.3a;H. 3 a).
anubhavo vikaras tu bhavasamsucanatmakah.
'A Consequent (anubhava), on the > other hand, is an
external manifestation that serves to indicate a feeling.'
Com. Ex. : stanza by Dhanika = Sarng. 3417.
Notes. II Bh. 7. 5 ; SD. 162 ; Rasatar. 3, p. 48-49 ; Pratapar. 4. 1, p. 222 ;
Alamkarasekhara 20. 33 a ; Rasagang. p. 33 ; Rasaratn. 4 b ; Sahityasara
4. 51 b; Sahityakaumud! 4, p. 29; Bhasabhusana 39 b. Cf. Regnaud, p.
354-356.
4 (P.3.bj H. 3 b).
hetukaryatmanoh siddhis tayoh samvyavaharatah.
' A complete understanding of both of these [i. e. Determinants
and Consequents], which have the nature of cause and effect,
[can be gained] from dealing with them.'
Com. Hence the various Determinants and Consequents need not be
separafely defined here, as is explained also at Bh. 7, prose after v. 5
[quoted with some variations].
Notes. II Bh. 7, prose after v. 5 ; 7. 6. Cf . Regnaud, p. 355.
108 BOOK four [4-5-
A State Defined
5 (P.4a; H. 4a).
sukhaduhkhadikair bhavalr bhavas tadbhavabhavanam.
'A State (bhava), [which is brought about] by emotional
states such as pleasure and pain, is the realization of such states.'
Com. This is explained also at Bh. 7, prose before y. 1.
Notes. ||Bh. 7, prose and v. 1-3; SD. 208; Kavyaprakasa 35-36;
Rasatar. 1, p. 43 ; Kavyapradlpa 4. 12 b. Cf. Regnaud, p. 317-318.
n/ The Involuntary States
6 (P. 4 b, 5 a; H. 4 b, c).
prthag bhava bhavanty anye 'nubhavatve 'pi sattvikah
sattvad eva samutpattes tac ca tadbhavabhavanam.
'The Involuntary States {bhava sattvika = sattva-
bhava) are separate, for, although in the category of Conse-
quents, they are different [from these] just because of their
arising from the inner nature (sattva) ; and this is [the reason
for] the realization of such states.'
Com. Bh. 7, prose after v. 91.
Notes. H Bh. 7, prose after v. 91 ; SD. 164, 165 ; Sarasv. 5. 20 ; Rasatar.
4, p. 49-50; Pratapar. 4. 1, p. 223; Alamkarasekhara 20. 35. Cf. Regnaud,
P- 347-348.
7 (P.5b,6;H. 5 ).
stambhapralayaromancah svedo vaivarnyavepathu
asruvaisvaryam ity astau stambho 'smin niskriyangata
pralayo nastasamjnatvam Sesah suvyaktalaksanah.
' The eight [Involuntary States are] : Paralysis (stambha),
Fainting (pralaya), Horripilation (romatica), Sweating {svedd),
Change of Color (vaivarnya), Trembling (vepathu), Weeping
(asru), and Change of Voice (vaisvarya). O f these, Paralysis
is immobility of the body, and Fainting is loss of consciousness.
The characteristics of the rest are sufficiently clear.'
-4-9] BOOK FOUR I09
Com. Ex. : vevai seada", muhatt sUm" [two Apabhramsa stanzas ; cf .
Pischel, Hemocandra's Grammatik der Prakritsprachen, 1. viii, Halle,
1877].
Notes. The words stambhadya vyabhicarinah in AP. 338. 13 a show
confusion in terminology. The text is probably corrupt, for the In-
voluntary States are properly named and enumerated in 338. 16-21.
II Bh. 6. 22; 7. 92-104; SD. 106, 167; Rudr. Srng. 1. 15; AP. 336. 13 a,
16-21 ; Sarasv. 5. 15, 169-184 (ed. B. 5. 15, 143-147) : Hem. Kavyan. 2, p.
99; Vagbh. Kavy&n. s, P- 58; Rasatar. 4, p. 50-51; Rasamafijari, p. 232;
Pratapar. 4. 1 (p. 224), 13-19; Alamkarasekhrra 20. p. 69; Kavyapradlpa 4,
p. 71; Rasaratn. 84; Sahityasara 4. 54; Sahityakaumudi 4, p. 29; Bhasa-
bhusana 25. Cf. Regnaud, p. 349-351.
The Thirty-three Transitory States
8 (P. 7; H. 6).
visesad abhimukhyena caranto vyabhicarinah
sthayiny unmagnanirmagnah kallola iva varidhau.
'The Transitory States (vyabhicdrin, sc. bh&va) are
those that especially accompany the Permanent State in co-
operation, emerging from it and [again] being submerged in it,
like the waves in the ocean.'
Notes. The first line constitutes a sort of analytic explanation of the
word vyabhkarin, in which an attempt is made to show the force of the
three elements vi, abhi, and car by the use of the words viiefOd, abhi-
mukhyena, and caranto. This device, which reminds one of the mystical
word-analysis frequent in the Upanisads (cf., for example, Brhad-
Aranyaka Upanisad 5. 7), is characterized more by its ingennity than
by its effectiveness. In the present instance its employment was doubt-
less suggested by the corresponding passage in Bh., on which see Regnaud,
p. 327, note 2. For other cases of etymological explanation see DR. 1. g,
19, 20, 81.
{| Bh. 7, prose after v. 26; SD. 168; Sarasv. 5- 21; Rasatar. 5, p. 51;
Candraloka 6. ib; Alarnkarasekhara 20. 36; Kavyapradipa 4, p. 72; Rasa-
gang. p. 33; Rasaratn. 4 b; Sahityasara 4. 51 b; Sahityakaumudi 4, p. 29-30;
BhSsabhusana 40 b. Cf . Regnaud, p. 327-328.
9 (P. 8; H. 7).
nirvedaglanisanka- sramadhrtijadata-
harsadainyaugryacintis
110 BOOK FOUR [4«9
trasersyamarsagarvah smrtimaranamadah
suptanidravibodhah
vridapasmararnohah samatir alasata-
vegatarkavahittha
vyadhyunmadau visadot- sukacapalayutas
trirnsad ete trayas ca,
'The thirty-three [Transitory States] are thete: Discourage-
ment (nirveda), Weakness (glani), Apprehension (sanka),
Weariness (irama), Contentraent (dhrti), Stupor (jadata), Joy
(har$a), Depression (dainya), Cruelty (augrya = ugratd), Anx-
iety (cinta), Fright (trasa), Envy (irsya — asuya) , Indigna-
tion (amarsa), Arrogance (garva), Recollection (stnrti), Death
(marana), Intoxication (mada),. Dreaming (supta), Sleeping
(nidrS), Awakening (vibodha), Shame (vrtda), Epilepsy
(apasmara), Distraction (moha), Assurance (mati), Indolence
(alasata = dlasya), Agitation (avega), Deliberation (tarka),
Dissimulation (avahittha), Sickness (vyadhi), Insanity (un-
mada), Despair (visada), Impatience (utsuka= autsukya) , and
Inconstancy (capala = capala).'
Notes. The Iist given at AP. 338. 22-34 mentions only 30 of these,
omitting marana, supta, nidra. — Meter: sragdhara.
HBh. 6. 18-21; SD. 169; Rudr. Srtg- i- n-14; Sarasv. 5. 16-18; Kavya-
prakasa 31-34; Hem. Kavyan. 2, p. 84-85; Vagbh. Kavyan. 5, p. 57; Prata-
par. 4. 1, p. 225; Alamkarasekhara 20. 37-39; Kavyapradlpa 4. 8-1 1; Rasa-
gang. p. 76; Rasaratn. 81-83; Sahityakaumudi 4. 8-1 1; Bhasabhu^ana 41-
43. Cf. Regnaud, p. 328-329.
16 (P. 9; H. 8).
tattvajfianapadirsyader nirvedah svavamananam
tatra cintasrunihsvasavaivarnyocchvasadlnata.
'Discouragement (nirveda) is dissatisfaction with one-
self caused by knowledge of the Real, by misfortune, envy, or
the like; in this [state there occur] reflection, weeping, heaving
of sighs, change of color, drawing of sighs, and depression.'
Com. Ex.: Bhartrhari,. Vairagya^. 7i = Spr. 4327 [quoted also at
-4« * 2 ] BOOK FOUR III
Kavyapradipa 7, p. 284] (Discouragement caused by knowledge of the
Real) ; Spr. 5770 (Discouragement caused by misfortune) ; Mahanafaka 9.
55, P- 398 [with the lines transposed; quoted also in the com. on Hema-
candra's Anekarthasamgraha 7. 9 (ed. Zachariae, Vienna, 1893, Extracts
from the Com., p. 189)] (Discouragement caused by envy) ; ye baka"
[unidentified stanza] (Discouragement as Transitory State in connectior.
with the Heroic and Erotic Sentiments) ; Dhvanyaloka 3. 41, com., p.'
2i9=Subhasitavali 822= Spr. 1603 [quoted also at Kavyapradipa 10,
p. 400].
r
Notes. The compound tattva-jnina, here translated ' knowledge of the
Real,' means the realization that God alone is the real existence, the world
being merely an illusion.
II Bh. 7, prose and v. 27-29; SD. 170; AP. 338. 22 a; Sarasv. 5. 238 (ed.
B. 5. 161") ; Hem. Kavyan. 2, p. 96; Rasatar. S, p. 51; Pratapar. 4. 20;
Kavyapradipa 4, p. 100; Rasagang. p. 97-98; Sahityasara 4. 139. Cf. Rcg-
naud, p. 329.
11 (P. 10; H. 9).
ratyadyayasatrtksudbhir glanir nispranateha ca
vaivarnyakamplnutsahaksamangavacanakriyah.
'Weakness (glani) is, in this connection, utter exhaus-
tion due to the exertion of intercourse or the like, or to hunger
and thirst, causing change of color, trembling, lack of energy,
and feebleness of body and voice.'
Com. Ex. : Magha 11. 20 = Sarng. 3725.
Notes. On the euphonic combination trfkfud (tff -f- kfud) see
Whitney, Sanskrit Grammar, §226 d.
H Bh. 7, prose and v. 30, 31 ; SD. 200; AP. 338. 22 b; Sarasv. 5. 230 (ed.
B. 5. 159") ; Hem. Kavyan. 2, p. 93 ; Rasatar. s, p. 51 ; Pratapar. 4. 21 ;
Kavyapradipa 4, p. 100, 101; Rasagang. p. 80; Sahityasara 4. 140. Cf.
Regnaud, p. 329-330.
12 (P. Ii; H. 10).
anarthapratibha Sanka parakrauryat svadurnayat
kampasosabhiviksadir atra varnasvaranyata.
'Apprehension {imkd) is anticipation of misfortune
resulting from the cruelty of another orfrom one's own mis-
conduct; in this [state there occur] trembling, being parched,
anxious looks, and the like, as well as change of color and voice.'
112
BOOK FOUR [4« **•*■
Com. Ex. : Ratn. 3. 4, p. 60 (Apprehension resulting from another's
cruelty) ; Mahavlra. 2. I, p. 45 (Apprehension resulting from one's own
misconduct).
Notes. kampaSofO" H, V, P; kampdioka" Hall p. 39. The latter
reading is evidently merely the blunder of a copyist.
flBh. 7, prose and v. 32-34; SD. 189; AP. 338. 233; Sarasv. 5. 227 (ed.
B. 5. 158*); Hem. Kavyan. 2, p. 90; Rasatar. 5, p. 51; Pratapar. 4. 22;
Kavyapradfpa 4, p. 100; Rasagang. p. 80; Sahityasara 4. 141. Cf. Reg-
naud, p. 330. „
13 (P. I2a; H. 11 a).
sramah khedo 'dhvaratyadeh svedo 'smin mardanadayah.
'Weariness (irama) is fatigue arising from travel, inter-
course, or the like; in this [state there may occur] sweating,
[the use of] massage, and so on.'
Com. Ex. : Uttararama. 1. 24, p. 25 (Weariness arising from a
journey); Magha 10. 80 (Weariness arising from intercourse).
Notes. ||Bh. 7, prose and v. 46; SD. 173; AP. 338. 24 a; Sarasv. S. 236
(ed. B. S. 160) ; Hem. Kavyan. 2, p. 93 ; Rasatar. 5, p. 52 ; Pratapar. 4. 25 ;
Kavyapradlpa 4, p. 101; Rasagang. p. 83^4; Sahityasara 4. 144. Cf.
Regnaud, p. 331-332-
14 (P. I2b; H.-Ilb).
samtoso jfianasaktyader dhrtir avyagrabhogakrt.
'Contentment (dhrti) is delight springing from knowl-
edge, power, or the like and giving rise to undisturbed en-
joyment.'
Com. Ex. : Bhartrhari, Vairagyas. 49=Spr. 5941 (Contentment arising
from knowledge) ; Ratn. 1. 9, p. 6 [quoted also at DR. 2. 3] (Content-
ment arising from power).
Notes. ||Bh. 7, prose and v. 55, 56; SD. 108; AP. 338. 29 a; Sarasv.
5. 201 (ed. B. S. 151) ; Hem. Kavyan. 2, p. 87; Rasatar. 5, p. 52; Pratapar.
4. 31; Kavyapradipa 4, p. 101; Rasagang. p. 79; Sahityasara 4 150. Cf.
Regnaud, p. 334.
15 (P. 13; H. 12).
apratipattir jadata syid istanistadarsanaSrutibhih
animisanayananinksanatusnlrnbhavadayas tatra.
•*-4« x 7] BOOK f OCR U3
'Stupor (jadata) is to be [understood as] iiicapacity for
action, caused by seeing or hearing something agreeable or disa-
greeable ; in this [state] one gazes with unwinking eyes, remains
silent, and the like.'
Com. Ex.: Kumarasambhava 8. 5 (Stupor caused by seeing something
agreeable) ; tHvontas te mahB.tm°, passage from the Udattaraghava of
Mayuraja [a drama apparently not extant] (Stupor caused by hearing
something disagreeable).
Notes. In a number of the other treatises this Transitory State is
called jo4ya. — Meter : arya.
|[ Bh. 7, prose and v. 65; SD. 175; AP. 338. 28 b; Sarasv. 5. 240 (ed.
B. 5. 161); Hem. Kavyan. 2, p. 88; Rasatar. 5, p. 53; Pratapar. 4. 36;
Kavyapradlpa 4, p. 102; Rasagang. p. 93-94; Sahityasara 4. 155. Cf.
Reghaud, p. 337-338.
16 (P. 14 a; H. 13 a).
prasattir utsavadibhyo harso 'srusvedagadgadah.
'Joy (harsa) is pleasure caused by joyous occasions and the
like, and manifested in weeping, sweating, and stammering.'
Com. Ex. : Subhasitavali 2075 = Sarng. 3528.
Notes. HBh. 7, prose and v. 60, 61; SD. 195; AP. 338. 27 b; Sarasv.
S. 211 (ed. B. S. 154*) ; Hem. Kavyan. 2, p. 91 ; Rasatar. S. P- 53; Pratapar.
4. 34 ; Kavyapradlpa 4, p. 102 ; Rasagang. p. 76-77 ; Sahityasara 4. 153. Cf .
Regnaud, p. 336.
17 (P. i 4 b; H. I 3 b).
daurgatyadyair anaujasyam dainyam karsnyamrjadimat.
'Depression (dainya) is want of energy [brought on] by
misery and the like, and accompanied by squalor, lack of cleanli-
ness, and so on.'
Com. Ex. : Sarng. 410 = Bhojaprabandha 255 [quoted also at SD. 172;
tr. Regnaud, p. 332].
Notes. (| Bh. 7, prose and v. 48; SD. 172; AP. 338. 25 a; Sarasv. 5. 221
(ed. B. 5. 156) ; Hem. Kavyan. 2, p. 93; Rasatar. S, p. 52; Pratapar. 4. 27;
Rasagang. p. 80-S1 ; Sahityasara 4. 146. Cf . Regnaud, p. 332.
ii4 B00K F0V1t [4**8-
18 (P. 15; H. i*).
duste 'paradhadaunnukhyakrauryaiS candatvam ugrata
tatra svedasirahkampatarjanatadanadayah.
'Cruelty (ugratO) is wrathfulness at a villain, aroused by
his misdeeds, abusive words, or fierceness; in that [state there
result] sweating, shaking the head, reviling, striking, and the like.'
Com. Ex. : Mahavira. s. 47, p. 84.
Notes, 'krauryaii H, V, P; "cauryaii Hall p. 39. — The second line
of this section is identical with the second line of 4. 22.
HBh. 7, prose and v. 79; SD. 176; AP. 338. 33 a; Sarasv. 5. 223 (ed. B.
S. 157*); Hem. Kavyan. 2, p. 92; Rasatar. S, p. 54; Pratapar. 4. 46;
Kavyapradtpa 4, p. 104; Rasagang. p. 89-90; Sahityasara 4. 165. Cf.
Regnaud, p. 342.
19 (P. i6a; H. 15 a).
dhyanam cintehitanapteh sunyatasvasatapakrt.
'Anxiety (cintS) is meditation due to non-attainment of a
desired object; it occasions desolate feelings, sighs, and fever-
ishness.'
Com. Ex. : Sarng. 3414 ; Subhasitavali 1385 = Sariig. 3400.
Notes. ||Bh. 7, prose and v. 49, 50; SD. 201; AP. 338. 25 a; Sarasv.
5. 191 (ed. B. 5. 149*) ; Hem. Kavyan. 2, p. 94; Rasatar. S. P. S 2 ; Pratapar.
4. 28 ; Kavyapradipa 4, p. 101 ; Rasagang. p. 82 ; Sahityasara 4. 147. Cf .
Regnaud, p. 333.
ao (P. i6b; H. I5b).
garjitader manahksobhas traso 'trotkampitadayah.
'Fright (trSsa) is agitation of mind occasioned by thunder
or the like ; in this [state] there is trembling and so on.'
Com. Ex. : Magha 8. 24.
Notes. HBh. 7, prose and v. 89; SD. 193; AP. 338. 31 b; Sarasv. 5.
225 (ed. B. s. 157) ; Hem. Kavyan. 2, p. 95; Rasatar. 5, p. 54;. Pratapar. 4.
Si; Kavyapradipa 4, p. 105; Rasagang. p. 86; Sahityasara 4. 170. Cf.
Regnaud, p. 345. .
-4« 3 3] BOOK FOTO nj
ai (P. 17; H. 16).
jparotkarsaksama 'suya garvadaurjanyamanyujl
dosoktyavajne bhnjkutimanyukrodhengitani ca.
'Envy (as&ya) i; intolerance of another's prosperity, arising
from pride, baseness, or anger; [its manifestations are] censure,
contempt, frowning, anger, and wrathful gestures.'
Com. Ex. : Mahavlra. 2. 9, p. 49 (Envy arising from pride) ; Subhasitavali
453 [stanza by a poet narned Mahendra] (Envy arising from baseness) ;
Amaru 2. 46, p. 124 = Spr. 4137 ; Amaru 3. 52, P. 135 = Subhasitavali 1324
(Envy arising from anger).
Notes. ||Bh. 7, prose and v. 35, 36; SD. 196; AP. 338. 23 a; Sarasv.
5. 215 (ed. B. s. 155*) ; Hem. Kavyan. 2, p. 97; Rasatar. s, p. 51; Pratapar.
4. 23; Kavyapradipa 4, p. 100; Rasagahg. p. 95H)6; Sahityasara 4. 142.
Cf. Regnaud, p. 330-331.
22 (P. 18; H. 17).
adhiksepapamanader amarso 'bhinivistata
tatra svedasirahkampatarjanatadanadayah.
'Indignation (amarsa) is resoluteness ( !) [called forth] by
abuse, contempt, or the like; in that [state there result] sweat-
ing, shaking the head, reviling, striking, and so forth.'
Com. Ex. : Mahavlra. 3. 8, p. 95 [quoted also at DR. 2. 1 and 2. 20] ;
Veni. 1. 12, p. 14.
Notes. The second line of this section is identical with the second
line of 4. 18.
HBh. 7, prose and v. 76, 77; SD. 184; AP. 338. 32 a; Sarasv. 5. 213 (ed.
B. 5. 154); Hem. Kavyan. 2, p. 95; Rasatar. s, p. 54; Pratapar. 4. 44;
Kavyapradipa 4, p. 103 ; Rasagang. p. 88-89 ; Sahityasara 4. 163. Cf . Reg-
naud, p. 341-342-
23 (P. 19; H. 18).
garvo *bhijanalavanyabalaUvaryadibhir madah
karmany adharsanavajna savilasangaviksanam.
'Arrogance (garva) is pride because of one's descent,
beauty, might, or supremacy; the actions [resulting from it] are
insulting contempt and coquettish glancing at one's person.'
Il6 BOOK FOUR [4« 2 3~
Com. Ex.: Mahavira. 2. 27, p. 67; 2. 10, p. 51 [quoted also at DR. 2. 6
and Kavyapradlpa 5, p. 169].
Notes. UBh. 7, prose and v. 66; SD. 181; AP. 338. 29 b; Sarasv. 5.
197 (ed. B. S- 1S0) 5 Hem. Kavyan. 2, p. 92; Rasatar. s, p. 53; Pratapar.
4. 37; Kavyapradlpa 4, p. 102; Rasagang. p. 84-85; Sahityasara 4. 156. Cf.
Regnaud, p. 338.
24 (P. 20; H. I9a, b). r
sadrgajnanacintadyaih samskarat smrtir atra ca
jnatatvenarthabhasinyam bhrusarnunnayanadayah.
'Recollection (smrti) [is to be understood] in the sense
of a mental impression of a thing, [gained] by means of its
[previously] being known, because of [the faculty of] memory,
[this recollection being called forth] by perceiving or thinking
of something similar and attended with knitting the brows and
the like.'
Com. Ex. : Mahanafaka 3. 79, p. 128; Malatim. S, p. 126-128 [the prose
portion is quoted also at DR. 4. 43].
Notes. HBh. 7, prose and v. 53, 54; SD. 190; AP. 338. 26 a; Sarasv.
5. 185 (ed. B. 5. 147) ; Hem. Kavyan. 2, p. 87 ; Rasatar. s, p. 52 ; Pratapar.
4. 30; Kavyapradlpa" 4, p. 101; Rasagang. p. 77-78; Sahityasara 4- H9- Cf.
Regnaud, p. 334- •** See page 150.
as (P. 21 a; H. 19 c).
rnaranam suprasiddhatvad anarthatvac ca nocyate.
'Death (maratfa) is not defined [here] because of its being
well understood and because of the [consequent] uselessness
[of explaining it].'
Com. Ex. : samprSpte 'vadhi" [unidentified stanza] ; Mahavira. 1, p. 28.
Notes. In Rasatar. this is called nidhana and dismissed with the re-
mark vibhav&nubhavau spaffau, '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 f alling down of the body and so on.'
II Bh. 7, prose and v. 84-88; SD. 182; Hem. Kavyan. 2, p. 98; Rasatar.
5, p. 54; Pratapar. 4. 50; Kavyapradipa 4, p. 104; Rasagang. p. 90-91;
Sahityasara 4. 169. Cf. Regnaud, p. 344-345.
-4« *8] BOOK FOUR 117
26 (P. 21 b, 22 a ; H. 20 a, b) .
harsotkarso madah panat skhaladahgavacogatih
nidra baso 'tra ruditam jyesthamadhyadhamadisu.
'Intoxication (mada) is excess of joy caused by drink.
[It manifests itself in] unsteady limbs, voice and gait, [and m]
sleeping, hilarity, and blubbering in the case of better, middling,
and baser persons [respectively] .'
Com. Ex. : Magha 10. 13 = Sarng. 3652.
Notes. flBh. 7, prose and v. 37-45; SD. 174; AP. 338. 23 b; Sarasv.
5. 209 (ed. B. 5. 153) ; Hem. Kavyan. 2, p. 88; Rasatar. S, p. 51 ; Pratapar.
4. 24; Kavyapradipa 4, p. 100; Rasagang. p. 82-S3; Sahityasara 4. 143. Cf.
Regnaud, p. 331.
27 (P. 22b; H. 20C).
suptam nidrodbhavam tatra svasocchvasakriya param.
' D r e a m i n g (supta) is [a state] originating in sleep ; in it
the action of heaving sighs and drawing sighs is the chief thing.'
Com. Ex.: Subhasitavali i840=Sarng. 3022 [stanza by a poet named
Kamalayudba].
Notes. In Rasatar. tbis is designated as sufupta. Pratapar. has the
form supti. In some of the other treatises it is called svapna.
HBh. 7, prose and v. 745 SD. 179; Sarasv. S. 246 (ed. B. 5. 163*) ; Hem.
Kavyan. 2, p. 90; Rasatar. 5, p. 54; Pratapar. 4. 42; Kavyapradipa 4, p.
103; Rasagang. p. 86-87; Sahityasara 4. 161. Cf. Regnaud, p. 340-341.
28 (P. 23; H. 21 a, b).
manahsarnmilanam nidra cintalasyaklamadibhih
tatra jrmbhangabhangaksimilanotsvapnatadayah.
'Sleeping (nidra) is cessation of the activity of the mind,
induced by anxiety, indolence, fatigue, and the like; in it [may
be observed] yawning, stretching the limbs, closing the eyes, start-
ing up out of sleep, and so on.'
Com. Ex. : Subhasitavali i28o=£arng. 3468; Magha 11. 4.
Notes. ° ' otsvapnatadayah H, V, P; " occhvasanadayah Hall p. 39. I
follow Hall's text, though his variant deserves consideration.
ri8 book mm [4<a8-
IBh. 7, prose and v. 70, 71 ; SD. 185; Sarasv. S- «44 («t B. 5. «&») ;
Hem. Kavyan. 2, p. 89; Rasatar. S. P- 53! Pratipar. 4. 40; K&vyapradlpa
4, p. 103; Rasagang. p. 85; Sahityasara 4- 159- Cf. Regnaud, p. 339-340.
29 (P. 24 a; H. 21 c).
vibodhah parinamades tatra jrmbhaksimardane.
'Awakening (vibodha) results from the coming to an end
[of sleepj and the like, and is accompanied by yawning and
rubbing the eyes.'
Com. Ex. : Magha 11. 13.
Notes. In Sarasv. and in Hem. Kavyan. this Transitory State is called
prabodka.
HBh. 7, prose and v. 75; SD. 178; AP. 338. 32 a; Sarasv. 5. 248 (ed. B.
5. 163) ; Hem. Kavyan. 2, p. 92 ; Rasatar. s, p. 54 ; Pratapar. 4. 43 ; Kavya-
pradipa 4, p. 103; Rasagang. p. 87-88; Sahityasara 4. 162. Cf. Regnaud,
P- 341-
30 (P. 24 b, c; H. 22).
duracaradibhir vrida dharstyabhavas tam unnayet
sacikrtarigavaranavaivarnyadhomukhadibhih.
'Shame (vrida) is lack of boldness in consequence of mis-
conduct and so forth. One should infer it from [a person's]
keeping the body averted, from concealment, change of color,
lowering of the head, and the like.'
Com. Ex. : Amani 36 = Spr. 3869.
Notes. UBh. 7, prose and v. 57. 58; SD. 194; AP. 338. 27 a; Sarasv.
5. 203 (ed. B. S. 152") ; Hem. Kavyan. 2, p. 88; Rasatar. S, p. 52; Pratapar.
4. 32; Kavyapradipa 4, p. 102; Rasagang. p. 78-79; Sahityasara 4. 151. Cf.
Regnaud, p. 335.
31 (P. 25; H. 23).
. aveso grahaduhkhadyair apasmaro yathavidhih
bhupatakampaprasvedalalaphenodgamadayah.
'Epilepsy (apasmara) is madness, properly speaking,
brought on by the influence of planets, by misfortune, or by
-4« 34] book four ; tif;
some such cause, [and resulting in] falling to the ground, tremb-
ling, sweating, drooling, frothing at the mbuth, and the like/
Com. Ex. : MSgha 3. 72.
Notes. ||Bh. 7, prose and v. 72, 73; SD. 180; AP. 33& 31 a; Hem.
Kavyan. 2, p. 95; Rasatar. 5, p. 53; Pratapar. 4. 41; Kavyapradipa 4, p.
103, n. 3; Rasagang. p. 96; Sahityasara 4. 160. Cf. Regnaad, p. 340.
32 (P. 26; H. 24).
moho vicittati bhltiduhkhavesanucintanaih
tatrajnanabhramaghataghurnanadarsanadayah.
'Distraction (moha) is perplexity [caused] by fear, mis-
fortune, raadness, or recollection ; in it [there arise] uncon-
sciousness, dizziness, striking, staggering, inability to see, and
the like.'
Com. Ex. : Kumarasambhava 3. 73 ; Uttararama. 1. 35, p. 33 [differs in
the last line from the printed texts; quoted also at DR. 4. 76].
Notes. HBh. 7, prose and v. 51, 52; SD. 177; AP. 338. 25 b; Sarasv.
5. 207 (ed. B. 5. 153") ; Hem. Kavyan. 2, p. 94; Rasatar. s, p. 52; Pratapar.
4. 29; Kavyapradipa 4, p. 101; Rasagang. p. 79; Sahityasara 4. 148. Cf.
Regnaud, p. 333.
33 (P. 273; H. 25 a).
bhranticchedopadesabhyam sastrades tattvadhlr matih.
'Assurance (mati) is understanding of the true state of
things, gained from didactic treatises and other sources, [and
characterized] by removal of doubt and giving of advice.'
Com. Ex. : Kiratarjuniya 2. 30=Spr. 6970; Spr. 3331.
Notes. bhrUnti' H, V; bhanti (misprint) P. — SD. and Sahityasara
define mati as arthanirdhBrana.
HBh. 7, prose and v. 80; SD. 191; AP. 338. 26 b; Sarasv. 5. 195 (ed. B.
5. 150*) ; Hem. Kavyan. 2, p. 87; Rasatar. S, p. 54; Pratapar. 4. 47; Kavya-
pradipa 4, p. 104 ; Rasagang. p. 85 ; Sahityasara 4- 166 Cf . Regnaud, p. 343.
34 (P.27b; H. 25 b).
alasyam sramagarbhader jadyarn jrmbhasitadimat.
120 BOOK FOUR [4«34~
'Indolence (alasya) is inactivity [arising] f rom weariness,
pregnancy, and so on, and accompanied by yawning, remaining
seated, and the like.'
Com. Ex. : calati kath", stanza by Dhanika.
Notes, "garbhadejahmya'' H, V, P; "garbhader jiiyaifl restored by
me, in place of the unintelligible reading of the other editions (cf. SD.
183).
BBh. 7, prose and v. 47; SD. 183; AP. 338. 24 b; Sacasv. S- 242 (ed.
B. S. 162*) ; Hem. Kavy&n. 2, p. 91 ; Rasatar. S, p. 52 ; Pratapar. 4. 26 ;
Kavyapradipa 4, p. 101 ; Rasagang. p. 94-95; Sahityasara 4. 145- Cf. Reg-
naud, p. 332.
35 (P. 28; H. 26).
avegah sambhramo 'sminn abhisarajanite
sastranagabhiyogo
vatat pamsupadigdhas tvaritapadagatir
varsaje pinditangah
utpatat srastata 'ngesv ahitahitakrte
sokaharsanubhava*
vahner dhumakulasyah karijatn anu bhaya-
stambhakampapasarah.
'Agitation (Svega) is confusion [of mind]. When it
arises from an attack, one prepares weapons and elephants;
[when caused] by violent wind, one quickens one's pace, being
overwhelmed with dust; when it is brought on by rain, one
draws the limbs together; [when it is induced] by some start-
ling occurrence, one relaxes the limbs; when caused by desirable
or undesirable matters, the Consequent is joy or grief ; in case
of fire, one's mouth is filled with smoke; when due to an ele-
phant, [it is shown by] fear, paralysis, trembling, and attetnpts
to escape.'
Com. Ex. : Sgacchagaccha saj°, stanza by Dhanika; tanutranairi tanu"
[unidentified stanza] ; prarabdhatfi taru" [unidentified stanza] ; vat&hataip
vas" [unidentified quotation] (Agitation caused by violent wind) ; deve
varfaty aiana" [unidentified stanza] (Agitation caused by rain) ; paula-
styapina" [unidentified stanza] (Agitation caused by a startling occur-
-4» 37 J BOOK FOUR 121
rence) ; two passages from the UdattarSghava of MSyuraja [a drama
apparently not extant] (Agitation caused by desirable and undesirable
matters) ; Mahavira. i. ss, p. 39 (same) ; Amaru 2 = Spr. 2018 [quoted
also at SD. 601 and Kavyapradipa 7, p. 321] (Agitation caused by fire) ;
Rata. 4 16, p. 100 (same) ; RaghuvaroSa 5. 49 (Agitation caused by an
elephant).
Notes. "nagUbhiyogo H, V, P; "mllyabhiyogau Hall p. 39. — In AP.
this Transitory State is called Bveia. — Meter : sragdhara.
D Bh. 7, prose pnd v. 62-64; SD. 171; AP. 338. 28 a; Sarasv. 5. 234 (ed.
B. 5. 160*); Hem. Kavyan. 2, p. 96; Rasatar. s, p. 53; Pratapar. 4. 35;
Kavyapradipa 4, p. 102 ; Rasagang. p. 93 ; Sahityasara 4. 154. Cf. Regnaud,
P- 336-337.
36 (P. 29 a; H. 27 a).
tarko vicarah sarndehad bhrusirongulmartakah.
'Deliberation (tarka) is consideration caused by un-
certainty ; it causes one to move his brows, head, or finger.'
Com. Ex. : kint lobhena viV [unidentified stanza ; quoted also at Kavya-
pradipa 7, p. 235] ; kah samucita" [unidentified stanz^a].
Notes. In most of the treatises this is called vitarka. SD. follows DR.,
however, in using the designation tarka.
HBh. 7, prose and v. 00; SD. 202; AP. 338. 33 b; Sarasv. 5. 187 (ed.
B. 3. 148"); Hem. Kavyan. 2, p. 97; Rasatar. s, p. 54; Pratapar. 4. 52;
Kavyapradipa 4, p. 105 ; Rasagang. p. 91 ; Sahityasara 4. 171. Cf. Regnaud,
P- 34S-
37 (P.29b; H. 27b).
lajjadyair vikriyaguptav avahittha 'hgavikriya.
'Dissimulation (avaMttkd) is an alteration of the body,
springing from shame and the like [and expressed] in conceal-
ment of that alteration.'
Com. £x.: Kum3rasambhaya 6. 84.
Notes. ||Bh. 7, prose and v. 78; SD. 186; AP. 338. 32 b; Sarasv.
5. 205 (ed. B. S- IS2) ; Hem. Kavyan. 2, p. 90; Rasatar. 5, p. 54; Pratapar.
4. 45 ; Kavyapradipa 4. P- i<>3; Rasagang. p. 89; Sahityasara 4- 16+ Cf.
Regnaud, p. 342.
122
BOOK FOUR C4«38-
38 (P. 29 c; U. 27 c).
vyadhayah samnipatadyas tesam anyatra vistarah.
'Sicknesses (vyadhi) are physical derangement and the
like. Detailed treatment of these [must be looked forj elsewhere.'
Com. Ex. : Amaru 78.
Notes. II Bh. 7, prose and v. 81 ; SD. 192 ; AP. 338. 33 b ; Hem. Kavyan.
2, p. 89; Rasatar. S, p. 54; Pratapar. 4. 48; Kavyapradlpfc 4, p. 104; Rasa-
gang. p. 85-86; SahityasSra 4. 167. Cf. Regnaud, p. 343.
39 (P. 30; H. 28).
apreksakaritonmadah samnipatagrahadibhih
asminn avastba ruditagitahasasitadayah.
'Insanity (unmada) is acting without forethought [brought
on] by physical derangement, planetary influence, and the like;
in it [there arise] these conditions: weeping, singing, laughing,
remaining seated, and so on.'
Com. Ex. : Vikramorvasi 4, p." 91 [the stanza is quoted also at Kavya-
pradipa 7, p. 217].
Notes, avastha H, V, P; asthina° Hall p. 39. — The term graha is an
interesting indication of the prevalent belief in astrology. Cf. 4. 31.
UBh. 7, prose and v. 82, 83; SD. 188; AP. 338. 34 a; Sarasv. 5. 232 (ed.
B- 5- 159); Hem. Kavyan. 2, p. 94; Rasatar. 5, p. 54; Pratapar. 4. 49;
Kavyapradipa 4, p. 104; Rasagang. p. 90; Sahityasara 4. 168. Cf. Regnaud,
P- 343-344-
40 (P. 31; H. 29).
prarabdhakaryasiddhyader visadah sattvasamksayah
nihsvSsocchvasahrttapasahayanvesanadikrt.
'Despair (visdda) is loss of courage [occasioned] by lack
of success in some undertaking or by something else of that
kind; [in it there occur] heaving of sighs, drawing of sighs, pangs
of heart, seeking for aid, and so on.'
Com. Ex. : Mahavira. 1, p. 28-29.
Notes. «Bh. 7, prose and v. 67, 68; SD. 197; AP. 338. 30 a; Sarasv. 5.
219 (ed. B. 5. 156*) ; Hem. Kavyan. 2, p. 88; Rasatar. 5, p. 53; Pratapar.
- 4'4 2 3 BOOK FOUR 123
4. 38; Kavyapradipa 4, P. 102-103; Rasagang. p. 92; Sahityasara 4. 157.
Ci. Regnaud, p. 338-339.
41 (P. 32; H. 30).
kalaksamatvam autsukyam ramyeccharatisambhramaih
tatrocchvasatvaraSvasahrttapasvedavibhramah.
'Impatience (autsukya) is intolerance of the lapse of
time, owing to desire for something pleasurable, to lack of the
pleasures of love, or to confusion; in it [there occur] drawing
of sighs, hastiness, heaving of sighs, pangs of heart, sweating,
and confusion.'
Com. Ex. : Kumarasambhava 7. 22 ; 6. 95.
Notes. °twraSvasa° Hall p. 39; 'tvanihivasa" H, V, P. I have re-
jected the reading of the previous editions in favor of the variaat reeorded
by Hall, which is clearly preferable. The suffix -tva in ucchvOsatva-
nihsvisa- is awkward and unusual, even for a verse-filler, and seems to
me an indication of some corruption. The reading adopted (ucchv&sa-
tvori-h/Usa-) is found in the quotation of this section in the Kavyapradipa
(4, p. 103) and is supported also by the statements of SD., Hem. Kavyan.,
and Rasagang., which include tvarS among the effects of autsukya (see the
references below). The use of the simple word hiSsa for niitiv&sa is
found also at DR. 4. 27 and can doubtless be paralleled elsewhere.
H Bh. 7, prose and v. 69; SD. 187; AP. 338. 30 b; Hem. Kavyan. 2, p. 90;
Rasatar. 5, p. 53; Pratapar. 4. 39; Kavyapradipa 4, p. 103: Rasagang. p.
92-93; Sahityasara 4. 158. Ci. Regnaud, p. 339.
42 (P. 33; H. 31).
matsaryadvesaragades capalam tv anavasthitih
tatra bhartsanaparusyasvacchandacaranadayarr. -.
'Inconstancy (capala) is fickleness [arising] from jeal-
ousy, hatred, passion, and the like; in it [there occur] threats,
harsh words, wilfulness (svacchandOcarana) , and so on.'
Com. Ex. : Subhasitavali 735 = Spr. 378, stanza by the poetess
Vikatanitamba [quoted also at SD. 109] ; vinikasana" [unidentified stanza] ;
prastutam eva tav" [unidentified quotation]. 'Other special varieties of
mental processes are not separately mentioned because they occur accord-
ing to the character of the Determinants and Consequents of these very
124 BOOK FOUS [4.42-
[Transitory States just defined].' [This statement of Dhanika is misin-
terpreted by Regnaud (p. 328), who sees in it an explanation of the
omission of detailed definitions of the Transitory States in certain of
the other rhetorical treatises.]
Notes, ||Bh. 7, prose and v. 59; SD. 199; AP. 338. 27 b; Sarasv. 5. 193
(ed. B. 5. 149) ; Hem. Kavyan. 2, p. 91 ; Rasatar. 5, p. 53 ; Pratapar. 4. 33 ;
Kavyapradipa 4, p. 102; Rasagang. p. 96-97; Sahityasara 4. 152. Cf.
Regnaud, p. 328, 335.
The Permanent States
43 (P. 34; H. 32).'
viruddhair aviruddhair va bhavair vicchidyate na yah
atmabhavam nayaty anyan sa sthayi lavanakarah.
'A Permanent State (sthdyin, sc. bhava), the source
of delight, is one which is not interfered with by [other] States,
whether consistent [with it] or inconsistent, but which brings
the others into harmony with itself.'
Com. Ex. : Brhatkatha [cf . Lacote, Essai sur GunUdhya et la Bfhatkatha,
Paris, 1908, p. 17, 83]; Malatim. S, p. 126-127 fquoted also at DR. 4. 24];,
annahuna" [an Apabhramsa stanza ; cf . Pischel, Hemacandra's Grammatik
der Pr&kritsprachen, j. viii, Halle, 1877] ; Dhvanyaloka 3- 24, com., p. 173 ;
Bhartrhari, Srngarai. i3 = Spr. 481 1; iyaifl sa lola" [unidentified stanza];
Malatim. 5. 18, p. i32=Sarng. 4076; ekw dhy5naMwa^° {unidentified
stanza, quoted also at SD. 601]; Subhasitavali i9i6=Sa*ng. 3596 [stanza
by Candraka] ; Dhvanyaloka 2. 25, com., p. 96.
Notes. II Bh. 7, prose before v. 8; SD. 205; Sarasv. 5. 19; Rasatar. 1, p.
44; Alantkarasekhara 20. 32; Kavyapradipa 4, p. £3-74; Rasagang. p. 30-31.
Cf . Regnaud, p. 319-320.
44 (P. 35; H. 33).
ratyutsahajugupsah krodho hasah smayo bhayam sokah
samam api ke cit prahuh pustir natyesu naitasya.
' [The Permanent States are] : Love (rati), Energy (utsaha),
Disgust (jugupsa), Anger (krodha), Mirth (hssa), Astonish-
ment (smoyo=vismaya) , Fear (bhaya), and Sorrow (foko).
Some [authorities] add Tranquillity (tema), [but] there is no
development of it in the drama.'
-4-46] BOOK FOUR 12$
Com. [For an abstract of the com. on this section see Regnaud, p. 313.
In its discussion the com. quotes :] Rudr. Kavyal. 12. 4.
Notes. On iama see 4. 53. This is called nirveda in. some of the
rhetorical treatises. Dhanamjaya's use of the term sama may be due to a
desire to avoid confusion with the nirveda defined at 4. 10. — Meter: arya.
HBh. 6. 17; 7. 8-a6; SD. 206; Rudr. Srng. 1. 10; AP. 338. 13-15; Sarasv.
S. 14; Kavyaprakasa 30; Hem. Kavyan. 2, p. 83; Vagbhatal. 5. 4; Vagbh.
Kavyan. 5, p. 53; Rasatar. 7, p. 59-61; Pratapar. 4. 1, p. 221; Alamkarase-
khara 20. 31; Kwryapradipa 4. 7; Rasagang. p. 29, 30; Sahityasara 4. 49,
56, 57; Sahityakaumud'i 4- T, Bhasabhusana 38. Cf. Regnaud, p. 313, 320.
45 (P- 36; H. 34).
nirvedadiratad rupyad asthayi svadate katham
vairasyayaiva tatposas tenastau sthayino matah.
' How can an impermanent State (asthayin, sc. bhava) produce
pleasure from a representation devoted to [the tttirty-three
Transitory States] beginning with Discouragement (nirveda) ?
The development of that [impermanent State would tend] to
absence of Sentiment; therefore there are declared [to be] eight
Permanent States.'
Com. ' Impermanencc [arises] from lack of unification of the consistent
and inconsistent [features] of [the thirty-three Transitory States] begin-
ning with nirveda.' . . . [In the course of its discussion the com. quotes:]
Kumarasambhava 3. 68; Hala 175 [quoted also at Kavyapradlpa 5, p. 194] ;
Ohvanyaloka 2. 30, com., p. 110 [tr. Jacobi (2. 31), ZDMG. 56 (1902),
p. 769; cf. Jacob, JRAS. 1897, p. 290]= Suhhasitavali 2031; apratiftham
aviirSn" [unidentined stanza] ; yatrarthalp iab", pradhine 'nyatra vak"
[unidentified stanzas] ; upodharagena [possibly the first word of the
stanza found at Skm. 1. 412 (ZDMG. 36. 367) = Spr. 131 1].
Notes. This section is intended to emphasize the fact that one of the
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 conf used with the word nirveda used in some
treatises as an equivalent of Santa; see the notes on the preceding section.
46 (P. 37; H. 35).
vacya prakaranadibhyo buddhistha va yatha kriya
vakyarthah karakair yukta sthSyi bhavas tathetaraih.
126 BOOK FOUR [4.46-
'Just as a verb — whether to be spoken or whether [merely]
present in the mind, according to the matters under discussion
— when combined with nouns relating to it (kSraka), is the
essence,of a sentence, so a Permanent State (sthayin bhava),
[when combined] with the other [States, is the essence of a play].'
Com. (In the course of its discussion the com. quotes:] seven stanzas
from Dhanika's Kavyanirnaya ; Bh. 6. 34.
Notes. The predominant position of the Permanent State and its im-
portance in a drama or other literary work — indirectly pointed out in the
preceding section — is here explained by a comparison with the function of
the verb in a sentence (cf. Regnaud, p. 270). The same idea is vividly
expressed in the following lines of the Bharatiyanatyasastra (7. 8), which
are quoted by Kesavamisra in the Alarnkarasekhara (20, p. 76) :
yatha nar&nUtn nrpatih sisyinSm ca yaths guruh
evam hi sarvabhfivSnUm bhavah sthiyi makin iha.
47 (P- 38, 395 H. 36, 37).
rasah sa eva svadyatvad rasikasyaiva vartanat
nanukaryasya vrttatvat-kavyasyltatparatvatah
drastuh pratitir vridersyaragadvesaprasangatah
laukikasya svaramanlsamyuktasyeva darsanat.
'This very [Permanent State becomes] Sentiment (rasa)
from the spectator's (rasika) own capacity for being pleased and
bis attitude, not from the character of [the Hero] to be imitated
nor from the work's aiming at [the production of Sentiment].
The impression of the spectator with reference to shame, jeal-
ousy, passion, and hatred [is just what it would be] from seeing
one in everyday life united with his beloved (ramanl).'
Notes. For a statement of the views of some of the older Hindu
rhetoricians regarding the production and perception of rasa see Kavya-
prakasa 27-28 (cf. Regnaud, p. 271-273). — On the term rasika see DR.
4. 1, com.
48 (P. 40; H. 38).
dhlrodattadyavasthanam Ramadih pratipadakah
vibhavayati ratyadin svadante rasikasya te.
~4'5 a ] BOOK FOUR 127
' [The Hero], like Rama and others, illustrating [one of] the
kinds [known as] self-controlled and exalted (dhirodatto) , and
so on, displays [the Permanent States], Love (jati) and the like,
and these give pleasure to the spectator (rasika).'
Notes. On the term rasika see DR. 4. 1, com.
49 (P. 41 a; H. 39 a).
ta eva ca parityaktavisesa rasahetavah.
'The Heroines, on the other hand, are productive of Senti-
ment without regard to their personal characteristics.'
50 (P. 4ib,42a; H. 39b, c).
kridatam mrnrnayair yadvad balanam dviradadibhih
svotsahah svadate tadvac chrotfnam Arjunadibhih.
'Their own [imaginative] effort [is what] causes pleasure to
the auditors through [the enactment of the parts of ] Arjuna and
other [characters], just as [their own imaginative effort causes
pleasure] to children playing with clay elephants and the like.'
Com. [In the course of its discussion the com. quotes:] Bh. 6. 15
[cf. Kavyaprakasa 29].
Notes. Cf. Regnaud, p. 270.
51 (P. 42b; H. 4oa).
kavyarthabhavanasvado nartakasya na varyate.
' Pleasure (OsvSda) on the part of an actor, through his realiz-
ing the meaning of the work [he is presenting], is not precluded.
Notes, fl SD. 50.
FOURFOLD CHARACTER OF THE SENTIMENTS
52 ( P. 43-45 a ; H. 40 D--42) .
svadah kavyarthasambhedad atmanandasamudbhavah
vikasavistaraksobhaviksepaih sa caturvidhah
srhgaravirabibhatsaraudresu manasah kramat
*ja8 book foto [4-5*-
hasjradbhutabhayoAarsakarunan5m ta eva hi
atas tajjanyata tesam ata evavadharanam.
'Charm (svado) is the arising of delight to one's self from
contact with the theme of a work. It is of four kinds : cheerf ul-
ness, exaltation, agitation, and perturbation of mind, in the
Erotic (ifngdra), Heroic (inra), Odious (bibhatsa), and Furious
(raudra) Sentiments respectively. [And] thescsame [kinds of
Charm are produced in the case] of the Comic (hasya), Marvel-
ous (adbhuta), Terrible (bhayotkarsa=^bhay&naka), and Pa-
thetic (karuna) Sentiments. For this reason these [four Senti-
ments just mentioned] arise from those [mentioned above] ; for
this very reason [there is possible] a precise determination
(arvadharana) {of the number of Sentiments (?)].'
Com. [In the course of its discussion the com. quotes:] Bh. 6. 39, 402.
Notes. vikUsa" Dhanika's com. on this section; vikHia" H, V, P. In
the meaning in which it is used here the word is clearly a derivative of
the root kas. The form given in the commentary is therefore the natural
and correct one, and I have accordtngly adopted it in place of the erroneous
vikSia. — In this passage viksepa is alleged to have the meaning ' com-
passion' (BR. s.v., .9: 'Mitleid'); but as I know of no other occurrence
of the word in this slgnification, I have not felt justified in adopting that
rendering here. — The compound bhayotkarsa is here used, because of
metrical requiretnents, as a substitute for the regular term bhaySnaka. A
similar substitution occurs in the f ollowing section ; see the notes there. .
Most of the rhetorical treatises name the eight (or nine) Sentiments,
in a special section, before proceeding to define them inddvidually. In DR.
this 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. Srng. 1. 9; Rudr. Kavyal. 13. s; Sarasv. 5. 251 a, b (ed. B.
5. 165) ; Kavyaprakasa 29; Hem. Kavyati. 2, p. 67; Vagbhat3.1. 5. 3; Vagbh.
Kavyan. s, p. 53; Pratapar. 4. 1, p. 221; Alamkaraiekhara 20. 1; Kavya-
pradipa 4. 6; Rasagang. p. 29; Rasaratn. 5; Sahityasara 4. 47; Sahitya-
kaumudl 4. 6; Bhasabhusana 37.
i Bh. 6. 39^41 ; Rudr. Srng. 3. 36; AP. 338. 7b-9a. Cf. Regnaud, p. 271.
53 (P- 45 b; H. 43 a).
samaprakarso mnracyo muditades tadatmata.
-4*543 »00* four
I2(f
„. 'The Quietistic Sentiment (Samaprakarsa — santa-rasa) ,
«( which arises] from happiness and the like, is to be defined as a
state having that [i. e. happiness] as its essential nature.'
Com. na yatra duh" [metrical definition of sUnta-rasa, quoted without
indication of source].
Notes. The compoutid sama-prakarfa is here nsed merely as an
equivalent f or fonta-rasa, which is the term regularly employed ; cf . the use
of bhayotkarfa foj bhayanaka in the preceding section (4. 52).— This brief
definition is the only mention of the Quietistic Sentiment (Santa-rasa) in
the present work. As stated in DR. 4. 44 b, the Permanent State (oma,
upon which it is based, does not figure prominently in dramatic literature,
and our author consequently excludes both iama and santa from detailed
consideration. ,
JISD. 238; Rudr. Srng. 3. 31, 33; Rudr. Kavyal. 15. 15, 16; Kavyaprakasa
35 ; Hem. Kavyan. 2, p. 80; Vagbhatal. 5. 32; Vagbh. Kavyan. 5. p. 57;
Rasatar. 7, p. 61 ; Candraloka 6. 13 ; Alamkarasekhara 20. 27, 28 ;
Kavyapradlpa 4. 12 a; Rasagang. p. 33; Rasaratn. 99; Sahityasara 4. 128;
Sahityakaumudi 4. 12 a. Cf. Regnaud, p. 313, 315.
Sentiment Defined
54 (P. 46, 47a; H. 43b, c, 44a).
padarthair indunirvedaromancadisvarupakaih
kavyad vibhavasarpcaryanubhavaprakhyatam gataih
bhavitah svadate sthayi rasah sa parikirtitah.
•Sentiment {rasa) is declared to be the giving of pleasure by
a Permanent State (sthayin, sc. bhava) which is produced from
a poem through the elements that consist of moonlight [and the
like], Discouragement [and the like], Horripilation and the like,
and that find expression as Determinants, Transitory States
(samcarin — vyabhicarin), and Consequents.'
Notes. See also DR. 4. 1. — For a brief summary of the rasa-thcory
consult Zachariae, ZDMG. 56 (1002), p. 394-396; see also Grierson, The
Satsaiya of Biharl, Calcutta, 1896, p. 43-48, where the material is con-
veniently tabulated.
HBh. 6, prose after v. 31; SD. 33 (SD. tr. 32); Kavyaprakasa 27, 28;
Hem. Kavyan. 2, p. 56; Vagbhatal. 5. 2; Vagbh. Kavyan. 5, P- 53! Rasatar.
6, p. 56; Candraloka 6. 3; Pratapar. 4. 1, p. 219; Alamkarasekhara 20, p. 69;
Kavyapradlpa 4. 4, 5; Rasagang. p. 21-22; Rasaratn. 3; Sahityasara 4- 58 a ;
Sahityakaumudi 4- 4. S- Cf. Regnaud, p. 267-269.
10
I3O BOOK FOUR [4. 55-
55 (P. 47 b; H. 44 b)-
lak?anaikyam vibhavaikyad abhedad rasabhavayoh.
' The same definition [will here serve] both for the Sentiments
and for the States, because they are not distinct, having identical
Determinants.'
The Erotic Sentiment
56 (P. 48; H.4S)-
ramyadesakalakalavesabhogadisevanaih
pramodatma ratih saiva yunor anyonyaraktayoh
prahrsyamlna srngaro madhurangavicestitaih.
' Love (rati) is essentially delight [manifested] in fondness
for lovely places, arts, occasions, garments, pleasures, and the
like. That [feeling] on the part of two young persons mutually
enamored, [which is] gladsome [and manifested] by tender ges-
tures, [constitutes] the Erotic Sentiment (srngara).'
Com. Ex. : Uttararama. 1. 26, p. 26 (place as a Determinant) ; hastair
antarnihita" [unidentified stanza] (an art as a Determinant) ; Nagan. 1.
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) ; cakfur luptamafl"
[unidentified stanza] (pleasure as a Determinant) ; Malatim. 1. 39, p. 46
[quoted also at Kavyapradipa 7, p. 277] (Love essentially delight) ;
Malav. 2. 3, p. 27=Spr. 2823 (youth as a Determinant) ; Malatim. 1. 18,
p. 17 [quoted also at Kavyapradipa 4, p. 148] (two young persons as
Determinants) ; Malatim. 1. 32, p. 35 [quoted also at DR. 1. 46] (tnutual
passion) ; Malatim. 1. 30, p. 32 (tend«r gestttres).
• Notes. With regard to the varieties of the Erotic Sentiment and their
subdivisions see the notes on 4. 58 and 4. 65.
BBh. 6, prose after v. 45; SD. 210 a-d; Rudr. Kavyal. 12. S; AP. 341.
7 a; Hem. KSvyan. 2, p. 68; Vagbhatal. 5. Sa; Vagbh. Kavyan. s, p, 53;
Rasatar. 6, p. 57; Rasamafijari, p. 233; Candraloka 6. 4, s; Kavyapradipa
4, p. 87; Rasagang. p. 33; Rasaratn. 6a; Sahityasara 4, 68, 69 a. Cf.
Schmidt, p. 96-120 (2d ed., p. 83-99) ; Regnaud, p. 301-302.
57 (P- 495 H. 46).
ye sattvajah sthayina eva castau
trifnsat trayo ye vyabhicarinas ca
-4« 58] book rouit 131
ekonapanc?§ad ami hi bhava
yuktya nibaddhah pariposayanti
alasyam augryam maranam jugupsa
tasyasrayadvaitaviruddham istam.
'The [eight] Involuntary States and the eight Permanent
States and the thirty-three Transitory States — these forty-nine
States, skilfully. employed, cause it [i. e. the Erotic Sentiment]
to develop; Indolence (alasya), Cruelty (augrya = ugratS),
Death (marana), and Disgust (jugupsS), are each declared [to
be] prohibited because of the unitary basis of it [i. e. of the
Erotic Sentiment].'
Notes. AH 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. This is explained in greater detail at Rasatar.
5, P- 55- — Meter: indravajra (6 lines).
II Bh. 6, prose af ter v. 45 ; SD. 210 e-h ; Rudr. Srng. 3. 42, 43 ; AP. 341.
7 b, 8; Hem. Kavyan. 2, p. 68; Vagbh. Kavyan. s, p. 53! Rasatar. s, p. 55!
Candraloka 6. 4. S; Pratapar. 4. 53, P- 261 ; Rasagang. p. 33.
Varieties of the Erotic Sentiment
58 (P. 5oa; H. 473).
ayogo viprayogas ca sambhogas ceti sa tridha.
* [The Erotic Sentiment] is of three kinds: Privation (ayoga),
Separation (viprayoga), and Union (sambhoga) .'
Notes AU of the treatises to which reference is made in the following
paragraph distinguish two varieties of the Erotic Sentiment. These are
named, in all but two cases, vipralambka and sambhoga (Vagbhatal. has
viprayoga for the former; Rasagang. and Vagbhatal. have samyoga for the
latter) DR., o» the other hand, recognizes three varieties, ayoga (4. 59).
viprayoga (4. 65), and sambhoga (4. 76), the first two of which together
correspond to the vipralambha of the other treatises.
«Bh. 6, prose after v. 45; SD. 211; Dhvanyaloka, 2 13, com., p. 83 (tr.
Jacobi, ZDMG. 56, p. 607) ; Rudr. Srng 1. 21; Rudr. «av^^ 5,^ ^AP.
34L 4 a; Sarasv. 5- 10 a; Kavyaprakasa 29, com., p. 117; Hem. Kavyan.
fp 68- Vagbhatal S- 5 b; Vagbh. Kavyan. 5, p. 53! Rasatar 6, p 57 Rasa-
manjfri' p. S ; Candraloka 6. S b; Pratapar. 4. 79, P- W, Alamkarasekhara
ria?Kavyapradipa 4, P- V, **» ► 34! Rasaratn. 6b; Sahitya-
I32 B00K F0UR [4-S8-
sara 4. 69 b; SahityakaumudI 4, p. 31. Cf. Regnaud, p. 302; Schmidt, p.
96-120 (2d ed., p. 83-99)-
Privation and its Stages
59 (P. 50 b, 51 a; H. 47b, c).
tatrayogo 'nurage 'pi navayor ekacittayoh
paratantryena daivad va viprakarsad asarrigamah.
'Of these, Privation (ayoga) is impossibility of being
united on the part of two young persons with but a single thought,
because of their separation through dependence on others or by
fate, even though a passion exists [between them].'
Notes. See the notes on DR. 4. 58 and 4. 65. References to defini-
tions of vipralambha (which corresponds to our author's ayoga and
viprayoga) are given in the notes on 4. 65, below. — Cf. Regnaud, p. 302.
60 (P. 51 b, 52; H. 48).
dasavasthah sa tatradav abhilaso 'tha cintanam
smrtir gunakathodvegapralaponmadasamjvarah
jadata maranam ceti duravastham yathottaram.
'It has ten stages. At first [there occurs] in it Longing
(abhilaso), then Anxiety (cintana), Recollection (smrti),
Enumeration of [the loved one's] Merits (gunakatha), Dis-
tress (udvega), Raving (pralapa), Insanity (unm&da), Fever
(samjvara), Stupor (jadata), and Death (marana) ; those are
the unfortunate stages in due order.'
Notes. Pratapar. differs from most of the works cited below in recog-
nizing twelve stages of unrequited love instead of ten. Its list 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-
scribes the effect of Hamlet's separation from Ophelia: —
' And he, repulsed — a short tale to make —
Fell into a sadness, then into a fast,
Thence to a watch, thence into a weakness,
Thence to a lightness, and by this declension
-4'6l] BOOK FOUR I33
Into the madness wherein now he raves
And all we mourn f jr.'
II Bh. 6, prose after v. 45; 22. 154-156; SD. 214 e, f; Rudr. Srhg. 2. 6-8;
Rudr. Kavyal. 14. 4, 5; Sarasv. 5. 99, too; Vagbh. Kavyan. 5, p. 64; Rasatar.
5. P- 55; Rasamafljari, p. 236; Pratapar. 4. 69, p. 271; Rasaratn. «5-87 a;
Bhasabhusana 33-36; KamasJtra, p. 256; Kandarpacudamani, Ananga-
ranga, and Smaradlpika, cited by Schmidt, p. 125; Ratirahasya >. 37, 38
(ZDMG. 57, p. 714); com. on Hala, quoting from a ' Kamasastra '
(Weber, Ober ckts Saptacatakam des Hala, Leipzig, 1870, stanza 185, p.
134-135) ; Sukasaptati, text. simpl. 4 (ed. Schmidt, Leipzig, 1893, p. 16, 1.
4-5 ; tr. Schmidt, Kiel, 1894, p. 9, foot) ; Vetalapaficavimsatika 16 (ed.
Uhle, Leipzig, 1881, p. 45, 1. 7-15) ; Dinalapanika-sukasaptati 16. 55
(ZDMG. 45, p. 655 ; tr. p. 677, top) ; Halayudha's Puranasarvasva, cited
by Zachariae, BB. 4 (1878), p. 373-374! Haihayendracarita 2. 29-100 (ed.
Schtscherbatskoi, St. Petersburg, 1900 [MSmoires de l'acadimie impiriale
des sciences, 8. serie, classe hist.-philol., vol. 4, pt. 9], p. 25-36; tr. p. 86-
97) ; Agadadatta 42-45 a (Jacobi, Ausgewahlte Erzahlungcn in MSha-
rashtrt, Leipzig, 1886, p. 71, 1. 1-7; tr. Meyer, 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;
Pischel, Rudrata's CrngUratilaka, Kiel, 1886, p. 101 (note on 2. 6) ; Hall,
p. 34, note ; Pavolini, ' Kalidasa c gli erotologi indiani,' Studi italiani di
filologia indo-iranica 1 (1897), a PP- J . P 14-16. ' ■*" See p. 150.
61 (P. 53.54! H. 49, 50).
abhilasah sprha tatra kante sarvangasundare
drste srute va tatrapi vismayanandasadhvasah
saksat pratikrtisvapnacchayamayasu darsanam
srutir vyajat sakhlgitamagadhadigunastuteh.
'Of these [ten stages] Longing (abhilasa) isayearningwhenone
has seen or heard of a beloved f air in every limb; in this [there
occur] also surprise, joy, and perturbation. The seeing [may
be] in person, in a picture, in a dream, by a shadow, or by magic;
the hearing [may be] tbrough some stratagem or through praise
of [the loved one's] good qualities by a female friend, or in a
song, or by a professional bard, or the like.'
Com. Ex. : Sakuntala 1. 19, p. 33 = Spr. 745 (Longing) ; standv alokya
tanv° [unidentified stanza] (surprise) ; Viddhasalabhafijika x. 31 [with the
lines transposed] (joy); Kumarasambhava 5. 85= Spr. 2470 (perturba-
tion) Kumarasambhava 8. 2 [quoted also at DR. 2. 26] (perturbation).
134
BOOK FOUR [4-^ 1-
Notes. kante H, V, P; kamye Hall p. 39.— Pratapar. (4. 80) uses the
term abhil&fa as designation for one of the four kinds of vipralambha
enumerated in that work.
HBh. 22. 157, 158; SD. 214 c, d, g; Rudr. Srng. 1. 92; 2. 9, 10; Rudr.
KSvySl. 12. 31; Rasamaiijari, p. 236, 245. Cf. Schmidt, p. 276-278 (ad ed.,
p. 201-203).
62 (P. 55 a; H. 513).
sanubhavavibhavas tu cintadyah purvadariitah.
'Anxiety (cinta) and the other [stages], together with their
Consequents and Detemiinants, have been previously explained.'
63 (P. 55 1, 56a; H. 51 b, c).
dasavasthatvam acaryaih prayo vrttya nidarsitam
mahakaviprabandhesu drsyate tadanantata.
' The fact that there are ten stages [of Privation] is generally
pointed out by learned teachers from actual occurrence ; endless
examples of it are to be seen in the works of the great poets.'
Notes, "prabandkefu H, V, P ; prayogefu Hall p. 39. — Apparently in
anticipation of objections, Dhanamjaya points out, in this section and the
following, the general acceptance and the reasonableness of the ' ten stages '
mentioned in section 60.
64 (P. 5 6b, 57a; H. 52).
drste srute 'bhilasac ca kirn nautsukyam prajayate
apraptau kirn na nirvedo glanih kim naticintanat.
. ' Why should not Impatience arise from Longing, when one has
seen or heard of [a beloved] ? Why should not Discouragement
[arise] when [the beloved] can not be gained? Why not Weak-
ness from excessive Anxiety?'
Com. The rest — secret love, etc. — must be learned from the Kamasutra.
Separation and its Varieties
65 (P- S7b, 58a; H. 53).
viprayogas tu visleso rfidhavisrambhayor dvidha
manapravasabhedena mano 'pi pranayersyayoh.
-4« 66] book four 135
'Separation (zriprayoga) is the sundering of two person?
between whom an intimacy has sprung up. It is of two kinds,
being divided according to [its arising from] Resentment or
Absence. The Resentment [arises] in [a state of] fondness or
in [a state of] jealousy.'
Notes. Most of tne other treatises differ from DR. in recagnizhg four
varieties of vipralambha, usually named abhilOsa (pUrvinurUga), mana
(irsya), pravOsa', and karuna. The first of these is practically equivalent
to our author's ayoga (see DR. 4. 59) ; mana and pravasa are mentioned in
this section; with reference to karuna see the notes on 4. 74. A tabular
conspectus of the varieties recognized in the different rhetbrical works is
given by Schmidt (p. 120; 2d ed., p. 99) ; it is, however, not absolutely
complete and accurate.
See the notes on 4. 58, above. — The references given in the following
paragraph are to definitions of the term vipralambha (which corresponds
to our author's ayoga and viprayoga) and to statements conceming mana
and its two forms.
HBh. 6, prose after v. 45; SD. 212, 213, 218 a; Dhvanyaloka, 2. 13, com.,
p. 83 (tr. Jacobi, ZDMG. 36, p. 607) ; Rudr. Srng. 1. 22 a, 24; 2. 1; Rudr.
Kavyal. 14- 1 ; AP. 341. s; Sarasv. 5. 45, 46 a, 48 b; 5. 365 (ed. B. p. 310) ;
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;
Alamkarasekhara 20. io, 11, p. 71; Kavyapradipa 4, p. 88; Rasagang. p. 34,
35; Rasaratn. 55, 57, 29 a; SahityakaumudI 4, p. 32, 33. Cf. Regnaud,
p. 303 ; Schmidt, p. 96-120 (2d ed., p. 83-99) ; Pischel, Rudrafa's frngara-
tilaka, Kiel, 1886, p. 101 (note on 2. 1).
66 (P. 58b; H. 543).
tatra pranayamanah syat kopavasitayor dvayoh.
'Of these [two kinds], the Resentment arising in [a state of]
fondness is to be [understood as that] of two [lovers] who are
determined to be angry.'
Com. Ex. : Uttararama. 3. 37, P- 84 (Resentment on the part of the
Hero) ; pranayakupitam dfft°, stanza by Vakpatirajadeva (= Mufija)
[quoted also at DR. 4. 67 and in the com. on Hemacandra's Anekartha-
satpgraha 3. 483 (ed. Zachariae, Vienna, 1893, Extracts from the Com.,
p. 133, foot) ] (Resentment on the part of the Heroine) ; Hala 27 (Re-
sentment on the part of both). [Cf. Hem. Kavyan. 2, p. 72-73, where
these same examples are quoted.]
Notes, kopavasitayor H, V, P; kopaveiitayor Hall p. 39.
I36 BOOK FOUR [4.66-
|| SD. 218 b, c; Rasaratn. 29 b; SahityakaumudI, p. 33- Cf. Regnaud, p.
305; Schmidt, p. 96-120 (2d ed., p. 83-»).
67 (P. 59» 60; H. S4b, c, 55).
strinam irsyakrto manah kopo 'nyasangini priye
srute va 'numite drste srutis tatra sakhlmukhat
utsvapnayitabhogankagotraskhalanakalpitah
tridha "numaniko drstah saksad indriyagofcarah.
'The Resentment arising in [a state of] jealousy is anger on
the part of women when their lover is heard, inferred, or seen
[to be] devoted to an6ther. Of these [three possibilities] hear-
ing [of infidelity means learning of it] from female friends. If
it is inferred, it is of three kinds, according as it is deduced from
words uttered in a dream, from indications o f intercourse [with
another], or from the inadvertent mention of [another woman's]
name. If it is seen, it is personally witnessed.
Com. Ex.: subhru tvarit navanlia", stanza by Dhanika (infidelity heard
of from a friend) ; nirmagnena mayOmbh", stanza by Rudra (infidelity
inferred from words uttered in a dream); Magha n. 34 = Spr. 3413
[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 disfigure-
ment) ; Hala 967 (infidelity inferred from mention of another's name) ;
pranayakupitam dfft", stanza by Mufija (= Vakpatiraja) [quoted also at
DR. 4. 66 and in the com. on Hemacandra's Anekarthasaipgraha 3. 483
(ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 133, foot)] (b-
fidelity personally witnessed).
Notes. Line 1 is quoted in ASadhara's com. on Appayyadiksita's
Kpvalayanandakarikas 41 (tr. Schmidt, Berlin, 1907, p. 39).
§SD. 219; Rudr. Srng. 2. 44; Rudr. Kavyal. 14. 15, 17; Pratapar. 4. 81;
Alamkarasekhara 20. 13; Rasaratn. 30, 31 a; SahityakaumudI, p. 33. Cf.
Regnaud, p. 305; Schmidt, p. 96-120 (2d ed., p. 83-99).
68 (P. 61; H. 56).
yathottaram guruh sadbhir upayais tam upacaret
samna bhedena danena natyupeksarasantaraih.
' The loved one (guru) may remedy this [resentment] by six
expedients [ employed ] in proper succession : Conciliation (saman ) ,
-4» 7°] BOOK FOUR I37
Dissension (bheda), Gift-giving (dam), Humility (nati), Indif-
ference (upeksa), and Diversion (rasSntara) .'
Notes. The term rasantara signifies ' [substitution of] another emo-
tion* and consequent1y indicates the diversion from resentment effe;ted
by such substitution.
II Bh. 23. 62; SD. 2jo a, b; Rudr. Srng. 2. 62, 63; Rudr. Kavyal. i-t. 27;
Rasaratn. 31 b, 32 a.
69 (P. 62-64 a; H. 57, 58).
tatra priyavacah sama bhedas tatsakhyuparjanam
danam vyajena bhusadeh padayoh patanam natih
samadau tu parikslne syad upeksa 'vadhiranam
rabhasatrasaharsadeh kopabhramso rasantaram
kopacestas ca narinam prag eva pratipaditah.
'Of these [expedients] , Conciliation [is the use of] endear-
ing words ; Dissension, the winning over of her friends ; Gift-
giving, [regaining her favor] under pretext of [giving her] orna-
ments and the like ; Humility, falling at her f eet. When Concil-
iation and the other [expedients] have been exhausted, [then]
Indifference — [that is], disregard [of her] — may be [em-
ployed]. Diversion is the interruption of her anger through
impetuosity, fear, joy, or the like. The actions of women in
anger have been previously explained.'
Com. Ex. : smitajyot", stanza by Dhanika (Conciliation) ; Srngaratilaka
[attributed to Kalidasa] 3 = Spr. 1108 [this example is enclosed in
brackets in H] (Conciliation) ; krte 'py ajM", stanza by Dhanika (Dis-
sension) ; Magha 7. 55 (Gift-giving) ; Hala 188 (Humility) ; kit(i gatena
na hi yukt" [cf. Kiratarjunlya 9. 40 a] (Indifference); abhivyak talikah
sakala", stanza by Dhanika [quoted also at DR. 2. 79] (Diversion).
Notes. The various manifestations of anger on the part of women are
explained at 2. 26, 28, 30.
|| Bh. 23. 63-653, 68; SD. 220 c-f; Rudr. Srng. 2. 64-75; Rudr. Kavyal.
14. 28-31; Rasaratn. 32b-34-
70 (P. 64 b, 653; H. 59).
karyatah sambhramac chapat pravaso bhinnadesata
dvayos tatrasrunihsvasakarsyalambalakidita.
I38 BOOK FOUR [4«-7<>~
'[The Separation due to] Absence (pravOsa) is the pres-
ence of the two [lovers] at different places owing to business,
confusion, or a curse. In such a case there is weeping, sighing,
emaciation, letting the hair hang down, and the like.'
Notes. In this kind of viprayoga the heroine is of the type known as
profitapriyH or profitabhartrks. Cf. DR. 2. 43.
H SD. 221 ; Rudr. Srng. 2. 83; Rudr. Kavyal. 14. 33; Sarasv. 5. 49; Hem.
Kavyan. 2, p. 73; Vagbhatal. 5. 19 b; Vagbh. Kavyan. 5* p. 54; Pratapar.
4. 83; Alamkarasekhara 20. 14 a; Kavyapradlpa 4, p. 88; Sahityakaumudi
4, p. 34. Cf. Regnaud, p. 305-306; Schmidt, p. 96-120 (2d ed., p. 83-99).
71 (P. 6sb; H. 6oa).
sa ca bhavi bhavan bhutas tridha "dyo buddhipurvakah.
' The first [variety of Absence, that owing to business] , being
premeditated, is of three kinds: future, present, or past.'
Com. Ex. : Hala 47 (prospective Absence) ; Amaru 13 = Spr. 4291
[this example is enclosed in brackets in H ; the ref erence 4. 29 in Sitnon's
ed. of Amaru, p. 62, is a misprint for 4. 59] (the person is departing) ;
Amaru 92 = Spr. 2965 (the person is departing) ; Meghaduta 2. 23 (the
person has gone).
Notes. H SD. 223; Sahityakaumudi 4, p. 34. Cf. Schmidt, p. 96-120
(2d ed., p. 83-99).
72 (P.66a; H.6ob).
dvitiyah sahasotpanno divyamanusaviplavat.
' The second [variety of Absence, that due to confusion], comes
about suddenly, through disaster caused by gods or mortals.'
Com. As in the Vikramorvasl and the Malatimadhava.
73 (P. 66b; H. 6oc).
svarupanyatvakaranac chapajah samnidhav api.
' [The third variety of Absence], that arising from a curse,
is caused by the change of one's form into another, even in the
presence [of the beloved].'
Com. As in the Kadambari.
Notes. II Kavyapradlpa 4, p. 88.
-4-75] BOOK FOUR 139
74 (P. 67; H. 61).
mrte tv ekatra yatranyah pralapec choka eva sah
vyasrayatvan na smgarah pratyapanne tu netarah.
'When, one being dead, the other laments — that lis called]
Sorrow. [Underthosecircumstances] the Erotic Sentiment is not
[present], because there is no means of escape [from death] ; but
in the case of'one restored [to life] there should be no other
[Sentiment].'
Com. As in the Raghuvamsa and the Kadambari.
Notes. vyOirayatvan H, V, P; nirisrayan 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 zripralatnbha 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 karuya (cf.
Rudr. Kavyal. 14. 1, com.: karuna-vipralambhas tu srngara eva).
USD. 224; Rudr. Srng. 2. 93; Rudr. Kavyal. 14. 34; Sarasv. 5. 372 (ed.
B. p. 311) ; Vagbhatal. 5. 20; Rasatar. 1, p. 44; 'Alamkarasekhara 20. 14 b,
c; Kavyapradlpa 4, p. 88; Rasaratn. 57; cf. Rasagang. p. 32. Cf. Regnaud,
p. 304, note 1 ; 306; Schmidt, p. 96-120 (2d ed., p. 83-99).
75 (P. 68; H. 62).
pranayayogayor utka pravase prositapriya
kalahantaritersyayam vipralabdha ca khandita.
'In [Separation due to Resentment arising in a state of] fond-
ness and in Privation [the Heroine is] "one that is distressed at
[her lover's] absence" (utk&=virdhotkanthit&) ; in [Separation
due to] Absence, she is "one whose beloved is away" (prosi-
tapriya,) ; in [Separation due to Resentment arising from] jeal-
ousy, she is "one that is separated by aquarrel" (kalahantaritS) ,
" one that is deceived " {vipralabdha), and " one that is enraged "
(khantfita).'
Notes. For explanation of the special designations utka, prositapriya,
etc, see DR. 2. 39-43-
BOOK 3F0UR {4.76-
Union and rrs Characteristics
76 (P. 69; H. 63).
anukulau nisevete yatranyonyam vilasinau
darsanasparsanadini sa sambhogo mudanvitah.
'Union (sambhogo) is that blissful [state] in which the
two playful [lovers], in complete agreement, enjoy seeing each
other, touching each other, and the like.' "
Com. Ex. : Uttararama. 1. 27, p. 27; 1. 35, p. 33 [the last line of this
stanza differs f rom the printed texts ; quoted also at DR. 4. 32] ;
lavanyamrta" , stanza by Dhanika.
Notes. The designation sambhoga is found in all of the treatises ex-
cept Rasagang. and Vagbhatal., which substitute the term samyoga.
H Bh. 6, prose after v. 45 ; SD. 225 ; Dhvanyaloka, p. 83 ; Rudr. Srng. 1.
22 a, 23, 164; Rudr. Kavyal. 13. 1; AP. 341. 6; Sarasv. 5. 51, 53 b; 5. 377
(ed. B. p. 312) ; Hem. Kavyan. 2, p. 70; Vagbh. Kavyan. s, p. 53; Rasatar.
6, p. 57; Pratapar. 4. 79; Alamkarasekhara 20, p. 69; Kavyapradipa 4, p. 88;
Rasagang. p. 34; Sahityakaumudi 4, p. 31. Cf. Regnaud, p. 302; Schmidt,
p. 06-120 (2d ed., p. 83-99).
77 (P. 70; H. 64).
cestas tatra pravartante Madya dasa yositam
daksinyamardayapremnam anurupah priyam prati.
' In this [state of Union] there occur the ten actions of women
— Sportiveness (lila) and the others — according to [the
woman's] kindness, gentleness, and devotion to her husband.'
Notes. The 'ten actions of women' here referred to are described at
2. 40, 60-69.
U Bh. 6, prose after v. 45 ; Rudr. Kavyal. 13. 2.
78 (P. 71; H. 65).
ramayec catukrt kantah kalakridadibhiS ca tam
na gramyam acaret kim cin narmabhramgakaram na ca.
'Her lover, using flattering words, should cause her pleasure
by means of the arts, amorous sports, and the like; [but] he
should not do anything vulgar, nor anything that would disturb
her good humor.'
Com. Ex.: Ratn. 1. 21, p: 18.
■|f8#| BOOK FOUR '"141
The Heroic Sentiment
79 (P. 72; H. 66).
virah pratapavinayadhyavasayasattva-
mohavisadanayavismayavikramadyaih
utsahabhuh sa ca dayaranadanayogat
tredha kilatra matigarvadhrtipraharsah.
'The Heroic Sentiment (vlra) [is induced] by power,
good conduct, determination, courage, infatuation, cheerfulness,
polity, astonishment, might, and the like [as Determinants], and
is based on [the Permanent State] Energy (utsSha). It is of
three kinds, having benevolence, fighting, or liberality [as Conse-
quent]. In it [there occur] Assurance, Arrogance, Contentment,
and Joy [as Transitory States].'
Com. Jimfitavahana in the Nagananda is an instance of a benevolent
hero ; Rama in the Mahaviracarita, of a warlike hero ; Parasurama, Vali,
and others [in dramas based on the Rama legend] are liberal heroes,
as can be seen f rom Mahavira. 2. 35 c, p. 75 ; kharvagranthivimukta [un-
identified stanza] ; stanza by Dhanika = Sarrig. 278.
Notes. The word prakarsa in line 4 is used as a metrical substitute for
the regular term harfa (see 4. 16). — Meter: vasantatilaka.
|[Bh. 6, prose and v. 68, 69; SD. 234; Rudr. Srng. 3. 14, 15, 19, 47, 48 a;
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. 77; Vagbhatal. 5. 21; Vagbh. Kavyan.
S, p. 56 ; Rasatar. 7, p. 60 ; S, p. 55 ; Candraloka 6. 9 ; Pratapar. 4. 53, p. 261 ;
Alamkarasekhara 20. 21; Rasagang. p. 37; Rasaratn. 89; Sahityasara 4. 98,
99; Sahityakaumudi 4, p. 37. Cf. Regnaud, p. 309-310.
The Odious Sentiment
80 (P. 73; H. 67).
blbhatsah krmiputigandhivamathuprayair jugupsaikabhur
udveg! rudhirantrakikasavasamamsadibhih ksobhanah
vairagyaj jaghanastanadisu ghrnasuddho 'nubhavair vrto
nasavaktravikunanadibhir ihavegartisankadayah.
'The Odious Sentiment (bibhatsa) has [the Permanent
State] Disgust (jugupsa) as its sole basis; it causes distress
(udvegin) chiefly by means of worms, stinking matter, and
142 BOOK FOUR [ 4. 80 -
nausea ; it causes horror by means of blood, entrails, bones, mar-
row, flesh, and the like; it causes unmixed aversion in the case
of the hips, breasts, and so forth [of women] because of renun-
ciation. It is accompanied by contraction of the nose, mouth,
and so on as Consequents. In it [there occur] Agitation, Sickness,
Apprehension, and the like [as Transitory States] .'
Com. Ex. : Malatim. 5. 16, p. 131 = Sarng. 4075 [quot/;d also at Kavya-
pradipa 4, p. 97] (distress) ; Mahavira. 1. 35, p. 25 (horror) ; lalam vaktrB,"
[unidentified stanza] (aversion).
Notes. ghrnOsuddho H, V, P; ghrnayukto Hall p. 39. — For metrical
reasons the word Srti is used instead of the technical term vyUdhi (see
4. 38) . — Meter : £ardulavikridita.
HBh. 6, prose and v. 74, 75; SD. 236; Rudr. Srng. 3. 25, 27, 49; Rudr.
Kavyal. 15. s, 6; AP. 341. 16, 17 a; Hem. Kavyan. 2, p. 79; Vagbhatal. S-
31; Vagbh. Kavyan. S. P- 56-57; Rasatar. 7, p. 60; 5, p. 55; Candraloka
6. u; Pratapar. 4. 53, p. 261; Alanikarasekhara 2 °- 241 Rasaratn. 98;
Sahityasara 4. 125 a. Cf. Regnaud, p. 311-312.
The Furious Sentiment
81 (P. 74; H. 68).
krodho matsaravairivaikrtamayaih poso 'sya raudro 'nujah
ksobhah svadharadamsakampabhrukutisvedasyarlgair
yutah
sastrollasavikatthanamsadharanlghatapratijnagrahair
atramarsamadau smrtis capalatasuyaugryavegadayah.
'[The Permanent State] Anger (krodha) [is caused] by [feel-
ings] such as indignation and aversion to an enemy [as Determi-
nants] ; the resulting development of it is the Furious Senti-
ment (raudro), a state of agitation accompanied by biting one's
lip, trembling, frowning, sweating, redness of the face, [and
also] by drawing of weapons, [holding] the shoulders boastfully,
striking the earth, vowing, and imprisonment [as Consequents].
In it [there occur the Transitory States] Indignation, Intoxica-
tion, Recollection, Inconstancy, Envy, Cruelty, Agitation, and the
like.'
Com. Ex. : Mahavira. 3. 44, p. 121 (Anger caused by indignation) ;
-4.83] book Fom 143
Veni. 1. 8, p. 11 [quoted also at-DR. 3. 10] (Anger caused by aversion to
an enemy). This is to be seen in general also in the Mahaviracarita, Veni-
samhara, and other plays.
Notes. The word vega, in line 4, is used for Svega on account of the
meter. On bhrttkufi see Bh. 8. 120, where it is defined. — Meter : sardula-
vikridita.
HBh. 6, prose and v. 64-67; SD. 232, 233; Rudr. Srng. 3. 11, (3,46;
Rudr. Kavyal. 15. 13, 14; AP. 341. 13; Hem. Kavyan. 2, p. 76; Vafibhatal
5. 29, 30; Vagbh. JKavyan. 5, p. 55; Rasatar. 7, p. 60; 5, p. 55; Candraloka
6. 8; Pratapar. 4. 53, p. 261; Alamkarasekhara 20. 19. 20; Rasagang. p. 33;
Rasaratn. 96, 97; Sahityasara 4. 96. Cf. Regnaud, p. 309.
» The Comic Sentiment
82. (P. 75; H. 69).
vikrtakrtivagvesair atmano 'tha parasya va
hasah syat pariposo 'sya hasyas triprakrtih smrtah.
'Mirth (hasa) [is caused] by one's own or another's strange
actions, words, or attire ; the development of this is declared [to
be] the Comic Sentiment (hasya), which is of threefold
origin.'
Com. Ex. : jstam mc paruf" [unidentified] stanza spoken by Ravana
(laughter at oneself) ; Spr. 4588 (laughter at another).
Notes. Mirth is of two kinds, since it may be provoked by some char-
acteristic of the person amused or of another person; in either case the
mirthful individual may be one of the higher, middling, or lower characters
in the play (hence the 'threefold origin' mentioned in the text). There
are consequently six possible varieties of the Comic Sentiment (as noted
also in the commentary), and these are separately described in the follow-
ing section.
ilBh. 6, prose and v. 49, 50, 61; SD. 228 a-e; Rudr. Srftg. 3. 1; Rudr.
Kavyal. 15. 11; Hem. Kavyan. 2, p. 74; Vagbhatal. 5. 23; Vagbh. Kavyan.
S» P- SS; Rasatar. 7, p. 59; Candraloka 6. 6; Alamkarasekhara 20. 16;
Rasagang. p. 43 ; Rasaratn. 91 ; Sahityasara 4. 78. Cf. Regnaud, p. 306-308.
83 (P- 76,77; H. 70,71).
smitam iha vikasinayanam
kirn cil laksyadvijam tu hasitam syat
madhurasvaram vihasitam
sasirahkampam idam upahasitam
144 B00K F0UR [ 4» 83 ~
apahasitarn sasraksarn
vikftiptangam bhavaty atihasitam
dve dve hasite caisam
jyesthe madhye 'dhame kraraasah.
'In this connection a Gentle Smile (smita) is opening the
eyes wide; a Smile (hasita) is shcjwing the teeth to some ex-
tent; Laughing (vihasita) is making a soft scund; Laughter
(upahasita) is the same, accompanied by shaking of the head;
Uproarious Laughter (apahasita) is [laughter] accompanied by
tears; and Convulsive Laughter (atlhasita—atihasita) is [laugh-
ter] with shaking of the body. Two of these varieties of laughter
[are characteristic] of the higher, two of the middling, and two of
the lower [characters] , in the order named.'
Com. That is, smita and hasita are employed by the higher characters,
in amusement at themselves and others respectively ; similarly vikasita
and upahasita by middling characters,. and apahasita and atihasita by the
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,
p. 150. — Meter: arya (two stanzas).
II Bh. 6. 52-60; SD. 228 g-1; Rudr. Srag. 3. 2, 4; Rudr. Kavyal. 15. 12;
AP. 341. 9 b, 10, 11 a; Hem. Kavyan. 2, p. 74, 7$; Vagbhatal. 5. 24;
Vagbh. Kavyan. s, p. 55; Rasatar. 7, p. 59-60; Alamkarasekhara 20. 17;
Rasagang. p. 44; Sahityasara 4. 79 b. Cf. Regnaud, p. 307.
84 (P. 78a; H. 72 a).
. nidralasyasramaglanimurchas ca sahacarinah.
' The Transitory States [occurring in connection with the Comic
Sentiment] are Sleeping, Indolence, Weariness, Weakness, and
Stupor.'
Notes. The word murcha seems to be used here to represent the word
jadatu, and I have so translated it. The word sahacWrinah, ' concomitants,'
furthermore, is merely a substitute for vyabhictlrinah, ' Transitory States.'
HBh. 6, prose after v. 48; SD. 228 f; Rudr. Srng. 3. 44; Vagbh. Kavyan.
S» P- 55; Rasatar. 5, p. 55; Pratapar. 4. 53, p. 261. Cf. Regnaud, p. 307.
- 4« 86 ] book four 145
The Marvelous Sentiment
85 (P. 78 b, 79; H. 72 b, 73).
atilokaih padarthaih syad vismayatma raso 'dbhutah
karmasya sadhuvadasruvepathusvedagadgadah
harsavegadhrtipraya bhavanti vyabhicarinah.
'The Marvelous Sentiment (adbhuta), whose essence
is [the Permanent State] Astonishment (vismaya), [is caused]
by supernatural things [as Determinants] ; it has as its result
(karma) [i. e. as Consequents] exclamations of surprise, weep-
ing, trembling, sweating, and stammering; the Transitory States
[bccurrtng in connection with it] are generally Joy, Agitation, and
Contentment.'
Q»m. Ex. : Mahavira. 1. 54, p. 38.
Notes, "vepathu" H, V, P ; "vamathu" Hall p. 39. — With vismayatma
compare iokatma in 4. 87 and the compounds of -bh% in 4. 79 and 4. 80.
The brevity of Dhanamjaya's definitions of the Sentiments necessitates
this cotnpendious method of naming the corresponding Permanent States.
HBh. 6, prose and v. 76, 77; SD. 237; Rudr. Srng. 3. 28, 30, 50; Rudr.
Kavyal. 15. 9, 10; Hem. Kavyan 2, p. 79; Vagbhatal. 5. 25, 26; Vagbh.
Kavyan. 5, p. 57; Rasatar. 7, p. 60; S, p. 55; Candraloka 6. 12; Pratapar.
4. 53. P- 261; Alamkarasekhara 20. 25, 26; Rasaratn. 92, 93; Sahityasara
4. 126. Cf. Regnaud, p. 312-313.
The Terrible Sentiment
86 (P. 80; H. 74).
vikrtasvarasattvader bhayabhavo bhayanakah
sarvangavepathusvedasosavaicittyalaksanah
dainyasambhramasammohatrasadis tatsahodarah.
'The Terrible Sentiment (bhayanaka), with Fear,
(bhaya) as its [Permanent] State (bhava), [results] from
change of voice, loss of courage, and the like [as Determinants] ;
it is characterized by trembling of all the limbs, sweating, being
parched,andfainting[asConsequents] ; its associated [Transitory
States] are Depression, Agitation, Distraction, Fright, and the
like.'
, 4 g book fous f 4. 86 -
Com. Ex. : iastram etat samut" [unidentified stanza] ; Ratn. 2. 3, p. 29
fauoted also at DR. 2. 92] ; svagehit panth" [unidentified stanza].
Notes, 'vaicittya 9 H, V, P; 'vabaiyya Hall p. 39 — The word sam-
bhrama is apparently used for the special tenn Svego, and the compound
sammoha for the simple moha; see 4. 32, 35.
Bh. 6, prose and v. 70-73; SD. 235; Rudr. Srng. 3. 20, 24. 48 b;
Rudr. Kavyal. 15. 7, 8; AP. 341. 15 b; Hem. Kavyan. 2, p. 78; Vstgbhatal.
5. 27, 28; Vigbh. Kavyan. 5, p. 56; Rasatar. 7, p. 60; S, p. 55 ; Candraloka
6. 10; Pratapar. 4. 53, p. 261; Alamkarasekhara 20. 22, $3; Rasaratn. 94,
95; Sahityasara 4. 123. Cf. Regnaud, p. 311.
The Pathetic Sentiment
87 (P. 81,82; H. 75, 76).
istanliad anistapteh sokatma karuno 'nu tam
nihSvasocchvasaruditastambhapralapitadayah
svapapasmaradainyadhimaranalasyasambhramah
visadajadatonmadacintadya vyabhicarinah,
'The Pathetic Sentiment (karuna), with [the Perma-
nent State] Sorrow (soka) as its essence, [results] from loss of
something cherished and from attaining of something undesired.
In consequence of it [there occur] heaving of sighs, drawing of
sighs, weeping, pafalysis, lamentation, and the like [as Conse-
quents] ; the Transitory States [occurring in connection with it]
are Sleeping, Epilepsy, Depression, Sickness, Death, Indolence,
Agitation, Despair, Stupor, Insanity, Anxiety, and so forth.'
Com. Ex. : Kumarasambhava 4. 3 (loss of something cherished) ; the
imprisonment of Sagarika in the Ratnavali (attainment of something
undesired).
Notes, aniffaptefy Hall p. 39; aniffaptau 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 is used as a sub-
stitute for nidrO, (see 4. 28) ; in this case there is no metrical reason for
the change of term. The word Odhi, which really siguifies ' anxiety, mental
disturbance/ is here apparently a representative of the term vyUdhi, ' Sick-
ness ' (see 4. 38). As in the preceding section, the regular term Ovega is
replaced by the synonymous designation sambhrama.
HBh. 6, prose and v. 62, 63; SD. 230, 231; Rudr. Srng. 3. 8, 10, 45;
Rudr. Kavyal. 15. 3, 4; AP. 341. 11 b, 12; Hem. Kavyan. 2, p. 76; Vag-
bhatal. 5. 22; Vagbh. Kavyan. 5, p. 55; Rasatar. 7, p. 60; 5, p. 55; Candra-
- 4< 89 ] BOOK FOTJR I47
loka 6. 7; Pratapar. 4. 53, p. 261; Alatpkarasekhara 20. 18; Rasagang. p.
33; Rasaratn. 90; Sahityasara 4. 02, 93. Cf. Regnaud, p. 308.
Various Matters Omitted in this Work
88 (P. 83; H. 77 ).
pritibhaktyadayo bhava mrgayaksidayo rasah
harsotslhfdisu spastam antarbhavan na kirtitih.
'The States of Friendship (prlti), Devotion {bhakti), and the
like, [as well as] the Sentiments of Hunting (tnrgayd), Gambling
(aksa), and the like, are not enutnerated [in this work] because
they are clearly included in Joy (harsa), Energy (utsaha), and
the rest'
Notes. Cf. SD. 241; Rudr. Kavyal. 15. 17-19; Sarasv. 5. 252 (ed. B.
5. 16»; Rasatar. 6, p. 56; Rasagang. p. 45-46; Rasara+n. S, com.;
Sahityasara 4. 134.
89 (P. 84; H. 78).
sattrimsad bhusanadini samadiny ekavirnsatih
laksmasamdhyantarangani salarnkaresu tesu ca.
'The thirty-six [subdivisions] beginning with Ornament (bhU-
$ana), and the twenty-one [subdivisions] beginning with Concilia-
tion (saman) — which are subdivisions [respectively] of the Char-
acteristic Features (laksman — laksana) and the Special Junc-
tures (samdhyantara) — are also [not separately enumerated be-
cause they are included] in these [States of Joy, Energy, and the
rest] and their embellishments (alamk&ra) .'
Com. Bh. 19. 53 b ; Bh. 16. 1 a (= 17. 1 a, ed. Regnaud, Annales du
Musee Guimet, vol. 1, Paris, 1880, p. 88).
Notes. lakifyasaijtdhyantarahgUni H, V, P; lakfmasamdhyantarakhy&ni
Hall p. 39. I adopt Hall's variant reading of the first word, as lakfya"
is probably merely a copyist's error for lakftna°, due to the similarity of
y and m in the Nagari character. The word lakfman is %ere equivalent
to laksana, which is the usual designation of the subdivisions>e^erred to.
— Cf. Livi, p. 95, 104.
'ft^""'"' ! BOOK FOU* ':';t4.'$0-
CONCLUSION OF THE FOURTH BOOK
90 (P. 85; H. 79).
ramyam jugupsitam udaram athapi ntcam
ugram prasadi gahanam vikrtam ca vastu
yad va "pya vastu kavibhavakabhavyamanam
tan nasti yan na rasabhavam upaiti loke.
'[Whether one take] a subject that is delightfirf or disgusting,
exalted or Iowly, cruel or kindly, obscure [as in the original
storyj or adapted [to be more intelligiblej, or whether one take
a subject originated by the imagination of a poet, there is no
[subject] that can not succeed in conveying Sentiment among
mankind.'
Notes. Meter: vasantatilaka.
CONCLUSION OF THE ENTIRE WORK
91 (P. 86; H. 80).
Visnoh sutenapr Dhanamjayena
vidvanmanoraganibandhahetuh
aviskjtam Munjamahisagosthi-
vaidagdhyabhaja Dasarupam etat.
' This Dasariipa, [which will be] the cause of [the prepa-
ration of] literary productions of interest to the discerning, was
given to the world by Dhanamjaya, son of Visnu, whose intelli-
gence was derived f rom discourse with thesovereign lord Munja.'
Notes, "bhaja H, V, P; ° bhavUd Hall p. 39. — Meter: indravajra.
APPENDIX
CLASSIFICATION OF THE SlXTEEN TYPES OF HeBDINE
The following diagram shows Dhanamjaya's classification of
the types of Heroine, the numbers indicating the sixteen varieties.
See DR. 2. 24-35.
I
owd wife or beloved
Heroine
I
1
another's
I
maiden
C4)
ried 1
courtezan
(.6)
married woman
05)
ineitperienced »i$*\f
(1) 3
partly experienced-jjrtt.v(Y
1
experienced -
f
self-controlled
older
(2)
I «f
younger
(3)
&\
partly self-controlled
oli
1.
r
self-controlled
J .
older
(8)
younger
(9)
ner
(4)
younger
(S)
lacking in self-control
der
(6)
younger
(7)
partly self-controlled
J ' '
older younger
(10) (n) .
lacking in self-control
o.d""^
der
112)
younger
03)
149
ADDENDA
3. 40, p. 93. The concluding words of this line would seem to prescribe
merely that anything otherwise prohibited, such as the matters mentioned
in this and the preceding section, could be represented on the stage if
absolutely necessary to the development o f the plot. According to the
commentary, however, the 'inevitable' consists of religious duties:
ivaiyakatfi tu devapitrkaryidyavaiyam eva kvacit kuryat. Dhanika's in-
terpretation may be authoritative, but I am inclined to think that he is
reading a technical meaning into a perfectly simple statecnent.
4. 34, p. 116. Dr. Charles J. Ogden suggests, in view of the phrase
jvasthyObhyasasamuttha . . . smftir at Bh. 7. 54, that Dhanarnjaya may
have written 'arthabhyasinyam. In that case the rendering would be:
' Recollection [is to be understood] in the sense of dwelling on a thing.'
— I have no authority for my rendering of bhUsinl as ' mental impression,'
but this signification seems quite natural, as the root bhas, ' to shine,' has
also the figurative meaning ' to imagine, conceive o f.'
4. 60, p. 133. Through the kindness of Dr. Franklin Edgerton, of Johns
Hopkins University, I am able to add still another passage enumerating
the traditional ' ten stages ' of unrequited love. It occurs in a MS. of the
Vikramacarita, in the Ninth Story, directly after the passage (ending
prtpnoti sma) quoted by Weber, Indische Studien, 15. 338, n. 4. Although
evidently originally a gloss, it is imbedded in the text in this MS. The
passage reads:
nayanapritih prathamam cittasangah tato 'tha samkalpah
nidrichedas tanuta visayanivrttis trapUniUas tan rnddo 'pi ca
mttrchi tnrtir etah smaradaiadasaiva syuh.
(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 it stands in the printed texts, the first half of the
second arya stanza is defective, lacking one syllabic instant. At SD. 228,
where these lines are quoted, Dviveda and Parab attempt to remedy 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 \j — uoruuuu, whereas the addition of ca would give
uyj — . (Cf. Weber, Indische Studien, 8. 291.) At the suggestion of
Dr. Louis H. Gray (letter of July 12, 1912) I have adopted the correction
afthasitam. The form atJ- exists as a parallel to atl- in atlcdra, atireka,
atJvada, attsara. This prefix is probably a loc. sg. of *at- ; on the variation
between f and I in the loc. sg. see Lanman, ' Noun-inflection in the Veda,'
JAOS. 10 (1880), p. 426, and.Wackernagel, Altindische Grammatik, 2. 1. 132
(Gottingen, 1905).
150
INDEX OF SANSKRIT TECHNICAL TERMS
The numbers refer to pages. The most important references — those
to definitions of dramaturgic terms or to other important mentions of
them — are printed in heavy-f aced type. The English equivalents adopted
in this volume for the native tcchnical terms are distinguished by the use
of initial capita! letters.
A abhisamdhita=kalahantarita, 56, 139
abhisarika, type of heroine, 57
abhataharana, Mis-statement, ao
amarfa, Indignation, 110, 115, 142
amba, form of address, 77
ayoga, Privation, 131, 133-134, 139
arthaprakfti, Element of the Plot,
9, «
arthavrtti, Style of Procedure, 67,
73. 74
arthopahfepaka, Intermediate Scene,
33, 36
alasata =■ Olasya, 110, 120, 131, 144,
146
avapata(na), Tumultuous Disturb-
ance, 72, 73
avamar&a, Pause, 11, 24, 101, 102
avalagita, Continuance, 82, 84, 85
avastha, Stage of the Action, 9, II
avasyandita, Re-interpretation, 84,
87
avahitths, Dissimulation, 110, xai
asru, Weeping, 108
asatpralapa, Incoherent Chatter, 84,
87
asiiya, Envy, 11 o, 115, 142
akfa, Gambling, 147
anka, Act, 36, 90, 91, 93-94
anka = utsrstikanka, 4, 104
ankamukha = ankSsya, 34, 35
ankavatara, Contiuuation-scene, 34,
36
ankasya, Anticipatory Scene, 34, 35
ajjuka, form of address, 77
atihasita, Convulsive Laughter, 144
adbhuta, Marvelous Sentiment, 74,
92, 128, 145
adhama, adhamU, 58, 67, 75
adhibala, Outvying, 84, 86
adhibala, Outwitting, 20, aa, 23
adhlra, heroine lacking in self-con-
. trol, 50, 51
anukMa, ' faithful ' hero, 44
anubhdva, Consequent, 59, 92, 106,
107, 108, 129
anuma(na), Deduction, 20, 22
anusamdhi, Sub-juncture, 90
anyadlyS, anyastrl — anya (q. v.)
anya, [a woman who is] another's,
as heroine, 48, 52
apavada, Censure, 35
apavdrita, Confidence, 37-38
apasmara, Epilepsy, lio, 118-119,
146
apahasita, Uproarious Laughter, 144
abhibala (SD.), mispriot for adhi-
bala, 22
abhilOfa, Longing, 132, 133, 134
abhilUfa, variety of vipralambha,
135
akasabhdifita, Conversation with Im-
aginary Persons, 38, 98
akfipta, akfepa, Revelation, 20, 23-
=4
adhyB = pragalbha, 49, 50, 51, 97
atmagata = svagata, 37
adUna, Summary, 25, 28
«S»
132
INDEX OF SANSKRIT TECHNICAL TERMS
adhikarika, Principal Subject, 6, 89
ananda, Bliss, 29, 30
ab ha fana ss bhasana, 29, 31
Stnukha, Introduction, 81, 8a, 88,
102
Hyusmant, form of address, 76
arabhatl, liorrific Style, 71, 7a
Urambha, Beginning, 9, 10, 12
3ryo, form o f address, 76
alambana-vibhava, Fundamental De-
terrainant, 107
alasya, Indolence, 110, iao, 131, 144,
146
avega, Agitation, 110, iao, 142, 145,
146
Oveia ( AP.) = Brvega (q. v.)
aslnapathya, form of /Ssyo, 99
I
irfya, jealousy, 13S. 136, 139
irfyS, variety of vipralambha, 135
irsya = asuyd, 1 10, 115, 142
ihdmrga, form of drama, 4, 104-105
U
uktapratyukta, form of lOsya, 99
ugrata, Cruelty, lio, 114, 131, 142
utkanthitS — virahotkanthita, 55, 139
utki = virahotkanthita, 55, 139
uttama, 58
uttamottamaka, form of /S.tj»a, 99
utthapaka, Challenge, 70, 71
utsSha, Energy, 124, 141
utsuka = autsukya, 110, 123, 134
utsrstikanka, form of. drama, 4, 104
udatta, 'exalted' hero, 40, 41, 42,
89, 102
udsharana, udahrti, Exaggeration,
20, ai
udghatya(ka), Abrupt Dialogue, 82,
84
uddlpana-vibhava, Excitant Deter-
minant, 107
uddhata, 'vehement' hero, 40, 42,
45, 101, 105
udbheda, Disclosure, 12, 14
udvega, Dismay, 20, 23
udvega, Distress, 132
unmOda, Insanity, 110, 122, 132, 146
upaksipta = akscpa, 20, 23-24
upakfepa, Suggestion, 12
upagUhana, Unforeseen Circum-
stance, 29, 31
upanyOsa, Intimation 16, 19
upasamhSra = kUvyasamhSra, 29, 32
upasamhrti = nirvahnna, 11, 28, 92,
98
upasthita (Bh.), error for upakfipta,
24
upahasita, Laughter, 144
upeksa, Indifference, 137
AU
augrya z= ugrata, 110, 114, 131, 142
autsukya, Impatience, 110, 123, 134
audiirya, Dignity, 59, 62
auddrya, Magnanimity,' 46, 48
kathodghata, Opening of the Story,
82, 83
kaniftha, younger heroine, 52
karana, Activity, 12, 15
karuna, Pathetic Sentiment, 74, 104,
128, 146
karuna, variety of vipralambha, 135,
139
kalahantarita, type of heroine, 56,
139
kanti, Loveliness, S9, 61
kdrya, Denouement, 8, 9, 31
kavyasamhara, Termination, 29, 32
kilakiiicita, Hysterical Mood, 59, 63
kutfamita, Pretended Anger, 59, 64
kutahala (Pratapar.), quality of the
heroine, 59
kupita=i kalahantarita, 56, 139
kulasm (Bh.), type of heroine, 48
krti, Confirmation, 29, 31
kattikl, Gay Style, 67, 68, 98, 102,
103
krama, Progress, 20, ai-aa
INDEX OF SANSKRIT TECHNICAL TERMS
153
krodha, Anger, 124, 142
kfipti = Skfepa, 20, 23-24
kfipra (Bh.), error for akfipta, 24
KH
khantfita, type of heroine, 55, 139
kheda (SD.), Lassitude, 26
ja4ya = ja4at& (q. v.)
jugupsa, Disgust, 124, 131, 141
jyeffha ( = uttamd), 67
jyeffha, older heroine, 52
dima, form of drama, 4, 100-101
ganika, courtezan, 48, 53, 75, 77, 95
ganda, Abrupt Retnark, 84, 87
garbha, Development, u, 20, 24 101
garva, Arrogance, 110, 115, 141
gambhlrya, Poise, 46, 47
gunakatha, Enumeration of Merits,
132
geyapada, form of lasya, 99
grathana, Hint, 29, 30
glani, Weakness, 110, 111, 134, 144
GH
ghatika, period of time, 102
cakita (Pratapar.), quality of the
heroine, 59
capala(ts) =cSpala, 110, 123, 142
calana (Pratapar.) = chalana, 25, 27
capala, Inconstancy, lio, 123, 142
cintana, cinta, Anxiety, lio, 114, 132,
134. 146
cUlika, Intimation-scene, 34, 35
cett, servant, 77
CH
chala, Deception, 84, 86
chalana, Humiliation, 25, 27
chadana (SD.) = chalana (q. v.)
jadata, Stupor, 110, 113, 132, 144,
146
janSnta, jan&ntika, Personal Ad-
dress, 37
javanika = yavaniki, 35
tarka, Deliberation, 110, 121
tSntfava, wild dance, 2, S
tata, form of address, 76
tapana (SD.), Torment, 17
tejas, Sense of Honor, 46, 47
totaka, Quarrel, 20, 23
trasa, Fright, 110, 114, 145
trigata, Triple Explanation, 84, 85
trigU4ha, form of lltsya, 99
tripataka, gesture with the hand, 37
trivarga, three objects of existence,
8, 95
trotaka = totaka, 20, 23
D
dakfina, 'clever' hero, 42, 43, 44
ddna, Gift-giving, 137
divya (Bh.), type of heroine, 48
dipti, Radiance, 59, 61
deva, form of address, 77
desin, 'popular style,' 5
dainya, Depression, lio, 113, 145,
146
dyuti, Rebuke, 25, 26
dyuti= narmadyuti, 16, 17
drava, Contempt, 25, 26
dvig&dha, form of lasya, 99
DH
dhlra, self-controlled hero, 41
dhlralalita, ' light-hearted ' hero, 40,
41, 66, 96
dhirasanta, ' calm ' hero, 40, 41, 42,
95
dhlra, self-controlled heroine, 50,
5i
154
INDEX OF SANSKRIT TECHNICAL TERMS
dhirOdhlra ( = madhyll), partly self-
controlled heroine, 50, 51
dhlrodStta, ' exalted' hero, 40, 41,
42, 89, 102
dhlroddhata, 'vehement' hero, 40,
43, 4S,^ioi. 105
dhrti, Contentment, 110, na, 141,
145
dhffta, ' shameless ' hero, 42, 43, 44
dhairya, Self-control, 59, 6a
dhairya, error for stkairya, 46
N
nofa ( = nortaka), actor, 79, 127
nafi, actress, 76, 82
nati, Humility, 137
nartaka ( =nata), actor, 79, 127
narmagarbha, Development of Af-
fection, 68, 69
narmadyuti, Amusement, 16, 17
narman, Joke, 16, 17
narman, Pleasantry, 68
narmaspuiija, "sphanja, "sphija,
"sphinja, variants of narmaspMirja
narmasphUrja, Outburst of Affec-
tion, 68, 69
narmasphota, Disclosure of Affec-
tion, 68, 69
nifaka, typical f orm of drama, 4, 79,
94
nStika, form of drama, 95-98
nstya, Drama, 3
n&ndl, benediction, 80
tiOyaka, Hero, 4°-44. 89. 94-95i 96»
97, 100, 101, 102, 104, 105, 127
nayika, Heroine, 48-58, 127, 149
nalika, Enigma, 84, 87
nalika, period of time, 102, 103
nidrS, Sleeping, 110, 117, 144, 146
nidhana (Rasatar.) = marana, 110,
116, 131, 132, 146
niyatapti, Certainty of Success, 9.
10
nirodha(na), Frustration, 16, 18
nirnaya, Narration, 29, 30
nirvahana, Conclusiori, II, 28, 92, 98
nirveda, Discouragement, 110, 129,
134
nirveda = Sama, 124, 125
nrtta, Dancing, 5
tiftya, Pantomime, 5
nrpapatnl (Bh.), type of heroine, 48
netr = niyaka (q. v.)
pataka, Episode, 7, 9, 20, 44, 90
patakasth&naka, Episode-indication,
7,94
paraklyS = anyU, 48, 52
parikara, parikriyll, Enlargement, 12,
13
parinyasa, Establishment, 12, 13
pariparsvika (SD.) =tnHrfa, 76, 82
paribhO,va(na) , Surprise, 12, 14
paribhBfana, paribhOfS, Conversa-
tion, 29, 30
parivartaka, Change o f Action, 70,
71
parisarpa, Pursuit, 16
paryupasana, paryup&sti, CourtesyV 1
16, 18
patra, character, 80
plthamarda, Attendant, 44
pufpa, Gallantry, 16, 18
pufpagandika, form of ISsya, 09
pUrvabhiva, Anticipation, 29, 31
purvaranga, Preliminaries, 79, 85,
86
purvavSkya (SD), 32
pUrv&nuraga, variety of vipralam-
bha, 135
prakarana, form of drama, 4, 94-
95, 96
prakaraniki, 96
prakarl, Episodical Incident, 7, 9, 90
prakata, Aloud, 37
pragana{na) (Bh.) = pragamana,
16, 18
pragamana, pragayana, Response,
16, 18
pragalbhata, Courage, 59, 62
INDEX OF SANSKRIT TECHNICAL TERM3
ISS
pragalbha, ' experienced ' heroine,
49, 50, S*. 97
pracchedaka, form of lasya, 99
pranaya, fondness, 135, 139
pratin&yaka, Opponent <>i the Hero,
45* IOS
, pratiniyika (Hem. Kavyan.), 45
pratimukha, Progression, 11, 15
pratiseda (SD.); Obstruction, 28
prathamakalpa, 38
prapanca, Compliment, 84, 85
prabodha = vibodha, 110, 118
prayatna, Eflfort, 9, 10, 15
prayogatiiaya, Particular Presenta-
tion, 82, 83-84
prarocana, Foresight, 25. 37
prarocana, Laudation, 81
pralaya, Fainting, 108
pralapa, Raving, 132
pravatsyat patiku, type of heroine,
57
pravartaka = pravrttaka, 82, 83
pravttsa, Absence, 135, 138, 139
pravrttaka, Entrance of a Character,
82, 83
praveia(ka) , Introductory Scene,
34. 94, 103
prasasti, Benediction, 24, 29, 32
prasanga, Reverence, 25, 36
prasada, Graciousness, 29, 30
prastavanll ( = imukhd), Induction,
81, 82, 88, 102
prahasana, Farce, 4, 53, 54, 81, 82,
99-100
prSgalbhya = pragalbhatd, 59, 62
prapti, Success, 12, 13
praptisambhava, praptySsH, Prospect
of Success, 9, 10, 20
prUrthanO, (Bh., SD.), Invitation, 24
pr&sangika, Incidental Subject, 6, 7
priti, Friendship, 147
prositanatha, "priyS, "preyatU, "bhar-
trka, type of heroine, 57, 139
prosyatpatika, type of heroine, 57
prau4ha = pragalbha, 49, 50, 51, 97
PH
phalayoga, phalSgama, Attainment
of the Result, 9, 10
B
bindu, Expansion, 8, 9, 15, 91, 94,
103
bibboka, Affected Indifference, 59,
64
blja, Germ, 8, 9, 12, 13, 14, 15, 20,
24, 28, 80, 94
blbhatsa, Odious Sentiment, 74, 138,
141-142
BH
bhakti, Devotion, 147
bhagavant, form of address, 76
bhatta, form of address, 77
bhaya, Fear, 124, 145
bhaySnaka, Terrible Sentiment, 74,
"8, 145
bhayotkarfa, used for bhaySnaka,
128
bhavatl, form of address, 77
bhSna, Monologue, 4, 38, 98, 103,
104
bharatl, Eloguent Style, 73, 80, 81,
98
bhSva. Feeling, 59, 60
bhava, State, 108
bhava, form of address, 76
bhasana, bhOsS, Expression of Satis-
faction, 29, 31
bhasana, Ornament, 147
bheda, Dissension, 137
bheda, Incitement, 12, 15
M
mati, Assurance, 110, 119, 141
mada, Intoxication, 110, 117, 142
madhya, madhyama, 58, 67
madhyS, 'partly experienced' hero-
ine, 49, 50, 51
madhya, 'partiKseH-conitrolled'' her-
oine, 50, 51
mantrin, minister, 65, 66
i S 6
INDEX OF SANSKRIT TECHNICAL TERMS
marana, Death, no, n6, 131, 132,
146
mahSnafaka, form of drama, 94
mUdhurya, Equanimity, 45, 46, 47
mddhurya, Sweetness, 59, 61
mana, Resentment, 135-137
mari f a (SD.) = marsa, 76, 82
marga, ' high style,' S
marga, Indication, 20, ai
mirsa, title of the stage-manager's
assist'ant, 76, 82
mukha, Opening, 11, 12, 28, 80, 98
mugdha, ' inexperienced ' heroine,
49, 97
mrgaya, Hunting, 147
tnrdava, Mildness, 84, 88
mottayita, Silent Expression of Af-
fection, 59, 64
moha, Distraction, 110, 119, 145
yatna = prayatna, 9, 10, 15
yavanika, curtain, 35
yukti, Resolve, 12, 13
ranga, audience, 80
rati, Love, 124, 130
rasa, Sentiment, 4, 91, 92, 96, 98, 100,
101, 102, 103, 104, 106, 136, 127,
128, 129, 148
rasSntara, Diversion, 137
rasika, spectator, 106, 126, 127
ripu., used for pratinayaka, 45
rttpa, Show, 3
rupa, Supposition, 20, 21
rUpaka, Representation, 4
romOnca, Horripilation, 108, 129
raudra, Furious Sentiment, 74, 101,
128, 142
L
laksman (= laksatta) , Character-
istic Feature, 147
lalita, ' light-hearted ' hero, 40, 41,
66, 96
lalita, Lightheartedness, 46, 48
lalita, Lolling, 59, 65
lasya, Gentle Dance, 2, s, 98, 99
lila, Sportiveness, 59, 62, 140
vajra, Thunderbolt, 16, ig
vatsa, form of address, 76
varnasamhara, Corobination of the
Castes, 16, 19
vastu, Subject-matter, 6, 7, 33, 36,
80, 88, 92, 96, 98, 100, 101, 102
vastutthana, vastiitthapana, Produc-
tion of a Matter, 72
vakkett, Repartee, 84, 86
vOsakasajja, "sajjika, "sajjita, type
of heroine, 55
vikrta = vihrta, 59, 65
vicalana, Boastfulness, 25, 28
vicchitti, Tastefulness, 59, 63
vita, Parasite, 45, 98
vitarka = tarka, 110, 121
vidusaka, Jester, 45, 77, 82
vidrava, Tumult, 25
vidrava:=sambhrama, 23, 25
vidhana, Conflict of Feelings, 12, 14
vidhuta, vidhUta, vidhfta, Unre-
quitedness, 16, 17
viprayoga, Separation, 131, 135-139
vipralabdha, type of heroine, 56, 139
vipralambha, form of ifngara, 131,
135
vibodha, Awakening, 110, 118
vibodha, Vigilance, 29
vibhava, Determinant, 92, 106-107,
129, 130
vibhrama, Confusion, 59, 63
vimaria, vimarsa — avamarka, 11,
24, 101, 102
virahotkanthita, type of heroine, 55,
139
virodha (Pratapar.) = vibodha, 29
virodha (Bh.), 27
virodha (SD., Pratapar.), 18
virodhana, Opposition, 25, 27
vilOsa, Amorousness, 16
INDEX OF SANSKRIT TECHNICAL TERMS
157
vilasa, Delight, 59, 63
vilasa, Vivacity, 45, 46
vHobhana, Allurement, 12, 13
viwoka (SD.) = bibboka, 59, 64
visada, Despair, 110, iaa, 146
vifkambha(ka), Explanatory Scene,
34, 90, 91
vismaya, Astonishment. 124, 145
vihasita, Laughing, 144
vihrta, Bashfulriess, 59, 65
vlthl, form of drama, etc, 4, 81, 82,
84, 100, 103
vtthyangdni, subdivisions of the
vlthl, 82, 84-88
vlra, Heroic Sentiment, 74, 92, 98,
• 102, 128, 141
vrtti, Style (of Procedure), 67, 73,
74, 100, 102
vepathu, Trembling, 108
vaivarnya, Change of Color, 108
vaisvarya, Change of Voice, 108
(cf. vikrta-svara, 145)
vyabhicarin, Transitory State, 92,
106, 109, 110, 125, 129. 131
vyovas&ya, Assertion, 25, 27
vyidhi, Sickness, 110, 122, 142, 146
vyiyoga, Military Spectacle, 4, ior
vyUhara, Humorous Speech, 84, 88
•vyO.hS.ra (Bh.), 26
vrlda, Shame, 110, 118
sakti, Placation, 25, a6
ianka, Apprehension, 110, m, 142
satha, ' deceitf ul ' hero, 42, 43, 44
iama, Alleviation, 16, 17
iama, Tranquillity, 124, 129
iatnaprakarsa, used for iantarasa,
129
ianta, 'calm' hero, 40, 41» 42, 95
ianta(,rasa) , Quietistic Sentiment,
129
irngara, Erotic Sentiment, 74, 92,
96, 98, 103, 128, 130-140
Soka, Sorrow, 124, 139, 146
iobha, Beauty, 59, 61
iobM, Beauty of Character, 45. 4<>
hama, Weariness, 110, na, 144
samyoga = sambhoga, 131, 140
samlapaka, Discourse, 70
samhatya (SD.) = sarpgh&tya, 70,
samkfipti(ka), Compression, 72
samgraha, Propitiation, 20, 23
saiftghataka, samghatya(ka) , Breach
of Alliance, 70, 71
samc&rm, used for vyabhicSrin, 129
samjvara, Fever, 132
sattvabhava, Involuntary State, 78,
106, 108, 131
samdhi, Junction, 29
samdhi, Junct'ure, 11, 90, 98, 101,
102, 105
samdhyantara, Special Juncture, 147
samaya, Deliverance, 29, 31
samavakUra, form of drama, 4, 102-
103
samadhdnd, Settling, 12, 14
sampheta, Altercation, 25
sampheta, Conflict, 72
sambhoga, Union, 131, 140
sambhrama, Consternation, 20, 23
sattvatl, Grandiose Style, 70
s&ttvika (bhava), Involuntary State,
78, 106, 108, 131
sadhSranastrl, courtezan, as heroine,
48, 53
saman, Conciliation, 136, 137, 147
sugrhitabhidha, form of address, 76
supta, supti, susupta, Dreaming, 110,
117
sUtradhara, Stage-manager, 76, 79,
82, 83, 84, 88
sUtrabhft, used for sUtradhara, 76,
88
sUtrin, used for sUtradhara, 76, 83
saindhava, form of lasya, 99
stambha, Paralysis, 108, 120
sthapaka, Introducer, 79, 80
ISS
INDEX OF SANSKMT TECHNICAL TERMS
sthdyin, Permanent State, 92, 106,
109, 124-137, 129, 131
sthitapa{hya, form of l&sya, 99
sthairya, Firmness, 46, 47
smaya = vismaya, 124, 145
smita, Gentle Stnile, 144
smrti, Recollection, 110, 1x6, 132,
142
svaklyH = svi, 48, 49, 95
svagata, Aside, 37
svapna = supta, lio, 117
svH, [the hero's] own wife, as hero-
ine, 48, 49» 9S
svada, Charm, 128
sv&dhlnapatika, "bhartrkS, type of
heroine, 54
sv&min, form of address, 77
sv^yS=zsvll, 48, 49, 95
sveda, Sweating, 108
H
hanje, form of address, 77
harfa, Joy, 110, 113, 141, 145
hali, form of address, 77
hasita, Smile, 144
hasita (Pratapar.),' quality of the
heroine, 59
hava, Emotion, 59, 60
hOsa, Mirth, 124, 143
hSsya, Comic Sentiment, 74, 100,
ia8, 143-144 (cf. 68)
hela, Passion, 59, 60
GENERAL INDEX
The numbers refer to pages. The most important references — tbose to
defmitions of dra,maturgic terms or to other important mentions of them —
are printed in heavy-faced type. The English equivalents adopted in this
volume for the native technical terms have all been included in this index.
They are printed with initial capital letters and are followed by the cor-
responding Sanskrit words.
Abhinavagupta, interpretation of
varnasatnhOra by, 19
Abrupt Dialogue, udghatyaka, 82,
«4
Abrupt Remark, ganda, 84, 87
Absence, pravasa, 135, 138, 139
Act, anka, 35. 36, 90, 91, 93-94
Activity, karana, 12, 15
actor, nafa, nartaka, 79, 127
actress, nati, 76, 82
acts, number of, in tbe various
■ kinds of drama, 94, 96, 98, 101.
102, ios
adaptation of a plot, 89
address, prescribed tnodes of, 76,
77
adverb, as member of locative ab-
solute phrase, 139
adverbs, numeral, adjectival use of,
xxxii
Affected Indifference, bibboka, 59,
64
Agitation, avega,. 110, iso, 142, 145,
146
Alleviation, sama, 16, 17
Allurement, vilobhana, 12, 13
Aloud, prakaia, 37
Altercation, sampheta, 25
Amarusataka, quoted in DR. com.,
XXXVI
Amitagati, Jain author, a contem-
porary of Dhanamjaya, xxvi
Amoghavarsa, epithet of King
Mufija, xxi
Amorousness, vilSsa, iG
Amusement, (norma) dyuti, 16, 17
Anargharaghava, quoted in DR.
com., xxxvi
Anger, krodha, 124, 142
anger, mani f estations of, on the
part o f heroines, 49, 50, 51
Anticipation, pUrvabhUva, 29, 31
Anticipatory Scene, ankBsya, 34, 35
Anxiety, cinta, lio, 114, 132, 134,
146
Apprehension, iankd., lio, m, 142
Arjuna, as a character, 127
Arjunavarman, Paramara ruler and
author, quotes a stanza by
Muiija, xxiii
Arrogance, garva, 110, 115, 141
asamgati, rhetorical fault, 87
Aside, svagata, 37
Assertion, vyavasHya, 25, 27
Assurance, mati, 110, 119, 141
Astonishment, vismaya, 124, 145
astrology, indications of prevalent
belief in, 118, 122
Attainment. of the Result, phala-
yoga, o, 10
Attendant, pifhamarda, 44
»59
i6o
GENERAL INDEX
audience, ranga, 80
Awakening, vibodha, no, 118
B
Bali raja, Cahamana chief, defeated
Munja, xxii, n. 4
Ballala, see Bbojaprabandha
B5na Bhatta, the Mahasvetavarna-
navasara of, mentioned in DR.
com., xxxvii
Bashfulness, vihrta, 59, 65
Beauty, SobhS, 59, 61
Beauty of Character, sobhS, 45, 46
Beginning, irambha, 9, 10, 12
Benediction, prasasti, 24, 29, 32
benediction (nandi), 80
Bharata, 1, 2, 78
Bharatiyanatyasastra, relation of
DR. tb the, xxvii, xxviii
quoted in DR. com., xxxvii
four books of the, published by
Hall, xl
inaccuracy of Hall's text of the„
xl, 24, 104
Bhartrhari, a stanza by Munja in-
cluded in the Centuries of,
xxiii
the Centuries of, quoted in DR.
com., xxxvi
a treatise by, quoted in DR. com.
xxxvii
Bhojadeva, reputed author of
Sarasv., xxiii, n. 2
Bhojaprabandha, legendary account
• of Munja in the, xxii, n. 4
verses attributed to Munja in the,
xxiii, n. 3
inclusion of an older stanza in
the, xliv, 113
Bliss, ananda, 29, 30
Boastfulness, vicalana, 25, a8
Bohtlingk, Otto, marginal annota-
tions of, in his copy of DR.,"
xliv
Brahma, as creator of. dramatic sci-
ence, 2
Breach of Alliance, sawghatya, 70,
Brhatkatha, mentioned in DR. com..
xxxvi, 39, 124
mentioned in DR., 38
Brhatkathamaftjari, lines from the,
interpolated in DR. com.,
xxxiii, 39
ca, peculiar position of the word,
74
' calm ' hero, Santa, 40, 41, 42, 95
Censure, apavdda, as
Certainty of Success, niyatapti, 9,
10
Chalitarama, drama, quoted in DR.
com., xxxvii
Challenge, utthapaka, 70, 71
Change of Action, parivartaka, 70,
7i
Change of Color, vaivarnya, 108
Change of Voice, vaisvarya, 108
character, putra, 80 . ■
Characteristic Feature, laksman,
147
Charm, svSda, 128
' clever ' hero, daksina, 42, 43, 44
Combination of the Castes, varna-
samhira, 16, 19
Comic Sentiment, hasya, 74, 100,
128, 143-144 (cf. 68)
Compliment, prapanca, 84 85
Compression, samksipti, 72
Conciliation, sBman, 136, 137, 147
Conclusion, nirvahana, 11, 28, 92,
?8
Confidence, apavarita, 37-38
Confirmation, krti, 29, 31
Conflict, sampheta, 72
Conflict of Feelings, vidhana, 12,
14
Confusion, vibhrama, 59, 63
Consequent, anubhava, 50, 92, 106,
107, 108, 129
Consternation, sambhrama, 20, 23
GENERAL INDEX
161
contemporaries of Dhanamjaya,
xxiv-xxvi
Contempt, drava, 25, 26
Contentment, dhfti, 110, na, 141,
145
Ccntinuance, avalagita, 82, 84, 85
Continuation-scene, ankavatara, 34,
36
conventional gesture (tripataka),
37
Conversation, paribhSfaifa, 29, 30
Conversation with Imaginary Per-
sons, akUsabhdfita, 38, 98
Convulsive Laughter, atihasita, 144
copulative compounds, words arbi-
trarily grouped in, xxx
costumes, to be characteristic of a
special region, 74
Courage, pragalbhata, 59, 63
Courtesy, paryupSsana, 16, 18
courtezan, garitku (vefya), 48, 53,
75. 77, 95
Cruelty, ugratB, 110, 114, 131, 142
curse, separation of lovers by a, 138
curtain, speaking from behind a, 35
D
Dancing, nftta, 5
Dasarupa, name of the, xxi, n. 1
date of the, xxi
relation of the, to Bh., xxvii,
xxviii
quotations from the, in Pratapar..
xxviii
SD. largely dependent on the,
xxviii
style of the, xxviii-xxix
commentaries on the, xxxii, n. 2
defends the 'ten stages' of un-
requited love, 134
(See also the table of contents.)
Dasarfipavaloka, authorship and
date of the, xxxii-xxxiv
character and value of the,
XXXV
12
quotations in the, xxxv-xxxix,
xliii-xliv
Death, ntaraya, 110, 116, 131, 132,
146
death, usually not to be repre-
sented, 93, 105
Erotie Sentiment not possible in
case of actual, 139
' deceitf ul ' hero, iatha, 42, 43, 44
Deception, chala, 84, 86
Deduction, anum&na, 20, 33
Deliberation, tarka, lio, 131
Delight, viUsa, 50, 63
Deliverance, samaya, 29, 31
Denouement, karya, 8, 9, 31
Depression, dainya, lio, 113, 145,
146
Despair, vifBda, 110, 123, 146
Determinant, vibhOva, 92, 106-107,
129, 130
Development, garbha, 11, so, 24,
101
Development of Affection, narma-
garbha, '68, 69
Devotion, bhakti, 147
-dha, adjectival use of adverbs in,
xxxii
Dhanamjaya, time of, xxi
contemporaries of, xxiv-xxvi
stanza by, in Skm., xxiv
theory of the identity of, with
Dhanika, xxxiii
Dhanamjaya, son of Vasudeva.
xxiv, n. 4
Dhanapala, lexicographer, contem-
porary of Dhanamjaya, xxiv-
XXV
Dhanika, quotes a stanza by Muflja,
xxiii
a contemporary of Dhanamjaya,
xxiv
theory of the identity of, with
. Dhanamjaya, xxxiii
often named as author of DR..
xxxiii
1 62
GENERAL INDEX
works of, xxxiv
quotes stanzas of his own in DR.
com., xxxvii
DR. com. by, see Dasarupavaloka
Dhara, capital of the Malava king-
dom, xxiv, xxv
Dignity, audOrya, 59, 6a
Disclosure, udbheda, 12, 14
Disclosure of Affection, norma-
sphota, 68, 69
Discouragement, nirveda, 110, 120,
134
Discourse, satnlipaka, 70
Disgust, jugupsa, 124, 131, 141
Dismay, udvega, 20, 23
Dissension, bheda, 137
Dissimulation, avahittha, 110, 121
Distraction, moha, 110, 119, 145
Distress, udvega, 132
Diversion, rasantaru, 137
drama, definition of, 2
varieties of, 4
opening of a, 79-80
dramatic structure, general arrange-
ment of, 90, 91
Dreaming, supta, 110,. 117
Envy, asnya, no, 115, 142
Epilepsy, apasmira, 110, 1x8-119,
146
Episode, patiku, 7, 9, 20, 44, 9°
Episode-indication, patdkasth&naka,
7, 94
Episodical Incident, prakarl, 7, 9, 90
Equanimity, mOdhurya, 45. 46. 47
Erotic Sentitnent, ifhgOra, 74, 92,
96, 98, 103, iafi}, 130-140
Establishment, parinyUso, 12, 13
etymological explanation of terms,
xxix
Exaggeration, udaharana, 20, 21
'exalted* hero, udatta, 40, 41, 42,
89, 102
Excitant Determinant, uddlpana-
vibhiva, 107
Expansion, hindu, 8, 9, 15, 91, 04,
103
' experienced ' herotne, pragalbh.il,
49, 50. 5i. 97
Explanatory Scene, vifkambhaka,
34. 90, 91
Expression of Satisfaction, bhasana,
29, 31
editions of DR., xxxix-xlv
Effort, (pra)yatna, 9, 10, 15
Element of the Plot, arthaprakrti,
9. «
Eloquent Style, bharatl, 73, 80, 81,
98
emendations of the text in this
edition, xlii
Emotion, hava, 59, 60
Energy, utsOha, 124, 141
Enigma, nalikS, 84, 87
Enlargement, parikara, 12, 13
Entrance of a Character, pravrt-
taka, 82, 83
entrance of actors, 83
Enumeration of Merits, gunakatha,
132
Fainting, pralaya, 108
' faithful ' hero, anukaia, 44
Farce, prahasana, 4, 53, 54, 99-100
Fear, bhaya, 124, 145
Feeling, bhUva, 50, 60
Fever, sarnjvara, 132
Firmness, sthairya, 46, 47
Foresight, prarocanU, 25, 27
formulas, transitional and intro-
ductory, xxviii . .
Friendship, prlti, 147
Fright, trOsa, 110, 114, 145
Frustration, nirodha(na), 16, 18
Fundamental Determinant, alam-
bana-vibhSva, 107
Furious Sentiment, raudra, 74, 101,
ia8, 142
GENERAL INDEX
163
Gallantry, pufpa, 16, 18
Gambling, akfa, 147
Ganesa, invocation of, t
Gay Style, kaiiiki, 67, 68, 98, 102,
103
Gentle Dance, lis ya, 2, 5, 98, 99
Gentle Smile, smita, 144
Germ, blja, 8, «9, 12, 13, 14, 15, 20.
24, 28, 80, 94
gesture, conventional (tripataka) ,
37
Gift-giving, dana, 137
Graciousness, prasida, 29, 30
Grandiose Style, suttvaft, 70
H
Halasaptasati, quoted in DR. com.,
XXXVI
Halayudha, lexicographer, praises
King Munja, xxii, xxv, n. 7
a contemporary of Dhanamjaya,
XXV
Hall, Fitzedward, edition of DR.
published by, xxxix-xl
• reprints of the DR. text of, xl
inaccuracy of the text of Bh.
published by, xl, 24, 104
disregarded samdhi in giving
variant readings, 75, 86
Hanuman-nataka, quoted in DR.
com., xxxvi
existed in some form prior to
nth century, xxxviii-xxxix
harem, assistants of the hero in
the, 66
hero (nSyaka), characteristics of
the, 40
four types of, 40-42
as lover, 42-44
number of varieties of, 44
companions of the, 44-45
secondary, of the episode, 44
opponent of the, 45
various qualities of the, 45-48
assistants of a royal, 65-66
relation of the, to the principal
subject, 89
of a Prakarana, 94-95
of a Nafika, 96, 97
of a Dima, 100
of a Vyayoga, 101
of a Samavakara, 102
of an Utsr?tikanka, 104
of an Ihamrga, 105
as source of pleasure to spec-
tators, 127
Heroic Sentiment, vlra, 74, 92, 98,
102, 138, 141
heroine (nSyika), the three main
types of, 48
the hero's own wife as, 49-52
actions of the, in anger, 50, 51
a maiden or another's wife as, 52
a courtezan as, 53-54
eight varieties of, according to
relations with the hero, 54-57
total number of possible varieties
of, 58
messengers of the, 58
the twenty natural graces of the,
58-65
of a Prakarana, 95
of a Natika, 97
as source of pleasure to spec-
tators, 127
types of, to be employed in cer-
tain cases, 139
table showing the chief types of,
149
Hint, grathana, 29, 30
Horrific Style, Srabhatl, 71, 72
Horripilation, rom&nca, 108, 129
Humiliation, chalana, 25, 27
Humility, nati, 137
Humorous Speech, vy&hara, 84, 88
Hunting, mrgayU, 147
Hysterical Mood, kttakincita, 59,
63
1 64
GENERAL INDEX
imaginary persons, addressing of,
38
Impatience, autsukya, 110, 133, 134
Incidenta^ Subject, prisaAgika, 6, 7
Incitement, bheda, 12, 15
Incoherent Chatter, asatpral&pa, 84,
87
Inconstancy, cOpala, 110, 133, 142
Indication, marga, 20, 31
Indifference, upeksS, 137
Indignation, amatfa, lio, 115, 142
Indolence, alasya, 110, 120, 131, 144,
146
Induction, prasiivanS, (= Umukha),
81, 8s, 88, 102
' inexperienced ' heroine, mugdhd,
49. 97
infidelity of a lover, 136
Insanity, unmada, 110, 122, 132, 146
Interlude, misleading translation of
pravesaka, 35
Intermediate Scene, arthopahsepaka*
33. 36
Intimation, upanyBsa, 16, 19
intimation of unsuitable details, 33
Intimation-scene, cUlika, 34, 35
Intoxication, mada, 110, 117, 142
Introducer, sthipaka, 79, 80
Introduction, amuk ha (= prasts-
vanO), 81, 83, 88, 102
Introductory Scene, praveiaka, 34,
94 103
Inyitation, pr&rthand (Bh., SD.),
34
Involuntary State, sattvabhctva, 78,
106, 108, 131
iti, peculiar position of the word,
77
J
Jaili authors, xxv, xxvi
Jester, vidtyako, 45, 77, 82
Jivananda Vidyasagara, reprint of
DR. published by, xl, 46
Joke, narman, 16, 17
Joy, harft, 110, 113, 141, 145
Junction, samdhi, 39
Juncture, samdhi, 11, 90, 98, 101,
102, 105
K
Kadambari, mentioned in DR. com.,
xxx vi
Kamasutra, quoted < in DR. com.,
xxxvii
Karpuramafljari, quoted in DR.
com.,. xxxvi
the sthapaka found in action in
the, 80
proves assignment of femalo
roles to actresses, 82
Kavyalamkara of Rudrata, quoted
in DR. com., xxxvii
Kavyanirnaya, treatise by Dhanika,
xxxiv
king, manner of addressing a, 77
management of state affairs by
a, 65, 66
administrative assistants of a, 66
Kiratarjuniya, quoted in DR. com.,
xxxvi
Ksemendra, author, quotes stanzas
by Mu n j a, xxiii
Kumarasambhava, quoted in DR.
com, xxxvi
language, to be characteristic of a
special region, 74
of the various characters, 75
change of, 75
Lassitude, kheda (SD.),' 26
Laudation, prarocanll, 81
Laughing, vihasita, 144
Laughter, upahasita, 144
4 light-hearted ' hero, lalita, 40, 41,
66
Lightheartedness, lalita, 46, 48
local characteristics of a play, 75
Lolling, lalita, 59, 65
GENERAL INDEX
165
Longing, abhilafa, 132, 133, 134
Love, rati, 124, 130
love, unrequited, 132-134
Loveliness, kinti, 59, 61
M
MagadhI, use of, by inferior char-
acters, 75
Magnanimity, audSrya, 46, 48
Mahabharata, mentioned in DR.
com., xxxvi
Mahanataka, quoted in DR. com.,
xxxvi
existed in some forni prior to
uth century, xxxviii-xxxix
Mahasvetavarnanavasara of Bhatta
Bana, mentioned in DR. com,
xxxvii
Mahaviracarita, quoted in DR.
com., xxxvi
Malatimadhava, quoted in DR.
com., xxxvi
Malavikagnimitra, quoted in DR.
com., xxxvi
Marvelous Sentiment, adbhuta, 74,
92, ia8, 145
Meghaduta, quoted in DR. com.,
XXXVI
Meruturiga, account of Munja by,
xxi, n. 2, xxiii
mentions Dhanapala and his
brother, xxiv, n. 7
messengers of the heroine, 58
meters o f the DR., xxix-xxxii
Mildness, mrdava, 84, 88
Military Spectacle, vyayogo, 4. 101
minister of state (mantrin.amUtya),
65, 66, 95
Mirth, hasa, 124, 143
Mis-statement, abhtitaharaw, 20
Monologue, bh&va, 4. 38, 9*> i°3.
104
Mrcchakatika, quoted in DR. com.,
xxxvi
Mudrarakjasa, quoted in DR. con\,
xxxvi
Munja, Paramara ruler, patron of
Dhanamjaya, xxi, 148
epithets of, xxi, xxiii
a poet, as well as warrior, xxii-
xxiv
Dhanika an officer at the court
of, xxxii
a land-grant of, xxxiii
Dhanika quotes a stanza by,
xxxvii
Munja, author of the Gaudavaho,
xxn, n. 5
N
Nagananda, quoted in DR. com.,
xxxvi
Narration, ninfaya, ^9, 30
Natyapradipa, dramaturgic treatise,
xxxix
Navasahasankacarita, Vakpatiraja
and Sindhuraja praised in the,
xxii, xxvi, n. 1
quoted in DR. com, xxxvi
Nilakantha (= Siva), 2
notes, character of the, in this
volume, xliv-xlv
O
Obstruction, pratifeda (SD.), 28
Odious Sentiment, blbhatsa, 74, 138,
141-142
Opening, mukha, 11, 12, 28, 80, 98
Opening of the Story, kathodgh&ta,
82,83
Opponent of the Hero, prati-
n&yaka, 45
Opposition, virodhana, 25, 27
Ornament, bhtifaipa, 147
Outburst of Affection, narma-
sphUrja, 68, 69
Outvying, adhibala, 84, 86
Outwitting, adhibala, 20, 22, 23
1 66
GENMU**.' 'ISME*
Padmagupta, poet, Vakpatirlja and
Sindhuraja praised by, xxu\
xxvi, n. i
a contemporaiy of Dhanaipjaya,
xxv-xxvi
Paisaci, use of, by inferior char-
acters, 75
Pandavananda, drama, quoted in
DR. com., xxxvii
Pantomime, nrtya, S
Parab, K. P., edition of DR. pub-
lished by, xli
Paralysis, stambha, 108
Parasite, vita, 45, 08
Parimala, another name of Padma-
gupta (q. v.); xxv
Particular Presentation, prayogiti-
iaya, 82, 83-84
' partly experienced ' heroine, madh-
yn, 49, 50, si
Parvati (SarvanI), 2
Passion, hela, 59, 60
Pathetic Sentiment, karuna, 74, 104,
138, 146
Pause, avamoria, u, 34, 101, 102
Permanent State, sthayin, 92, 106,
109, 134-137, 129, 131
Personal Address, janUntika, 37
Placation, Sakti, 25, 36
play, opening of a, 79
Pleasantry, narman, 68
plot, modification of unsuitable
.features of a, 89
Poise, gimbhlrya, 46, 47
Prabandhacintamani, account of
Mufija in the, xxi, n. 2, xxiii
Dhanapala and his brother men-
tioned in the, xxiv, n. 7
Prabhavakacarita, Dhanapala men-
tioned in the, xxiv, n. 7
Prakrit, used in one form of
vifkambhaka, 34
certain characters to speak, 75
Prataparudriya, quotations frotn
DR. in the, xxviii
proHcOra, word not in the St
Petersburg lexicons, 70
prefix, omission or addition of a,
in technical terms, xxxi
Preliminaries, pUrvaranga, 79, 85,
86
Pretended Anger, kuffamita, 59, 64
Principal Subject, Scthikarika, 6, 89
Privation, ayoga, 131. J33-134, 139
Priyadarsika, mentioned in DR.
com., xxxvi
Production of a Matter, vastat-
thapana, 72
Progress, krama, 20, 31-32
Progression, pratimukha, II, 15
Propitiation, samgraha, 20, 22
Prospect of Success, praptyasi, o,
10, 20
Prthivivallabha, epithet of King
Mufija, xxi
psychology of cnjoyment of the
drama, 127
Pursuit, parisarpa, 16
Pu§padusitaka, drama, mentioned
in DR. com., xxxvii
Quarrel, totaka, 20, 23
queen, manner of addressing a, 77
the oldest wife ' in a Nafika to
be a, 97
Quietistic Sentiment, santarasa, 129
quotations, from DR, in Pratapar.
and SD., xxviii
illustrative, in Dhanika's com-
mentary, xxxv-xxxix, xliii-xliv
Radiance, dtpti, 59, 61
Raghuvamsa, quoted in DR. com.
GENERAL IN0EX
Rajendrakarnapura, Mufija men-
tioned in the, xxi, n. 2
Rama, as hero, 127
Ramabhyudaya, drama, mentioned
in DR. com., xxxvii
Ramayana, mentioned in DR. com.,
xxxvi
mentioned in DR, 38-39
rank, grouping of characters ac-
cording to, 67
Rasikasamjivani, a stanza by Mufija
quoted in the, xxiii
Ratnavali, frequently quoted in DR.
com, xxxvi
Raving, pral&pa, 132
Rebuke, dyuti, 25, 26
Recollection, smfti, 110, 116, 132,
142
Re-interpretation, avasyandita, 84,
»7
Repartee, vUkkell, 84, 86
Representation, rupaka, 4
Resentment, mina, 135-137
Resolve, yukii, 12, 13
Response, pragamana, 16, 18
Revelation, aksepa, 20, 23-24
Reverence, prasanga, 25, 26
role, female, assigned to an actress,
82
Rudra, a poet, quoted in DR. com.,
xxxvii
Saduktikarnamrta, a stanza at-
tributed to Dhanamjaya in the,
xxiv
King Mufija mentioned or quoted
in the, xxiv, n. 3
Sahityadarpana, dependence of, on
DR, xxviii
refers to DR, 15, 17
criticizes DR, 65, 66
Sakuntala, quoted in DR com,
xxxvi
Sambhu, author, mentions Mufija,
xxi, n. 2
Samudramanthana, a drama or a
legend, mentioned in DR. com,
xxxviii
Sanskrit, one form of vifkambhaka
to be in, 34
characters that are to speak, 75
generally used in the Eloquent
Style, 81
Santisuri, author, mentions Dhana-
pala, xxiv, n. 7
Sarasvatl, 2
Sarasvatikanthabharana, Mufija
mentioned in the, xxiii, n. 2
DR. quoted in the, xxxiii, n. 2
Sarngadharapaddhati, stanzas by
Mufija in the, xxiv
contains three stanzas by Dhan-
ika, xxxiv
Sarvani (= Parvati), 2
Sauraseni, use of, by inferior char-
acters, 75
scenes explaining omitted matters.
33-36
Self-control, dhairya, 59, 62
Sense of Honor, tejas, 46, 47
Sentiment, rasa, 4, 91, 92, 96, 98, ICO,
101, 102, 103, 104 106, 136,
127, 128, 129, 148
Separation, viprayoga, 131, 135-139
Settliug, sam&dhana, 12, 14
Shakspere, a parallel adduced f rom,
132
Shame, vrldil, 110, 118
' shameless ' hero, dhrsfa, 42, 43- 44
Show, rupa, 3
Sickness, vyUdhi, 110, 122, 142, 146
Silent Expression of Affection,
mottayita, 59. 64
Sisupalavadha, quoted in DR com,
xxxvi
Siva (Nilakantha), 2, 78
Sleeping, nidrU, rio 117, 144, 146
Smile, hasita, 144
168
GENERAL INDEX
Sobhanamuni, Jain author, a con-
temporary of Dhanamjaya,
xxiv, n. 7, xxv
Sorrow, ioka, 124, 139, 146
Special Juncture, samdhyantara,
147
spectator (rasika), 106 126, 127
Sportiveness, lUa, 59, 63, 140
Sridharadasa, author, quotes a
stanza by Dhanaipjaya, xxiv
quotes o r mentions King Munja,
xxiv, n. 3
Srivallabha, epithet of King Munja,
xxi
Srngaratilaka (attributed to Kali-
dasa), quoted in DR. com.,
XXXVI
stage, actions not permitted on the,
93
Stage of the Action, avastha, 9, 11
stage-directions, mention of asides
in, 37
stage-manager, manner of address-
ing the, 76
assistant of the, 76, 82
opening of a play by the, 79, 82,
88
remark of the, taken up by
another actor, 83
refers to an entering character.
84
State, bhtiva, 108
structure, dramatic, general arrange-
. ment of, 90, 91
Stupor, jadata, 110, 113, 132, 144,
146
Style o f Procedure, vriti, 67, 73, 74,
100, 102
Subhasitavali, stanzas by Munja in
the, xxiv
Subject, Principal, OdhikOrika, 6,
89
Subject-matter, vastu, 6, 7, 33, 36,
80, 88, 92, 96, 98, W, 102, 105
Sub-juncture, anusatpdhi, 90
Success, prSpti, 12, 13
suffix, addition or rejection of a, in
technical terms, xxxi
Suggestion,'«/'ofe^M ia
Summary, adSna, 25, 28
Supposition, rSpa, 20, 21
Surprise, paribhavana, 12, 14
iv&sa, used for nihsvisa, 123
Sweating, sveda, 108
Sweetness, madhurya, 59, 61
Tailapa II (Taila), Mufija defeated
and executed by, xxii
Tarangadatta, drama, mentioned in
DR. com., xxxvii
Tastefulness, vicckitti, 59, 63
technical terms, varying forms of,
xxx-xxxi
tnethod of translating, xliii
Termination, kSvyasamhira, 29, 32
terminology, variations in, xxx-
xxxi
Terrible Sentiment, bhay&naka, 74,
128, 145
text of DR., in Hall's edition,
xxxix-xl •
in the present volume, xli-xlii
Thunderbolt, vajra, 16, 19
Torment, tspana (SD.), 17
Tranquillity, Sama,' 124, 129
Transitory State, vyabhicarin, 92,
106, 109, 110, 125, 129, 131
translation, character of the pres-
ent, xliii
of technical terms, xliii
Trembling, vepathu, 108
Triple Explanation, trigata, 84, 85
Tripura, the burning of, as subject
for a drama, 101
Tumult, vidrava, 25
Tumultuous Disturbance, avapata,
72, 73
GENERAL INDEX
I69
U
Udattaraghava, drama, quoted in
DR. cora., xxxvii
Udayanacarita, story mentioned in
DR. com., xxxviii
Udbhata, rhetorician, 73, 74
Unforeseen Circumstance, upa-
gahana, 29, 31
Union, sambhojja, 131, 140
Unrequitedness, vidhUta, 16, 17
Uproarious Laughter, apahasita,
144
Utpaladeva, Saivite guru, not to be
confused with Utpalaraja, xxii,
n. 5
Utpalaraja, epithet of King Munja
(q. v.), xxi, xxiii, xxxii
Uttararamacarita, quoted in DR.
com., xxxvi
verse-fillers, Dhanamjaya's use of,
XXX
Viddhasalabhanjika, quoted in DR.
com, xxxvi
Vidyasagara, J, reprint of DR. pub-
lished by, xl
repeats errors 01 Hall's edition,
xl, 46
Vigilance, vibodha, 29
Vikatanitamba, poetess, quoted in
DR. com, xxxvii
Vikramorvasi, quoted in DR. com..
xxxvi
Virinci (= Brahma), creator of
dramatic science, 2
Vi?nu, invocation of, 1
Vijnu, father of Dhanamjaya, xxiv,
148
Vivacity, vilUsa, 45, 46
Vakpatiraja II, Paramara ruler, see
Munja
Vallabhadeva, stanzas by Munja in-
cluded in the Subhajitavali of,
xxiv
variation in form of technical
terms, xxx-xxxi
'vehement' hero, uddhata, 40, 43,
45, 101, 105
Venlsamhara, frequently quoted in
DR. com, xxxvi
W
Weakness,' glUni, 110, rn, 134, 144
Weariness, irama, 110, 11 a, 144
Weeping, asru, 108
wife of the hero (svS), as heroine,
48, 49. 95
wild dance, ti^ava, 2, s
women, Prakrit to be spoken by
most, 75
manner of addressing, 77
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Zoroaster, the Prophet of Ancient Iran. By A. V. Williams
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