1. Dasarupaka Dhanika A Treatise on Hindu Dramaturgy George Hass

The Daśarūpa

Dhanañjaya, George Christian Otto Haas

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THE DAŚARŪPA

A TREATISE ON HINDU DRAMATURGY

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[COLUMBIA UNIVERSITY INDO-IRANIAN SERIES, VOLUME 7]

THE

DAŚARŪPA

A TREATISE ON HINDU DRAMATURGY

BY DHANAMJAYA

NOW FIRST TRANSLATED FROM THE SANSKRIT WITH THE TEXT AND AN INTRODUCTION AND NOTES

BY

GEORGE C. O. HAAS, A.M. SONETIME FELLOW IN INDO-IRANIAN LANGUAGES IN COLUMBIA UNIVERSITY

SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY, IN THE FACULTY OF PHILOSOPHY, COLUMBIA UNIVERSITY

Nem York

I912

All rights reserved

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Copyright 1912 By COLUMBIA UNIVERSITY PRESS

Printed from type, August, 1912

378.70×0

PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER. PA.

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E.H Oct .23, 191

TO MY FATHER

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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.

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PREFACE

The publication of the present volume, originally planned for 1909, has been delayed until now by various contingencies both unforeseen and unavoidable. While in some respects unfortu- nate, this delay has been of advantage 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 Dhanamjaya'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 of Dhanika except in a few special cases, the paragraphs headed 'Com.' being devoted chiefly to recording the source of his numer- ous illustrative quotations. The limitations I have imposed on myself in the notes will be evident to the reader on inspection. 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 Morgenländische Gesellschaft for their kindness in sending to Professor Jackson, for my use, a number 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

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viii 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 difficult passages; to Professor Charles R. Lan- man for placing at my disposal a rare version of the Mahānātaka and giving me suggestions regarding certain parts of my transla- tion; and to Dr. Franklin Edgerton for material from 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 helpful 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 of my task. And I wish to record here, above all, some expression, how- `ever inadequate, of the debt of gratitude I 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.

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CONTENTS PAGE PREFATORY NOTE BY THE EDITOR OF THE SERIES . vi PREFACE vii BIBLIOGRAPHY xiii CONSPECTUS OF EDITIONS OF TEXTS xiv LIST OF ABBREVIATIONS AND SYMBOLS . xviii INTRODUCTION xxi I. Concerning the Daśarūpa of Dhanamjaya xxi The author and his patron xxi Contemporaries of Dhanamjaya xxiv Scope and importance of the Dasarūpa xxvi Style and method of treatment . xxviii Meters and metrical considerations xxix 2. Concerning Dhanika's commentary on the Daśarūpa . xxxii Authorship and date xxxii Character and value xxxv Dhanika's explanatory and illustrative quotations xxxv 3. Concerning previous editions of the Daśarūpa xxxix Hall's edition xxxix Jīvānanda Vidyāsāgara's edition xl Parab's edition xli 4. Concerning the present edition xli Constitution of the text . xli The numbering of sections xlii The translation xliii Extracts from the commentary of Dhanika xliii The notes in this volume . xliv

THE DASARUPA: TEXT, TRANSLATION, EXTRACTS FROM THE COM- MENTARY, AND NOTES: BOOK ONE I

Introductory remarks . 2 Fundamental definitions 3

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X CONTENTS

PAGE Pantomime and Dancing as accessories 4 Basis of classification of dramas . 6 Subdivisions of the Subject-matter 6 Elements of the Plot 8 The five Stages of the Action 9 The five Junctures II The Opening and its subdivisions 12 The Progression and its subdivisions I5 The Development and its subdivisions . 20 The Pause and its subdivisions 24 The Conclusion and its subdivisions 28 Sixfold application of the subdivisions 32 Twofold treatment of the Subject-matter 33 The five kinds of Intermediate Scene 33 Asides, Confidential Remarks, and the like 36 Conclusion of the First Book 38

BooK Two 40 Characteristics of the Hero . 40 The four types of Hero 40 The Hero as lover 42 Companions of the Hero 44 The Opponent of the Hero 45 Qualities of the Hero 45 The three kinds of Heroine . 48 The Hero's wife as Heroine 49 A maiden or another's wife as Heroine 52 A courtezan as Heroine 53 Classification of Heroines according to their relations with the Hero . 54 Messengers of the Heroine 58 The twenty natural graces of the Heroine 58 Assistants of the Hero when a king 65 Grouping of characters according to rank 67 The Gay Style of Procedure . 67 The Grandiose Style of Procedure 70

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CONTENTS xi

The Horrific Style of Procedure PAGE

Other Styles of Procedure . 71 73 Employment of the Styles of Procedure Local characteristics of a drama . 74 74 Language of the various characters 75 Prescribed modes of address 76 Conclusion of the Second Book 77

BOOK THREE 79 The Nataka as the typical variety of drama . 79 The beginning of a play 79 The Eloquent Style 8I The Introduction and its various forms 82 The subdivisions of the Vithi 84 Use of these introductory elements 88 Selection of the Principal Subject 89 Adaptation of the story 89 Arrangement of the dramatic structure 90 Appropriate arrangement of the beginning . 90 Characteristics of an Act 9I The Sentiments and their uses 92 Actions not permitted on the stage 93 The contents of an Act 93 The number of Acts in the Nātaka 94 Description of the Prakarana 94 Description of the Nātikā 95 Description of the Bhāna 98 The forms of Gentle Dance . 99 Description of the Prahasana 99 Description of the Dima 100 Description of the Vyāyoga . IOI Description of the Samavakāra I02 Description of the Vithi I03 Description of the Utsrstikanka 104 Description of the Ihamrga 104 Conclusion of the Third Book I05

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xii CONTENTS

BOOK FOUR PAGE 106

Sentiment and its production 106 Determinants and Consequents defined. 106 A State defined 108 The Involuntary States 108 The thirty-three Transitory States 109 The Permanent States I24 Fourfold character of the Sentiments I27 Sentiment defined. I29 The Erotic Sentiment I30 Varieties of the Erotic Sentiment . I3I Privation and its stages I32 Separation and its varieties . I34 Union and its characteristics 140 The Heroic Sentiment . I4I The Odious Sentiment. I4I The Furious Sentiment I42 The Comic Sentiment . 143 The Marvelous Sentiment I45 The Terrible Sentiment 145 The Pathetic Sentiment 146 Various matters omitted in this work 147 Conclusion of the Fourth Book 148 Conclusion of the entire work I48

APPENDIX : Classification of the sixteen types of Heroine . 149

ADDENDA I50

INDEX OF SANSKRIT TECHNICAL TERMS I51 GENERAL INDEX 159

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BIBLIOGRAPHY

Böhtlingk, Otto: Zur Kritik und Erklärung verschiedener indi- scher Werke. 43. Daçarūpa. In Mélanges asiatiques 7. 574- 577. Cimmino, Francesco: L'uso delle didascalie nel dramma indiano. In Memorie della Reale Accademia di Archeologia, Lettere e Belle Arti, 2 (1911), p. 131-205. (Published separately, with the same pagination, Napoli, 1912.) Hall, Fitzedward: The Daśa-rūpa, or Hindu Canons of Drama- turgy, by Dhananjaya. Calcutta, 1865. Preface, pages I-39. Kale, Moreshwara Rāmachandra: The Sāhityasārasangraha, being a treatise on Indian Poetics based on the works of Dandin, Dhananjaya, Mammata, Vishwanatha, Jagannatha, etc. Part I. Bombay, 1891. Lévi, Sylvain : Le Théatre indien. Paris, 1890. Regnaud, Paul: La Rhétorique Sanskrite. Paris, 1884. Schmidt, Richard: Beiträge zur indischen Erotik. Leipzig, 1902. (Second edition, Berlin, 19I1.)1 Trivedī, Kamalāśankara Prāņaśankara: The Pratāparudrayaśo- bhūșaņa of Vidyānātha. Bombay, 1909. Notes, pages I-68. 'In spite of the date on the title-page, this edition appeared in the autumn of 1910. It is not nearly so useful as the first edition, much of the Sanskrit original text being omitted, but I have added references to its pages throughout, for the convenience of scholars.

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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-Purāņa [AP.]. Ed. Rājendralāla Mitra, Calcutta, 1879. (For reference to the ed. of Tarkaratna and the tr. of Dutt, add I to the chapter numbers after chapter 221.) Anargharaghava of Murāri. Ed. Durgāprasād and Parab, 2d ed., Bombay, 1894. Amaruśataka [Amaru]. Ed. Simon, Kiel, 1893. Alamkāra of Vāgbhata, see Vāgbhațālamkāra. Alamkāraśekhara of Keśavamiśra. Ed. Sivadatta and Parab, Bombay, 1895. Uttararāmacarita of Bhavabhūti [Uttararāma.]. Ed. Ratnam Aiyar and Parab, Bombay, 1899. Karpūramañjarī of Rājaśekhara. Ed. Konow and Lanman, Cam- bridge, Mass., 1901 (Harvard Oriental Series, vol. 4). Kāmasūtra of Vātsyāyana. Ed. Durgāprasād, Bombay, 1891. Kāvyaprakāśa of Mammața. Ed. Vāmanāchārya, 2d ed., Bom- bay, 1901. (This work may be consulted also in the translation of Gangānātha Jha, Benares, 1898, where the sections are cor- respondingly numbered.) Kāvyapradīpa of Govinda. Ed. Durgāprasād and Parab, Bom- bay, 1891. Kāvyānuśāsana of Vāgbhata [Vāgbh. Kāvyān.]. Ed. Śivadatta and Parab, Bombay, 1894. Kāvyānuśāsana of Hemacandra [Hem. Kāvyān.]. Ed. Śivadatta and Parab, Bombay, 1901. Kāvyālamkāra of Rudrața [Rudr. Kāvyāl.]. Ed. Durgāprasād and Parab, Bombay, 1886. Kirātārjunīya of Bhāravi. Ed. Godabole and Parab, Bombay, 1885. Kumārasambhava of Kālidāsa. Ed. Pansīkar, Bombay, 1908. xiv

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CONSPECTUS OF EDITIONS OF TEXTS XV

Candrāloka of Jayadeva. Ed. Jīvānanda Vidyāsāgara, 2d ed., Calcutta, 1906. Dhvanyaloka of Anandavardhana. Ed. Durgāprasād and Parab, Bombay, 1891. (This work may be consulted also in the trans- lation of Jacobi, ZDMG. 56-57.) Navasāhasānkacarita of Padmagupta (also called Parimala). Ed. Vāmana Shāstrī Islāmpurkar, Bombay, 1895 (Bombay Sanskrit Series, no. 53). Nāgānanda of Harșadeva [Nāgān.]. Ed. Brahme and Paran- jape, Poona, 1893. Nītisataka of Bhartrhari [Nītiś.]. In Bhartrhari-viracitam śataka- trayam, 2d ed., Bombay (Nirnaya Sagara Press), 1891. Pratāparudrayaśobhūșaņa of Vidyānātha [Pratāpar.]. Ed. Tri- vedī, Bombay, 19091 (Bombay Sanskrit and Prākrit Series, no. 65). Priyadarśikā of Harsadeva. Ed. Krishnamachariar, Srirangam, 1906. Bālarāmāyaņa of Rājaśekhara. Ed. Govinda Deva Sāstri, Be- nares, 1869. Bhāratīyanātyaśāstra [Bh.]. Books I-14, ed. Grosset, Paris and Lyons, 1898; books 18, 19, 20, 24,2 ed. Hall, in The Daśa-Rūpa, Calcutta, 1865, p. 199-241; all other books are cited according to the edition of Sivadatta and Parab, Bombay, 1894. (Books 6 and 7 may be consulted also in Regnaud's Rhétorique San- skrite, Paris, 1884, appendix, p. I-42.) Bhāşābhūșana of Jas'want Singh. Ed. Grierson, in The Satsaiya of Bihārī, Calcutta, 1896, p. 23-135. (Hindī text.) Bhojaprabandha of Ballāla. Ed. Parab, 2d ed., Bombay, 1904. Mahānātaka (also called Hanuman-nāțaka). Ed. Jīvānanda Vi- dyāsāgara, 2d ed., Calcutta, 1890. Mahāvīracarita of Bhavabhūti [Mahāvīra.]. Ed. Ratnam Aiyar, Rangachariar, and Parab, Bombay, 1892. ' The method of numbering sections in this publication is irregular and utterly impractical. The printer has made matters worse by omitting the section-numbers in many places. To facilitate reference I have frequently added page-numbers to the citations. 'The last of the four books edited by Hall, really book 24, bears the number 34 in his text. I*

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xvi · CONSPECTUS OF EDITIONS OF TEXTS

Māgha-kāvya, see Šiśupālavadha. Malatīmadhava of Bhavabhuti [Mālatīm.]. Ed. Telang, Bombay, I892. Mālavikāgnimitra of Kālidāsa [Mālav.]. Ed. Parab, Bombay, I890. Mudrārāksasa of Visākhadatta. Ed. Telang, 2d ed., Bombay, 1893 (Bombay Sanskrit Series, no. 27). Reference is made also to the edition of Kale, Bombay, 1900. Mrcchakațika of Sūdraka [Mrcch.]. Ed. Parab, Bombay, 1900. Meghadūta of Kālidāsa. Ed. Parab, 5th ed., Bombay, 1902. Raghuvamśa of Kālidāsa. Ed. Parab, 4th ed., Bombay, 1892. Ratirahasya of Harihara (said to form part of a work entitled Śṛgāradīpikā or Śrngārabhedapradīpa).1 Ed. Schmidt, ZDMG. 57 (1903), p. 705-739. Ratnāvalī of Harșadeva [Ratn.]. Ed. Parab, Bombay, 1895. Rasagangadhara of Jagannatha [Rasagang.]. Ed. Durgāprasād and Parab, Bombay, 1888. Rasataranginī of Bhānudatta [Rasatar.]. Ed. Regnaud, in his Rhétorique Sanskrite, Paris, 1884, appendix, p. 43-70. Rasamañjarī of Bhānudatta. Ed. Tailanga, Benares, 1904 (Be- nares Sanskrit Series). Rasaratnahāra of Śivarāma Tripāthin [Rasaratn.]. Published in Kāvyamālā, part 6, Bombay, 1890, p. 118-143. Vāgbhațālamkāra of Vāgbhața [Vāgbhațāl.]. Ed. Sivadatta and Parab, Bombay, 1895. Vikramorvaśī of Kālidāsa. Ed. Parab and Telang, Bombay, 1888. Viddhaśālabhañjikā of Rājaśekhara. Ed. Arte, Poona, 1886. Veņīsamhāra of Nārāyana Bhatta [Veņī.]. Ed. Parab and Mād- gāvkar, Bombay, 1898. Vairāgyaśataka of Bhartrhari [Vairāgyaś.]. In Bhartrhari- viracitam śatakatrayam, 2d ed., Bombay (Nirņaya Sāgara Press), 1891. 1 With reference to the name of this treatise, cf. Leumann, ZDMG. 58 (1904), p. 203: 'Was zunächst den Titel betrifft, so sprechen wir besser von Ratirahasya als von Srngāradīpikā; denn einstweilen ist eben nur die Ratirahasya-Partie der Sngāradīpikā-und selbst sie vielleicht nicht voll- standig-zur Hand.' Cf. in general Schmidt, Beitrage sur indischen Erotik, 2d ed., Berlin, I9II, p. 72.

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CONSPECTUS OF EDITIONS OF TEXTS xvii

Šakuntalā of Kālidāsa. Ed. Godabole and Parab, 3d ed., Bom- bay, 1891. Śarngadharapaddhati [Sārng.]. Ed. Peterson (vol. I, text; no more published), Bombay, 1888 (Bombay Sanskrit Series, no. 37). Šiśupālavadha of Māgha [Māgha]. Ed. Durgāprasād and Śiva- datta, 4th ed., Bombay, 1905. Srngāratilaka of Rudrata [Rudr. Śṛng.]. Ed. Pischel, Kiel, 1886. (This work may be consulted also in Kāvyamāla, part 3, Bom- bay, 1887, p. III-I52.) Śrgāratilaka (attributed to Kālidāsa). Ed. Haeberlin, in his Kávyasangraha: a Sanscrit anthology, Calcutta, 1847, p. 14-17. Śṛgāradīpikā of Harihara, see Ratirahasya. Srgārasataka of Bhartrhari [Śṛngāraś.]. In Bhartrhari-viracitam śatakatrayam, 2d ed., Bombay (Nirņaya Sāgara Press), 1891. Sarasvatīkaņțhābharaņa of Bhojarāja [Sarasv.]. Ed. Jīvānanda Vidyāsāgara, 2d ed., Calcutta, 1894. Reference is made also to the edition of Borooah [ed. B.], Calcutta, 1883.2 Sāhityakaumudī of Vidyābhūșana. Ed. Sivadatta and Parab, Bombay, 1897. Sāhityadarpaņa of Viśvanātha Kavirāja [SD.]. Ed. Roer, Cal- cutta, 1851. Tr. Ballantyne and Mitra, Calcutta, 1875. (Bib- liotheca Indica.) Occasional reference is made also to the edition of Dviveda and Parab, Bombay, 1902. Sāhityasāra of Acyutaśarman (or Acyutarāya). Bombay (Nir- naya Sāgara Press), 1906. Subhāșitāvali of Vallabhadeva. Ed. Peterson and Durgāprasāda, Bombay, 1886 (Bombay Sanskrit Series, no. 31). Hanuman-nāțaka, see Mahānāțaka. Hālasaptaśatī [Hāla]. Ed. Weber, Das Saptaçatakam des Hāla, Leipzig, 1881. 'The title of this work is as follows: Vamana Kavyalamkara Sutravrtti, Vagbhata Alamkara, and Sarasvatikanthabharana. Edited by Anundoram Borooah. With a few notes and extracts from old commen- taries. Calcutta, 1883.

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LIST OF ABBREVIATIONS AND SYMBOLS

AP. = Agni-Purāņa. B. = Anundoram Borooah (editor of the Sarasvatī- kaņțhābharaņa). BB. = Bezzenberger's Beiträge. Bh. = Bhāratīya-nāțyaśāstra. BR. = Böhtlingk and Roth's Sanskrit-Wörterbuch, 7 volumes, St. Petersburg, 1855-1875. com. = commentary, commentator. DR. = Daśarūpa. ed. = edited by, edition. Ep. Ind. = Epigraphia Indica. ex. = example. H = text of the Dasarūpa in Hall's edition. Hall = Hall's edition of the Daśarūpa, Calcutta, 1865. Hem. Kāvyān. = Hemacandra's Kāvyānuśāsana. Ind. Ant. = The Indian Antiquary. JAOS. = Journal of the American Oriental Society. JRAS. = Journal of the Royal Asiatic Society. Lévi =Lévi's Théatre indien, Paris, 1890. Mahāvīra. = Bhavabhūti's Mahāvīracarita. Mālatīm. = Bhavabhūti's Mālatīmādhava. Mālav. = Kālidāsa's Mālavikāgnimitra. Mrcch. = Sūdraka's Mrcchakațika. Nāgān. = Harşadeva's Nāgānanda. P = text of the Dasarūpa in Parab's edition. Pratāpar. = Vidyānātha's Pratāparudrayaśobhūșaņa. Rasagang. = Jagannātha's Rasagangādhara. Rasaratn. = Śivarāma Tripāțhin's Rasaratnahāra. Rasatar. = Bhānudatta's Rasataranginī. Ratn. = Harşadeva's Ratnāvalī. xviii

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LIST OF ABBREVIATIONS AND SYMBOLS xix

Regnaud = Regnaud's Rhétorique Sanskrite, Paris, 1884. Rudr. Kāvyāl. = Rudrața's Kāvyālamkāra. Rudr. Srng. = Rudrata's Sṛngāratilaka. Sarasv. = Bhojarāja's Sarasvatīkaņțhābharaņa. Śārṅg. = Śārngadharapaddhati. Sb. = Sitzungsberichte. Schmidt = Schmidt's Beiträge zur indischen Erotik, Leip- zig, 1902; 2d edition, Berlin, 1911 (actually published in 1910). SD. = Viśvanātha Kavirāja's Sāhityadarpaņa. Skm. = Śrīdharadāsa's Saduktikarņāmrta (see Auf- recht, ZDMG. 36). Spr. = Böhtlingk's Indische Sprüche, 2d edition, St. Petersburg, 1870-1873. tr. = translated by, translation. Uttararāma. = Bhavabhūti's Uttararāmacarita. V = text of the Daśarūpa in Vidyāsāgara's edition. v. = verse, metrical portion. Vāgbhațāl. = Vāgbhațālamkāra. Vāgbh. Kāvyān. = Vāgbhața's Kāvyānuśāsana. Veņī. = Nārāyaņa Bhatta's Veņīsamhāra. WZKM. =Wiener Zeitschrift für die Kunde des Mor- genlandes. ZDMG. = Zeitschrift der Deutschen Morgenländischen Gesellschaft.

° indicates the omission of the preceding or following part of a word or stanza. Il indicates parallel or identical passages in other Hindu works, chiefly dramaturgic and rhetorical.

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INTRODUCTION

I. CONCERNING THE DASARŪPA OF DHANAMJAYA

The author and his patron. The Dasarūpa,1 or Treatise on 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 tenth century A.D., during the reign of Vākpatirāja II, or Muñja.2 The monarch's name is given by Dhanamjaya in his concluding stanza (DR. 4. 91), where he states that his 'intelligence was derived from discourse with the sovereign lord Muñja.' This ruler, who had a great variety of names or epithets (Muñja, Vākpati, Utpalarāja, Amoghavarsa, Prthivīvallabha, Srīvallabha),8 was the seventh

1 The name appears as Dasarūpa or, more frequently, as Dasarūpaka, with the suffix -ka. For 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 lines (4. 91), as well as the 'implied support of Dhanika,' who gave his commentary the title Daśarūpāvaloka. Cf. also the parallel forms Daśarūpa-țīkā and Daśarū- paka-țikā noted as names of another commentary by Aufrecht, Cat. Cod. Oxon. p. 135 b. 'See Bühler (and Zachariae), 'Ueber das Navasāhasānkacharita des Padmagupta oder Parimala,' in Sb. der phil .- hist. Classe der kais. Akad. der Wiss. su Wien, 116 (1888), p. 620-625 (= English translation, Ind. Ant. 36. 168-170). The last (15th) section of the first prakāsa of Merutunga's Prabandhacintāmani (completed April, 1306) is devoted to an account of Muñja; see the translation by Tawney, Calcutta, 1901 (Bibliotheca Indica), p. 30-36. Muñja is mentioned by Sambhu in his Rājendrakarņapūra, v. 17 (Aufrecht, Catalogus Catalogorum, I. 460 b). For inscriptions recording land-grants by Munja-Vakpati see Archaeol. Survey of Western India, vol. 3 (Burgess), London, 1878, p. 100 (given also at Ind. Ant. 6. 48-53) ; Ind. Ant. 14. 159-161. 'Cf. Bühler, op. cit. p. 620-621; Ep. Ind. I. 226. See also p. xxiii, below. For an inscription giving the name Utpalarāja see Ep. Ind. 5, p. vi. xxi

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xxii INTRODUCTION

rāja of the Paramāra dynasty of Mālava.1 He came to the throne in 974 A.D., succeeding his father Siyaka, and held sway until about 995,2 when he was defeated, taken captive, and exe- cuted by the neighboring Cālukya king Tailapa II (or Taila),8 whom he had, according to the author Merutunga, conquered in six previous campaigns. Muñja was not only an intrepid warrior, but a poet5 and patron of letters as well. Padmagupta, the author of the Navasāhasānka- 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 Halā- yudha also, in commenting on the metrical treatise of Pingala, includes stanzas in praise of Muñja's liberality.8 Furthermore 1 For inscriptions regarding this dynasty see Ep. Ind. I. 222-238; 2. 180- 195. Cf. Bühler, op. cit. p. 603-630; Fleet, 'The Dynasties of the Kanarese Districts,' 2d ed., p. 432, in Bombay Gazetteer, I (1896), pt. 2; Bhandarkar, 'Early History of the Dekkan,' ibid. p. 214. ' On the date see Bühler, op. cit. p. 624-625. ' Munja's execution is attested by Calukya inscriptions; see Ind. Ant. 12. 270; 16. 18, 23; 21. 167-168; Ep. Ind. 2. 212-221. Cf. Kielhorn, Ep. Ind. 2. 214-215. 'Bühler (op. cit. p. 623) gives the text as follows: sapathadanapūrva- kam nişidhya tam purā sodhā nirjitam ity avajnatayā paśyann atirekavaśāt tām saritam uttīrya skandhāvāram nivesayām asa. Cf. Prabandhacin- tāmaņi, tr. Tawney, Calcutta, 1901, p. 33. Bühler inadvertently translated sodhā as 'sechzehnmal,' and this mistake has been perpetuated by him, Ep. Ind. I. 227, and by Vincent Smith, Early History of India, p. 317, 328 (2d ed. p. 365, 389). - On Muñja's military exploits see Bühler, Ep. Ind. I. 227-228. His defeat by Balirāja, a Cāhamāna chief, is mentioned in an inscription of about 1262 A.D .; see Ep. Ind. 9. 71 .- For the legend- ary account of Muñja, as given in the Bhojaprabandha, see Lassen, Indische Alterthumskunde, 3 (Leipzig, 1858), p. 837-841. " Munja, the author of the Gaüdavaho, lived early in the eighth century, under King Yasovarman. Peterson's identification of him with the Para- māra ruler Muñja-Vākpati (Subhāșitāvali, p. 115) is erroneous. A similar mistake is found in Kāvyamald, part I (2d ed., Bombay, 1893), p. 131, where one of the editors assigns to Utpalarāja (= Muñja) the authorship of the Pratyabhijñāsūtra, a work composed by a Saivite guru named Utpaladeva, who lived about 930 A.D. ' Navasāh. I. 8: kavibandhava; II. 93: kavimitra. ' Navasāh. I. 7. The text is given below, p. xxvi, note I. ' For the text of one of them see p. xxv, note 7, below.

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INTRODUCTION xxiii

Dhanika, poet and commentator, held an official position at the court1; Dhanamjaya claims, as we have seen, to have profited by conversations with his august ruler; and the work of other authors, to be mentioned below, bears added witness to the literary activity during his reign. Some indication that Muñja himself was regarded as a poet2 is to be found in the fact that Merutunga depicts the captive king as versifying his plaints.8 That he actually was a writer of verse, however, is clearly estab- lished by quotations of some of his lines by later writers and in anthologies. One of his stanzas, for example, is twice quoted by Dhanika in his commentary on the Daśarūpa, the author being given in the one case as 'Srī-Vakpatirajadeva' and in the other as 'Srī-Muñja.' Another stanza is reproduced by the later Paramāra king Arjunavarman (who ruled early in the thir- teenth century) in his Rasikasamjīvanī, a commentary on the Amaruśataka, with the statement that it was composed by 'our ancestor Muñja, whose other name was Vākpatirāja.'5 The poet Ksemendra (fl. 1037-1066 A.D.) quotes three different stanzas by 'Śrīmad-Utpalarāja,' in as many of his works.e Two of these, found respectively in the Suvrttatilaka and the Kavikanthābharana, are not otherwise known; the third, a well- known stanza beginning ahau vā hāre va, recurs in one of the Centuries attributed to Bhartrhari, where it is probably to be 1 Cf. page xxxii, below. 'In connection with Muñja's literary inclinations it is of interest to note that his nephew, Bhojadeva, was the reputed author of the Saras- vatīkanthābharana, a rhetorical work of some importance (often referred to in my notes). Muñja is mentioned in one of its stanzas (I. 83, p. 60). 8 Prabandhacintāmani, tr. Tawney, Calcutta, 1901, p. 34-35. - Verses are attributed to Muñja also in Ballala's Bhojaprabandha. For a list of these and a record of their recurrences in other works see Oster, Die Rezensionen des Bhojaprabandha, Darmstadt, 1911, p. 24 (dissertation). 'See the com. on DR. 4. 66, 67. On Muñja's various names and epi- thets see above, p. xxi. ' His words are: asmatpūrvajasya Vākpatirajāparanāmno Muñjadevasya. See Amaruśataka, ed. Durgāprasād and Parab, Bombay, 1889, p. 23. · Suvrttatilaka 2. 6 (Kāvyamālā, part 2, ed. Durgāprasād and Parab, Bombay, 1886, p. 37); Kavikaņțhābharaņa 2. I (Kāvyamālā, pt. 4, 1887, p. 125); Aucityavicāracarcā 16 (Kāvyamālā, pt. I, 2d ed., 1893, p. 131).

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xxiv INTRODUCTION

regarded as an interpolation.1 Vallabhadeva included this same stanza and one other in his anthology,2 and two further specimens of the royal author's verses are found in the Särngadharapaddhati (c. 1363 A.D.).3 Contemporaries of Dhanamjaya. Concerning Dhanamjaya4 himself nothing is known save his authorship of the Daśarūpa and his relations with King Muñja, aside from the fact that a stanza attributed to him is included in Śrīdharadāsa's anthology, the Saduktikarnamrta.5 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 Dhanika, son of Visnu, who not only wrote poetry in Sanskrit and in Prākrit, but also prepared the current commentary on the Daśarūpa. 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 Dhārā, the Mālava capital, under Vākpati and his predecessor Sīyaka.7 He was the author of the Pāiyalacchī, a Prākrit vocabu- 1 Vairāgyaśataka 40 (=Spr. 844). In Sārng., where this stanza also occurs (4102), it is attributed to Bhartrhari. " Subhāşitāvali 3413, 3414. The author is given as 'Srī-Harșadevā- tmaja-Vākpati.' * Sārng. 126 (by 'Vākpatirāja'), 1017 (by 'Utpalarāja'). - According to Aufrecht, Catalogus Catalogorum, 1. 64 b, Utpalarāja is mentioned or quoted also in the Saduktikarņāmrta of Śrīdharadāsa. (But I find no mention of this at ZDMG. 36. 557, in Aufrecht's article on Skm.) *On a different (and probably later) Dhanamjaya, who was the son of Vasudeva and who wrote a kāvya called Dvisamdhāna, or Rāghava- pāņdavīya, as well as a brief lexicographical work entitled Nāmamālā, see Zachariae, 'Die indischen Worterbücher (Kosa),' in Grundriss der indo-arischen Philogie, 1. 3 B, p. 27-28 (Strassburg, 1897). 8 Skm. 3. 211; cf. Aufrecht, ZDMG. 36 (1882), p. 533-534- · See Paiyalacchi 277. ' Merutunga mentions both Dhanapala and his brother Sobhanamuni; see Prabandhacintāmani, tr. Tawney, Calcutta, 1901, p. 52-62. He errone- ously places them both at the court of Bhoja, either by inadvertence or to add greater luster to that monarch's entourage; cf. Bühler, BB. 4 (1878), p. 73-75. Dhanapāla is mentioned also by Sāntisūri in his Pra-

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INTRODUCTION xxV

lary, completed in 972-973 A.D.,1 and, after his conversion to Jainism, of the Rsabhapancāsikā, fifty verses in Prākrit in honor of Rsabha, the first prophet of the Jains. A work named Tilakamañjarī is also ascribed to him.2 Dhanapāla's younger brother, Sobhanamuni, who was an ardent Jain and is said to have converted his brother to his religious belief after pro- longed efforts, was also one of the literary men of this time, having composed the Sobhanastutayas, also called Caturvimśatikā, a work on which Dhanapāla later prepared a commentary.8. Another contemporary writer, Bhatta Halayudha, who probably spent the latter part of his life in Mālava, is known to have been the author of three technical works.4 Presum- ably the oldest of these is a lexicographical compendium, the Abhidhanaratnamala5; the Kavirahasya was written about the year 950 at Manyakheta at the court of King Krsnarāja III6; and the Mrtasamjivani, a commentary on the Pingalachandahsūtra, was prepared considerably later at Dhāra at the court of King Muñja, whose liberality is appreciatively referred to in some of the stanzas.7 The poet Padmagupta (also called Parimala),

bhavakacarita. On both Dhanapala and Sobhanamuni see Bühler, Sb. Akad. Wien, 99 (1882), p. 568-572. 1 The text of the Paiyalacchi has been published by Bühler, BB. 4 (1878), p. 70-166. On the date of completion of this work see ibid. p. 71. 'The text of the Tilakamañjari, ed. by Bhavadatta Sāstrī and Parab, was published at Bombay in 1903 (Kāvyamālā series, no. 85). ' The text of Sobhana's work has been edited by Jacobi, ZDMG. 32 (1878), p. 509-534. On the com. see Bühler, Sb. Akad. Wien, 99 (1882), p. 570-572. ' On Halāyudha see Heller, Halāyudha's Kavirahasya, Göttingen, 1894, p. 20-32 (dissertation). 5 Cf. Zachariae, 'Die indischen Wörterbücher (Kośa),' in Grundriss der indo-arischen Philologie, I. 3 B, p. 26 (Strassburg, 1897). The text . has been edited by Aufrecht, London, 1861. · Published by Heller, Haldyudha's Kavirahasya, in beiden Recensionen herausgegeben, Greifswald, 1900. ' This commentary has been printed with Pingala's Sütras in the edi- tions of Viśvanātha Sāstrī, Calcutta, 1874 (Bibl. Ind.), and of Kedara- nātha and Panashikar, Bombay, 1908 (Kāvyamālā series, no. 91). One

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son of Mrgankagupta, found favor, as was mentioned above, with Vakpatiraja and later with his successor Sindhurāja, at whose direction he wrote the Navasāhasānkacarita, a mahākāvya in glorification of the sovereign.1 Dhanika quotes one of his stanzas in his commentary on the Daśarūpa.2 To this same period belongs also the Jain author Amitagati, who finished his Subhāșitasamdoha, or Subhāșitaratnasamdoha, in 993 A.D., in the reign of Muñja.3 Another work of his, entitled Dharma- parīksā, was written in the year 1014.4 Scope and importance of the Dasarūpa. In the Daśarūpa Dhanamjaya presents, in the form of a brief manual, the rules

of the references to Munja-Vakpati (for a list of which see Weber, Indische Studien, 8. 193-4) is as follows (4. 20) :- sa jayati Vakpatirajah sakalarthimanorathaikakalpataruḥ pratyarthibhūtaparthivalakşmīhathaharanadurlalitah. Peterson, Subhāşitāvali, Bombay, 1886, p. 115, states that this verse is quoted in the Daśarūpāvaloka, buť I do not find it in the printed text. 1 See Bühler and Zachariae, 'Ueber das Navasāhasānkacharita des Padmagupta oder Parimala,' in Sb. der phil .- hist. Classe der kais. Akad. der Wiss. zu Wien, 116 (1888), p. 583-630 (English translation of this article: Ind. Ant. 36. 149-172). The text has been published by Vamana Shāstrī Islāmpurkar, Bombay, 1895. Padmagupta's chief reference to his royal patrons is as follows (Navasāh. I. 7, 8) : -

Sarasvattkalpalataikakandam vandāmahe Vākpatirājadevam yasya prasādād vayam apy ananya- kavīndracīrņe pathi samcarāmah.

divam yiyāsur mama vāci mudrām adatta yām Vakpatirajadevaḥ tasyānujanmā kavibāndhavasya bhinatti tam samprati Sindhurajah.

2 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 Sāstri and Parab, Bombay, 1903 (Kāvyamālā series, no. 82). 'On this work see Mironow, Die Dharmapariksā des Amitagati, Leip- zig, 1903 (dissertation).

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INTRODUCTION xxvii

of dramatic composition originally laid down in the great com- pendium of Hindu dramatic science, the Bhāratīyanātyaśāstra. That monumental work, although regarded as authoritative and even invested by tradition with the character of semidivine revelation, was altogether too cumbersome for ordinary use and had the additional disadvantages of diffuse style and a somewhat unsystematic arrangement. From the point of view of the dramatist, particularly, it was unsatisfactory, since the purely dramaturgic portions were submerged, so to speak, in a mass of histrionic and general prescriptions. The author of the Dasarūpa accordingly aims, as he himself says, to restate the principles of dramaturgy in more concise and systematic form.1 He not only professes great reverence for the rules of Bharata,2 but actually adheres for the most part to the terminology and definitions attributed to the venerated sage. Dhanamjaya has a somewhat different classification of heroines (DR. 2. 24), and in his treat- ment of the Erotic Sentiment (DR. 4. 58, etc.) he introduces a new distinction (which, it may be noted in passing, apparently found no favor, for it is ignored by all the later authorities). At 3.48, after quoting (though without indication of source) part of the definition of the nātikā given in Bh., he ventures to modify it in the direction of greater latitude. The other variations be- tween the two works are not of any special significance and are few in number.8 The excellence of Dhanamjaya's presentation and its con- venient form gave the Daśarūpa a prominence that it has retained to the present day. As a compact exposition of the dicta of the Bhāratīyanātyaśāstra, it largely superseded that work, manu- scripts of which are consequently extremely rare, and it so com- pletely supplanted such dramaturgic treatises as existed previous 1 Cf. DR. I. 4 d: kim cit pragunaracanayā lakşaņam samkşipāmi. ' Cf. DR. I. 4 c: pratipadam aparam lakşma kah kartum īste. 'The chief points to be noted, with the sections of DR. concerned, are: variations in terminology: I. 31, 79, 80, 96, 107, 120; 2. 80, 86; divergencies in definition: 1. 41, 48, 50, 102; difference in term and definition: I. 85, 92; omission of a term in DR .: I. 80. See my notes on these sections.

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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 later rhetorical and dramaturgic treatises and in the native commentaries on Hindu plays. In the Pratāparudrīya, for example, we find ten quotations from the Daśarūpa,1 the source being indicated in all but one of the cases; three other pas- sages, also ascribed to the Daśarūpa, are not to be found in our text.2 The Sähityadarpana, furthermore, not only refers to the Daśarūpa8 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 Daśarūpa and recogni- tion of its value is found also in other dramaturgic treatises. Style and method of treatment. In style the Dasarūpa differs very largely from the Bhāratīyanātyaśāstra (upon which, as stated above, it is professedly based). The latter is very diffuse, abounds in transitional and introductory formulas,5 and often uses stock phrases to fill incomplete lines.6 The Daśarūpa, on the other hand, is extremely condensed and avoids all formulaic 'padding' except where it is absolutely required by the meter .? In many cases, however, brevity is attained at the expense of clearness, and not a few definitions would be absolutely obscure except for the help to be derived from the commentary and the 1 The passages quoted are: DR. I. II, 15, 23 a, 27 a, 28 b, 34, 36, 115 b; 3. 4; 4. I. (DR. I. 115 b is quoted at Pratäpar. 3. 35, p. 124; for the others see my notes on the various sections.) DR. is mentioned also at Pratāpar. 3, p. 131. 2 Pratāpar. 2, p. 46; 4, p. 221; 4, p. 228. For another pseudo-DR. rule see the com. on Anargharāghava, p. 7 (cf. Lévi, pt. 2, p. 4, 24). ' See my notes on DR. I. 50, 55. DR. 3. 37 is quoted, as by Dhanika, at SD. 316. Regarding these criticisms see my notes on DR. 2. 70, 71. 8 Cf. Bh. 18. 3 b; 18. 40; et passim. · Cf. Bh. 18. 112 b; 19. 83, 84; et passim. ' For examples of the occasional use of transitional phrases see DR. I. 38 (atha lakşanam) ; I. 67 (lakşanam ca praņīyate).

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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 technical terms, Dhanamjaya occasionally resorts to etymological explanations, on the supposition that the root of a word or its component parts will give a satisfactory idea of its meaning and application.2 As a typical example, and one which shows the method at its best, may be cited the treat- ment of the word ādhikārika in 1. 19. Analytic in character is the definition of the term vyabhicārin (4. 8)-

viśeşād ābhimukhyena caranto vy-abhi-cāriņah-

in which the author attempts to indicate the force of each of the components by a separate explanatory word. Other examples of etymologic interpretation are found at I. 9, 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- tunately refrains from foolish computation (so often found in later treatises8) as to the theoretically possible number of types of hero and heroine, but his commentator makes up for the defi- ciency in the former case.4 Meters and metrical considerations. The Daśarūpa is com- posed for the most part in the ordinary śloka meter regularly found in treatises of this kind. Eighteen stanzas, however, including the last section in each book, are written in other meters. A list of these is here given in the order of their occurrence. 1 Cf. DR. I. 61, 68, etc. 'Such explanations are frequently met with in the Upanisads; cf. for example, Brhad-Araņyaka Up. I. 2. 7; I. 3. 22, 23; I. 4. I; Chāndogya Up. I. 2. 10-12. ' See my notes on DR. 2. 45. *Cf. DR. 2. II, com.

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I. 3 āryā 4 44 āryā 4 sragdharā 57 indravajrā (6 lines) 6 indravajrā 79 vasantatilaka I29 vasantatilaka 80 śārdūlavikrīdita 2. 105 upajāti 81 śārdūlavikrīdita 3. 65 vasantatilaka 83 āryā (2 stanzas) 4. 9 sragdharā 90 vasantatilaka 15 āryā 91 indravajrā 35 sragdharā

One of these stanzas (4. 9), a veritable metrical tour de force, embodies in its four lines, without extraneous matter of any kind, the names of the thirty-three Transitory States. The second āryā stanza at 4. 83 is defective in all previous editions, lacking one syllabic instant in the second half of the first line. As indi- cated in the notes on that section, I have remedied this by a very simple emendation of the text. As might well be expected, 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 use of 'verse-fillers,' is much less frequent in the Daśarūpa than in other works of this kind, because of the compact arrangement of the material. Instances, however, occur here and there; cf. I. 27 (ākhya) ; 2. 49 b (tathā); etc. Tran- sitional phrases (such as atha laksanam), which occur in the Bhāratīyanātyaśāstra with almost unfailing regularity, are simi- larly but little employed, the two chief cases being at I. 38 and I. 67. Great advantage in versification is gained also by the alter- nation of such verbs and verbal forms as syāt, bhavet, isyate, smrta, mata, and parikīrtita. 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 I. 38c, 67, 82, 97; 2. 15, 83 b; 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

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INTRODUCTION xxxi

occasional substitution of the synonymous word for the term regularly employed. These variations may be conveniently grouped under six heads. The list of examples appended is prac- tically exhaustive (but see also my notes on 4. 84, 86, 87).

I. Addition or rejection of a suffix such as -ka or -na.

udghātya (3. 14) = udghātyaka janānta (I. 125) = janāntika anumā (1. 75) = anumāna

praveśa (1. 118) = praveśaka avapātana (2. 88) = avapāta nirodhana (1. 60) = nirodha vişkambha (1. 116) = vişkambhaka paribhava (1. 47) = paribhavand samlāpa (2. 83) = samlapaka paribhāşā (1. 102) = paribhāşaņa samkşiptikā (2. 88) = samkşipti bhāşā (I. 97) = bhāşaņa

2. Substitution of a different derivative of the same basic stem.

alasatā (4. 9) = ālasya capalată (4. 81) = capala utsuka (4. 9) = autsukya udāhrti (1. 71) = udāharaņa parikriyā (1. 40) = parikara paryupāsti (1. 61) = paryupāsana augrya (4. 9, 57) = ugratā svīyā (2. 25) = svā prägalbhya (2. 57) = pragalbhata vastūtthāna (2. 88) = vastūtthāpana capala (4. 9) = cāpala

3. Addition, change, or omission of a prefix. dhtrapraśanta (3. 44) = dhīrasānta sahacārin (4. 84) = vyabhicārin praharsa (4. 79) = harşa smaya (4. 44) = vismaya sammoha (4. 86) = moha vimarśa (3. 60, 61) = avamarśa yatna (I. 28) = prayatna vega (4. 81) = āvega samcarin (4. 54) = vyabhicarin

4. Change or omission of one of the elements of a compound. upasamhāra (1. 97) = kāvyasamhāra prāptisambhava (1. 66) = prāptyāśā dyuti (1. 58) = narmadyuti phalagama (I. 28) = phalayoga sūtrabhrt (2. 100) = sūtradhāra

5. Use of a different, but related, simple or compound term. utkd (4. 75) = virahotkanthita śamaprakarşa (4. 53) = śantarasa bhayotkarşa (4. 52) = bhayānaka sūtrin (2. 102; 3. 10) = sūtradhāra

6. Substitution of an entirely different word.

īrşyā (4. 9) = asūyā upasamhrti (1. 36) = nirvahaņa svapa (4. 87) = nidrā arti (4. 80) = vyādhi It

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xxxii INTRODUCTION

It is probably to these same considerations of meter that we must ascribe the adjectival use, in more than twenty cases, of numeral derivatives in -dhā, 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; daśavidha, 3. 54d). Clearly adjectival in construction and signification, though not in form, are the following words, most of which are used as predicates :

dvidhā: I. 17, 125; 3. 10 b, 45 a; 4. 2 b. dvedhā: 2. 31, 79 d. tridhā: I. 23 a, 122; 2. 24, 79 c; 4. 58, 67 d, 71. tredhā: 2. 79 d; 3. 45 d, 55; 4. 79 d. caturdhā: 2. 2, 77 a, 88 a, 93. daśadhā: I. IO.

As doubtful cases, possibly truly adverbial, may be added the following : dvidhā, 3. 15 b; 4. 65 a; dvedhā, I. 113; 3. 14 b; tridhā, 2. 79b; sodhā, I. III. The regular adverbial use is exemplified in tredhā, I. 23 a; pañcadhā, 3. 30a.

2. CONCERNING DHANIKA'S COMMENTARY ON THE DASARŪPA Authorship and date. In most of the manuscripts the Daśarūpa is accompanied by a Sanskrit commentary, in prose, entitled Daśarūpāvaloka,1 or 'Examination of the Daśarūpa.' Its author, Dhanika, son of Visnu,2 is described, in one of the manuscripts, as an officer (mahāsādhyapāla) of King Utpalarāja,8

' Hall (p. 4, notes) records that one of his manuscripts has, in one place, the variant form Daśarūpāloka. ' There are known also commentaries on this work by Nrsimha Bhatta (Aufrecht, Catalogus Catalogorum, I. 247 b, 248 a), by Pāņi, or Devapāņi (Aufrecht, 2. 53), by Ksoņīdhara Miśra (Hall, p. 4, notes), by Kuravirāma (Aufrecht, 2. 53). So far as I am aware, none of these have been made accessible in printed form. ' Wilson, Select Specimens of the Theatre of the Hindus, 3d ed., Lon- don, 1871, I. xx, xxi. Wilson's statement is reprinted by Hall, p. 3, notes.

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INTRODUCTION xxxii

who is, as we have seen, none other than Muñja, the patron of Dhanamjaya.1 This statement, together with the fact that the work contains (at 2. 65) a quotation from Padmagupta's Nava- sāhasānkacarita (a poem published after 995 A.D., in the reign of Sindhurāja), enables us to assign Dhanika's commentary ap- proximately to the end of the tenth century.2 It is consequently not at all impossible (though I do not regard it as probable) that our commentator is the same person as the Dhanika Pandita to whose son Vasantacarya a tract of land was granted in 974 A.D. by King Vākpati (=Muñja).8 This conclusion as to the age of the Daśarūpāvaloka would seem to be invalidated by the occur- rence, at the end of the first book (I. 129, com.), of a quotation from Kşemendra's Brhatkathāmañjari, a work composed about 1037 A.D., but the four lines in question occur in only one of the manuscripts and are generally admitted, for this and other reasons, to be a later interpolation .* It has been suggested, because of the similarity of the names and the identity of the patronymic, that the author of the Daarūpa and its commentator were one and the same person.5 This view is supported by the fact that the Dasarūpa is usually referred to in later treatises as the work of Dhanikae 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 stanzas in two places in his commentary (DR. 4. 66, 67). ' According to Jacob, JRAS. 1897, p. 304, Dhanika is quoted 16 times in the Sarasvatīkaņțhābharaņa (written about 1025 A.D.). 'Cf. Ind. Ant. 6 (1877), p. 51-53; Archaeol. Survey of Western India, vol. 3 (Burgess), London, 1878, p. 100. This grant was first described by Hall, Journ. As. Soc. Bengal, 30 (1861), p. 195-210. Cf. Hall, Vasavadattā, Calcutta, 1859, p. 55; Lévi, Journal asiatique, 8. série, 7 (1886), p. 221; Bühler, Sb. Akad. Wien, 116 (1888), p. 622, n. 2; Lacôte, Essai sur Guņādhya et la Brhatkatha, Paris, 1908, p. 14. The two ślokas are quoted also in Dhundhirāja's commentary on the Mudrārākșasa (ed. Telang, p. 53; ed. Kale, p. 12). Wilson, Theatre of the Hindus, I. xx. Cf. also Lévi, Journal asiatique, 8. série, 7 (1886), p. 220-22I. As, for instance, at SD. 313, 316, etc., and in other works. Cf. Lévi, Le Théatre indien, p. 17.

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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 Of other works by Dhanika only a few fragments have sur- vived 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 Kävyanirnaya, of which nothing further is known. His Avaloka also reveals him as a writer of poetry, since he cites twenty-four of his own stanzas, twenty in Sanskrit and four in Prākrit, as illustrations of Dhanamjaya's definitions.8 Two of these stanzas are included, under his name, in the Sarngadharapaddhati, and still another is found in that anthology without indication of authorship.4 Very probably Dhanika was a poet of some repute and belonged to the literary circle at King Munja's court,5 for we find his name mentioned with those of

1 At DR. 2. 34, for example, Dhanika gives two possible interpretations of the text without deciding which is the correct one; at 3. 40 his ex- planation seems to read a technical meaning into an apparently simple line; at 4. 52 we find the form vikasa substituted for the vikasa of the text (this may, of course, be merely a manuscript error). See my notes on these sections. I regard Hall's views (p. 9, notes) regarding Dhanika's interpretation of tulyasamvidhānaviseşaņam (DR. I. 22) as mistaken; the commentator seems to give the meaning intended by the author in this passage. ' Cf. Hall, p. 2-4. That they were brothers 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 (Prākrit), 51 (Prākrit), 52, (Prākrit), 57, 60, (Prākrit), 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 spurious, chiefly on the ground that its style was 'too pedestrian for so ornate a stylist as Dhanika.' See Hall, p. 4. notes. * Sārng. 3973 (DR. 2. 16), 3417 (DR. 4. 3), 278 (DR. 4. 79). ' See pages xxii-xxiii, above.

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INTRODUCTION xxxV

other poets (Kālidāsa, Amara, Sundara, and Sankha) in an anonymous stanza recorded by Cowell.1 Character and value. Although professedly an aid to the understanding of the text, the commentary leaves much to be desired and is not nearly so helpful as the average work of its kind. At times it explains what is so clear as to require no comment (this is, however, frequently the case in Hindu glosses) ; often, on the other hand, obscure words and phrases receive no elucidation whatever, and whole sections are occasionally dis- missed with but the single word spastam, '[it is] clear.' Even where Dhanamjaya's definitions of technical terms are illustrated by means of examples 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 discussions of disputed and obscure points and in his collection of illustrative quotations, many of which are of value in obtain- ing a clear conception of the principles of Hindu dramaturgy. Dhanika's explanatory and illustrative quotations. In his explanations of Dhanamjaya's rules, Dhanika not only refers to scenes and situations of the principal Hindu dramas,2 but also quotes such passages as will serve to illustrate the matters under discussion. His quotations are, however, by no means confined to dramatic works, but are drawn to a considerable extent from other fields of literature as well, particularly from the senten- tious poetry and the so-called kāvya productions. Occasionally also he corroborates his statements by an excerpt from the Bhāratīyanātyaāstra or some other technical work. The range of these citations and references, so far as they have been identified, can best be seen from the following tabulation, in which works merely mentioned (but not quoted) are enclosed in parentheses. In the case of works cited only a few times, all the occurrences are recorded after the names or in the footnotes. 1 JRAS. 15. 175. * As, for example, in the com. on DR. I. 81; 2. 82; 3. 15; etc.

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xxxvi INTRODUCTION

I. Dramas extant and published

Mrcchakațika Nāgānanda Veņīsamhāra1 Śakuntalā Mahāvīracarita Karpūramañjarī* Vikramorvaśī Uttararāmacarita Viddhaśālabhañjikā" Mālavikāgnimitra Mālatīmādhava Anargharāghava® Ratnāvalī1 Mudrārākșasa Mahānāțaka™ (Priyadarśikā)2

2. Other works of Sanskrit and Prākrit literature (Mahābhārata)' Śṛngāratilaka18 Hālasaptaśatī11 (Rāmāyaņa)° Kirātārjunīya1 Bhartrhariśatakāni1 Meghadūta10 (Kādambarī)15 Kumārasambhava11 Siśupālavadha11 Amaruśataka11 Navasāhasānkacarita18 Raghuvamśa12 (Bhatkathā)14

1 The Ratnavali and the Venīsamhara are quoted more frequently than any other works, especially in connection with the treatment of dramatic structure in Book I, since of all the plays they conform most strictly to the rules laid down in the text-books. ' This play of Harsadeva is referred to at DR. 2. 82, 92. 'Quoted only at DR. 3. 23, but referred to also at I. 129 and 2. 86. One stanza is quoted as an illustration of DR. 3. 16. " Quoted only once, in the comment on DR. 4. 61. The only quotation from this play is found at DR. 2. I. Dhanika does not name the source of the stanza. Parab, in his index of verses, attributes it to the Mahānāțaka. ' Regarding this drama see the following page. 8 Referred to only at DR. 3. 28. 'Mentioned by name at DR. I. 129; 2. 12, 86; 3. 28, 52. A reference to plots based on the Rāmāyana is found at DR. 2. 90. 10 Quoted only at DR. 4. 71. " Quoted only in Books 2 and 4. All of the numerous stanzas from Hala are quoted anonymously. " Quoted at DR. 2. I and 4. 35; mentioned at 4. 74. 13 Of this work, attributed to Kālidāsa, stanza 3 is quoted at DR. 4. 69, but without indication of source. In Hall's edition these lines are enclosed in brackets, as a possible interpolation. " One stanza is quoted, as an illustration of DR. 4. 33. 15 Referred to at DR. 4. 73, 74. " This old collection of stories is mentioned at DR. I. 129; 4. 43. 17 Nītiśataka, DR. 2. I; Śrngāraśataka, DR. 4. 43; Vairāgyaśataka, DR. 4. 10, 14. 18 On this mahākāvya by Padmagupta see p. xix, note I, and p. xx, above. One stanza from it is given at DR. 2. 65.

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INTRODUCTION xxxvii

3. Dramas unpublished or no longer extant Udāttarāghava1 Pāņdavānanda" (Tarangadatta)5 Chalitarāma2 (Rāmābhyudaya)* (Puşpadūşitaka)"

4. Minor and unknown authors or works Anandavardhana - five stanzas (found in his Dhvanyāloka commen- tary), at DR. 2. 56; 4. 10, 43 (two), 45. Vikațanitambā, poetess - one stanza at DR. 4. 42. Vākpatirājadeva (= Muñja)-one stanza at DR. 4. 66, 67. Rudra - one stanza at DR. 4. 67. Dhanika - twenty-four stanzas (see page xxxiv, note 3). (Bhatta Bāņa's Mahāśvetāvarņanāvasara, mentioned at DR. 2. 54).

5. Technical works

Bhāratīyanāțyaśāstra' - DR. 2. II; 3. 46, 59; 4. 2, 4, 5, 6, 50, 52, 89. Kāmasūtra of Vātsyāyana - DR. 3. 45; (4. 64). A treatise by Bhartrhari (apparently not the Vākyapadīya) - DR. 4. 2. Kāvyālaņkāra of Rudrața®- DR. 4 44. Kāvyanirņaya, by Dhanika himself - DR. 4. 46.

The quotations frequently deviate from the published texts of the works from which they are drawn. Such variations may be due either to Dhanika's quoting from memory, to the existence of other recensions than those known to us, or to corruption in transmission. They are in most cases of no special importance.

1A play by Māyurāja. It is quoted at DR. 2. 91; 3. 3; 4. 15, 35; referred to at DR. 3. 29. 'Quoted at DR. I. 85; 3. 15, 22. 'The only quotation from this work occurs at DR. 3. 14. Written by Yasovarman in the latter part of the 7th century. It is re- ferred to at DR. I. 90 (also at SD. 427). Cf. ZDMG. 36 (1882), p. 521. "These two plays are mentioned at DR. 3. 45. The name Puşpadūşitaka recurs as Puşpabhūșita at SD. 512. - At DR. 3. 61 Samudramanthana may possibly be the name of a drama. ' See page xxiii, above. ' The reputed author of the Bh. is designated variously as Bharata

(DR. 4. 2). (DR. 2. II), muni (DR. 3. 46), Bharata-muni (DR. 3. 59), or şatsahasrakrt

• Rudrața's Kāvyālamkāra is not mentioned by name.

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xxxviii INTRODUCTION

In addition to differences of wording, which constitute the largest part of these variations, we find also instances of transposition of the lines of stanzas1 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 full, but gives merely 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 from Amaru, for example, appears both at 2. 31 and at 2. 82; a stanza from the Mahaviracarita is quoted at 2. I and recurs at 2. 20 and 4. 22. Usually the passage is re- peated in full at each occurrence; occasionally, however, only the opening words are given (cf. the Ratnavali quotation at 4. 86, which appears in full at 2. 92). The first illustrative excerpt at 4. 86, although introduced with the statement prāg udāhrtah, 'previously quoted,' does not occur elsewhere in the commentary. Possibly the words just mentioned have been misplaced and should be connected with the following quotation, which has really occurred before. Besides referring to actual dramatic works, Dhanika makes mention also of legends and stories on which plays were based. Such are the Udayanacarita, mentioned at DR. 2. 89, and the Samudramanthana, 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 occurrence in Dhanika's commentary of five stanzas from the Mahānātaka, or Hanuman-nātaka.8 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 published by Jīvānanda Vidyasagara. The oldest extant recension of this play, that 1 DR. 3. 18 (Veņīsamhāra 5. 26) ; DR. 4. 10 (Mahānāțaka 9. 55); DR. 4. 61 (Viddhaśālabhañjikā I. 31). 3 DR. I. 94 (Veņī. 5, p. 149-150); DR. 3. 10 (Veņī. I. 7, p. IO). * At DR. 2. I (this stanza recurs in Rājaśekhara's Bālarāmāyaņa, 4. 60), 5 (repeated at 2. 19), 18; 4. 10, 24.

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INTRODUCTION xxxix

ascribed to Dāmodara Miśra, dates from the eleventh century, but has been thought, because of its patchwork character, to be merely a revised form of an older work.1 This supposition is confirmed by the quotations in Dhanika's commentary, which must be from an earlier Hanuman-nätaka than the known recen- sions, since it is hardly probable that all of the five stanzas, occur- ring at as many different places, are later interpolations. As has previously been pointed out, the four lines quoted at DR. I. 129 from Ksemendra's Brhatkathāmañjarī (a work about half a cen- tury later than DR.) are doubtless to be regarded as an inter- polation.2

3. CONCERNING PREVIOUS EDITIONS OF THE DASARŪPA Hall's edition. The earliest edition of the Daśarūpa (so far as I am aware), and the only one of any independent value, is that of Fitzedward Hall,3 published at Calcutta in 1865 in the Bibliotheca Indica. The text, as well as the commentary of Dhanika, which accompanies it, was based on a collation of six manuscripts, five of them complete (see Hall, p. 35-36), and is in general very satisfactory. Unfortunately the editor thought it unnecessary to include in the printed volume the 'minute account' of the manuscripts and of their readings which he had taken the pains to prepare (Hall, p. 37), and we are thus left without much of the information that would have been helpful in estimating the correctness of his text. A number of variant readings are recorded, however, on pages 38 and 39, and an introductory paragraph on page 38 gives the impression that many ' Cf. Schroeder, Indiens Literatur und Cultur, Leipzig, 1887, p. 658; Lévi, p. 243-244; Cimmino, L'uso delle didascalie [for full title see p. xiii]. p. 142-143. ' See page xxxiii, above. 'I am informed, on the authority of Mr. Richard Hall, the scholar's son, that Hall wrote his given name 'Fitzedward'; the title-page of his Dasa-Rüpa, however, has the form ' FITZ-EDWARD.' At all events, he should not be referred to as 'F. E. Hall.'

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x1 INTRODUCTION

of these were taken from an old copy of the Nātyapradīpa, a work which (as Hall mentions) 'repeats verbatim a large portion of the Daśarūpa.' This list of variants was prepared after the text was printed, and such readings as seemed preferable to those in the text were 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 Daśarūpa, the volume contains, as an appendix, the Sanskrit text of four books of the Bhāratīyanātyasāstra, a manuscript of which came into the editor's hands after the completion of the rest of the work. The books are numbered 18, 19, 20, and 34; the last, however, is really book 24. This appendix 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 transcript.1 Jīvānanda Vidyāsāgara's edition. The edition published by Jīvānanda Vidyāsāgara 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 fact that Hall (on pages 38 and 39) had designated certain variant readings as preferable to those in his 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 Bhāratīyanātyaśāstra are also copied from Hall's edition, with all the misprints and inaccuracies faithfully preserved.

1 See my notes on DR. I. 80; 3. 63.

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INTRODUCTION xli

Parab's edition. Another reprint of Hall's text, prepared under the supervision of Kāshīnāth Pandurang Parab, was pub- lished by the Nirnaya Sagara Press at Bombay in 1897. Here again there is no acknowledgment of indebtedness to Hall's text, which is referred to in the footnotes merely as 'pātha.' For no apparent reason, this edition does not follow Hall's numbering of the verses, but adopts a system of its own, which departs from the other sufficiently to cause some difficulty in finding passages referred to by the numbers of the older edition. This edition is in many respects the most practical of the three. The text embodies all the readings that Hall marked as preferable on pages 38 and 39, and all the variants listed by Hall are given in the footnotes. A group of sections in the first book (1. 53-65; P. I. 32 b-35; H. I. 30 b-32), which were printed as a con- tinuous passage by Hall, are arranged separately, each fol- lowed by its own interpretation in the commentary, so as to con- form to the rest of the text. The volume contains also a detailed table of contents, a list of the works quoted in the commentary, and an index of all verses thus cited from other authors, with an indication, in many cases, of their source.

4. CONCERNING THE PRESENT EDITION Constitution of the text. The Sanskrit text contained in the present edition is not based on any new examination of manu- scripts1 and can not, therefore, lay claim to any independent value. Aside from a few corrections, Hall's text is reproduced without change, with the substitution, however, in nearly all cases, of those of his variant readings 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 manuscripts of DR. see Aufrecht, Catalogus Catalogorum, I. 247 b; 2. 53.

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xlii INTRODUCTION

I. 119 I retain antaryavanika°, disregarding Hall's expressed prefer- ence (p. 38) for °javanika°. 2. 27 Emendation of °yavanananga to °yauvanānangā. 78 Adoption of °sphurja° for °sphiñja°. 80 Adoption of narmasphurjah for narmasphinjah. 83 Emendation of °dayajavaih to °dayarjavaih. 89 Emendation of °parigrahah to °parigraham, to remedy faulty grammatical construction. 4. 34 Emendation of the unintelligible °garbhadejahmya° to °garbhader jādyam. 4I Adoption of one of Hall's variants, °tvarasvasa. 52 Substitution of Dhanika's vikasa for the vikasa of the printed texts. 83 Change of ati° to att° to satisfy metrical requirements. 87 Adoption of one of Hall's variants, anistapteh. 89 Adoption of laksma° from Hall's variant reading.

For details see the notes on the respective sections. The numbering of sections. The system of numbering in the edition of Parab differs from that followed by Hall (and re- printed by Vidyāsāgara) sufficiently to interfere with rapid con- sultation of passages in an edition other than the particular one referred to.1 Furthermore, the method employed in these edi- tions does not permit of accurate citation, especially of the briefer definitions, without the cumbersome addition of letters and superior figures.2 I have accordingly decided, after mature deliberation, while preserving the very practical division into four books, to renumber the work according to logical sections and thus to establish a simple numerical designation for every definition or part of a definition that is separately treated in Dhanika's commentary. At the head of each section I have placed not only the new number thus assigned, but also the number in the editions of Parab and of Hall,8 so that passages may be con-

1 Note, for example, the following variations: P. I. 67= H. I. 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. I. 54, had to be cited heretofore as H. I. 30 b2, c1, or as P. I. 32 b2, 33 a1. Similarly DR. 3. 8= H. 3. 7, 8 a1 = P. 3. 7 b, 8 a, b1. ' Vidyāsāgara's numbering is identical with that of Hall.

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INTRODUCTION xliii

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 possible, it has been found necessary to introduce a considerable number of explanatory words [enclosed in brackets], in order to make clear the precise meaning of the condensed Sanskrit original. Important Sanskrit technical terms have usually been repeated (enclosed in parentheses) in the trans- lation, in their uninflected form, especially where they are defined or explained. The translations adopted for these technical words are not, in many cases, literal renderings of the Sanskrit names (as: bindu, 'drop'; patākā, 'banner'), but are selected 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 by capital initial letters. It was not considered necessary to indicate throughout the special force of the constantly recurring optative verbal forms; such verbs as bhavet or syat, especially where they occur in mere definitions, are frequently rendered by the simple 'is' or a similar indicative form. Extracts from the commentary of Dhanika. Under the head- ing ' COM.' is given the substance (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 illustrative quotations that Dhanika has introduced into his work.2 For many references I am indebted to Böhtlingk's valuable collection of material 'Zur Kritik und Erklärung verschiedener indischer Werke' (43- Daçarūpa, in Mélanges asiatiques, 7. 574-577) and to marginal

1 Especially where already given by Lévi or Regnaud; cf. the com. on DR. 2. 5, 6; 4. 44. ' See pages xxxv-xxxix, above.

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xliv INTRODUCTION

annotations by Böhtlingk 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 are unpublished or no longer extant. When a stanza not otherwise located appears in native anthologies (such as the Sārngadharapaddhati or the Subhāșitāvali), in a later work (such as the Bhojaprabandha), or in Böhtlingk's Indische Sprüche, 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 consulted 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 under the heading 'NOTES,' the necessity of turning to another part of the book for annotations being thus entirely obviated. Among the matters included in the notes may be mentioned particularly the variant readings referred to above (p. xxxix), explanations regarding Dhanamjaya's termi- nology and definitions, divergencies between the Daśarūpa and other dramaturgic treatises, references to the work of scholars in this field (especially Lévi, Regnaud, and Schmidt), and-a fea- ture to which I have devoted a great amount of time and labor -a collection of references to parallel passages in other Hindu works, chiefly dramaturgic and rhetorical. These references to native treatises-which will enable the reader to make a comparative 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 Lévi, Regnaud, and Schmidt 2 As, for example, at 2. 42; 4. 16, 17, 27, 28.

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INTRODUCTION xĺv

(see the Bibliography, p. xiii), all accessible Sanskrit texts dealing with rhetoric and the drama have been carefully searched for passages treating the same topics or defining the same terms as those that appear in the Dasarpa, and parallel passages in other Sanskrit works have been included wherever possible. The refer- ences are preceded in every case by the special symbol II, the parallel bars being intended to suggest the parallel passages. The order in which the various works are enumerated is in the main chronological, although the date of composition is in many cases merely a matter of conjecture. The Sāhityadarpana, however, though dating from the middle of the fifteenth century, has for reasons of convenience been quoted uniformly in the second place, directly after the Bhāratīyanātyaśāstra. Detailed informa- tion regarding the editions to which the citations refer will be found on pages xiv-xvii, in the Conspectus of Editions of Texts.

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• -. -- .--.

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THE DAŚARŪPA

BOOK ONE I (P. I; H. I). namas tasmai Gaņeśāya yatkaņthaḥ pușkarāyate madābhogaghanadhvāno nīlakaņțhasya tāņdave. 'Homage to that Ganeśa whose throat, deeply resonant in his excessive frenzy (mada-ābhoga), 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 author begins his work with two stanzas of invocation. - There is here an imperfect pun (khandaślea). NOTES. As noted by the commentator, there is a play on words in this introductory stanza. The entire 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 to which it refers. This necessi- tates a double translation of the words in the second line.

2 (P. 2; H. 2). daśarūpānukāreņa yasya mādyanti bhāvakāḥ namaḥ sarvavide tasmai Vișnave Bharatāya ca. 'Homage to that omniscient 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] (daśarūpa).' 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 convey this twofold meaning adequately in English, the words of the first line have been rendered twice.

A list 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 volume, on pages xli-xlv. 2 I

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2 BOOK ONE [I. 3-

INTRODUCTORY REMARKS

3 (P. 3; H. 3). kasya cid eva kadā cid dayayā vişayam Sarasvatī vidușah ghațayati kam api tam anyo vrajati jano yena vaidagdhīm. 'Sarasvatī through her favor furnishes to any intelligent man at any time that subject, whatever it be (kam api), by which somebody else becomes cultured.' NOTES. The sense is: The goddess Sarasvati freely provides themes for literary works to persons of intelligence, and through these works cul- ture is diffused among others. - Meter: āryā.

4 (P. 4; H. 4).

uddhrtyoddhrtya saram yam akhilanigamān nāțyavedam Viriñciś cakre yasya prayogam munir api Bharatas tāndavam Nīlakaņthaḥ Śarvāņī lāsyam asya pratipadam aparam lakşma kaḥ kartum īște natyanam kim tu kim cit praguņaracanayā lakșaņam samkșipāmi.

'Who, pray, is able to make a new detailed .nomenclature (pratipadam laksma) of dramatic science, which Viriñci [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, Nīlakantha [i. e. Siva] per- forming the wild dance (tāndava) and Sarvāņī [i. e. Pārvatī] 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 Bhāratīya-nātyasāstra. - Meter: sragdharā. - Cf. Lévi, p. 16.

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5 (P. 5; H. 5). vyākīrņe mandabuddhīnām jāyate mativibhramaḥ tasyārthas tatpadais tena samksipya kriyate 'ñjasā.

'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. Lévi, p. 17.

6 (P. 6; H. 6). ānandanisyandișu rūpakeșu vyutpattimātram phalam alpabuddhiḥ yo 'pītihāsādivad āha sādhus tasmai namaḥ svāduparānmukhāya. '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 statement is ironical (solluntham). NOTES. Meter: indravajrā. - Cf. Lévi, p. 258.

FUNDAMENTAL DEFINITIONS 7 (P. 7a1; H. 7a1). avasthānukṛtir nāțyam. 'Drama is the imitating of situations.' NOTES. Il SD. 274; Pratāpar. 3. I, p. 100. Cf. Lévi, p. 29.

8 .(P. 7 a2; H. 7 a2). rūpam drśyatayocyate. 'It is called a Show (rūpa, lit. form) because of the fact that it is seen.' NOTES. Cf. Lévi, p. 29.

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4 BOOK ONE [I. 9-

9 (P.7b1; H. 7b1).

rūpakaņ tat samāropād.

'It [is called] Representation (rüpaka) because of the assump- tion [of parts by actors].' NOTES. As noted by Lévi, pt. 2, p. 5, the word rūpaka, although merely a variant of the preceding rüpa, is referred by native theorists to the causative form (ropayati) of the root ruh. It is therefore explained here by a compound derivative of the causative, samaropa. II SD. 273. Cf. Lévi, p. 29.

I0 (P. 7b2; H. 7b2). daśadhaiva rasāśrayam. '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. I| Pratāpar. 3. I, p. 100 (rasāśraya).

II (P. 8; H. 8). nāțakam saprakaraņam bhānah prahasanam dimah vyāyogasamavakārau vīthyankehāmrgā iti. '[The ten chief varieties of drama are]: the Nataka, the Prakarana, the Bhāna, the Prahasana, the Dima, the Vyāyoga, the Samavakara, the Vīthi, the Anka (= Utsrstikanka), and the Īhāmrga.' COM. dombi śrigad° [quotation from some treatise; see Lévi, p. 146 and cf. Hem. Kāvyān. 8, p. 327]. NOTES. No mention is here made of the minor forms of drama (cf. Lévi, p. 145); but one of them, the natikd, receives special consideration at DR. 3. 46-52. - This section is quoted at Pratāpar. 3. 2. I| Bh. 18. 2, 3 a; SD. 275; AP. 337. I-4; Hem. Kāvyān. 8, p. 317, 327; Vāgbh. Kāvyān. I, p. 16; Pratāpar. 3. 2. Cf. Lévi, p. 30.

PANTOMIME AND DANCING AS ACCESSORIES 12 (P. 9a1; H. 9a1). anyad bhāvāśrayam nrtyam.

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'Pantomime (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 natya, nrtya, nrtta are all derived from the root nrt or its Prakrit form nat and our author seems to have felt the need of differentiating them. But in Pratapar. - where we find the terms nrtya and nrtta curiously interchanged-the insertion of definitions of these terms is justified as follows: nrttanrtyayor nataka- dyangatvād iha svarūpanirūpaņam krtam (3. 2, p. I0I). Il Pratāpar. 3. 2 a, p. IOI. Cf. Lévi, p. 30.

I3 (P. 9a2; H. 9a2).

nrttam tālalayāśrayam. 'Dancing (nrtta), being based on rhythm and time, [is also different].'

NOTES. || Pratāpar. 3. 2 a, p. IOI. Cf. Lévi, p. 30.

I4 (P. 9b; H. 9b).

ādyam padārthābhinayo mārgo deśī tathā param.

'The former, a representation of an object, [is called] "high style" (mārga) ; the latter, "popular style" (deśī).' NOTES. Cf. Lévi, pt. 2, p. 5.

15 (P. I0; H. I0).

madhuroddhatabhedena tad dvayam dvividham punaḥ lāsyatāņdavarūpeņa nāțakādyupakārakam.

'Each of these two is again twofold, through the division into gentle and vehement; and they are auxiliary to the Nātaka and the other [varieties of drama] because of the exhibition of the gentle dance (lasya) and the wild dance (tāndava).' NOTES. Hindu theoreticians recognize ten forms of the lasya, which are enumerated at DR. 3. 54 .- This section is quoted at Pratāpar. 3. 2, p. IOI. - Cf. Lévi, p. 119.

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6 BOOK ONE [I. 16-

BASIS OF CLASSIFICATION OF DRAMAS 16 (P. IIa1; H. II a1). vastu netā rasas teșām bhedako. 'Dramas are classified according to Subject-matter, Hero, and Sentiment.'

NOTES. || Pratāpar. 3. 3. Cf. Lévi, p. 30.

SUBDIVISIONS OF THE SUBJECT-MATTER 17 (P. IIa2; H. II a2). vastu ca dvidhā. 'The Subject-matter (vastu) is twofold.' NOTES. | Bh. 19. 2a; SD. 296 a. Cf. Lévi, p. 3I.

18 (P. IIb; H. II b). tatrādhikārikam mukhyam angam prāsangikam viduḥ. 'The main [theme] is known as the Principal Subject (ādhi- karika), the subordinate as the Incidental Subject (prāsangika).' NOTES. || Bh. 19. 2 b; SD. 296b. Cf. Lévi, p. 31.

19 (P. I2; H. I2). adhikāraḥ phalasvāmyam adhikārī ca tatprabhuḥ tannirvartyam abhivyāpi vrttam syād ādhikārikam. 'The possession of the desired result [is called] adhikāra, and its possessor [is called] adhikārin; that which contains an inci- dent connected with him [is called] ādhikārika (Principal Subject).' NOTES. abhivyāpi H, V, P; ativyāpi Hall p. 38 .- This is an etymo- logical explanation of the term ddhikārika. See my notes on 4. 8. l Bh. 19. 3-5 a; SD. 296c, d. Cf. Lévi, p. 31.

20 (P. 13a; H. 13a). prāsangikam parārthasya svārtho yasya prasangata.

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'The Incidental Subject (prāsangika) 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 satisfied by the use of the word prasangatas, 'incidentally.' See the notes on 4. 8. l/ Bh. 19. 5b; SD. 297. Cf. Lévi, p. 31.

21 (P. 13b; H. 13b). sānubandham patākākhyam prakarī ca pradeśabhāk. 'When it is continuous it is called Episode (patāka, lit. banner); when of short duration, Episodical Incident (prakarī).' NOTES. || Bh. 19. 23; SD. 320-323; Pratāpar. 3. 7. Cf. Lévi, p. 32.

22 (P. 14; H. 14). prastutāgantubhāvasya vastuno 'nyoktisūcakam patākāsthānakam tulyasamvidhānaviśeșaņam. 'An indication, by the mention of something extraneous, of a matter that is begun or is about to happen [is called] an Episode-indication (patākāsthānaka), 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 attribufes].

Lévi, p. 98-100. NOTES. Bh. and SD. distinguish four kinds of patakasthanaka; see

I| Bh. 19. 29 b, 30 a; SD. 298, 299. Cf. Lévi, p. 98.

23 (P. 15, 16 a; H. 15). prakhyātotpādyamiśratvabhedāt tredhā 'pi tat tridhā prakhyātam itihāsāder utpādyam kavikalpitam miśram ca samkarāt tābhyām divyamartyādibhedataḥ. 'This [subject-matter] is also threefold, owing to a threefold classification into legendary, invented, and mixed 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

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8 BOOK ONE [I. 23-

mixed [arises] from a combination of these two in accordance with a classification into gods, mortals, and the like.' NOTES. tābhyām H, V, P; nanto, tredha Hall p. 38. - The first line is quoted at Pratäpar. 3. 4, p. 102, but with the formulaic ending tat trividham matam. I| AP. 337. 18; Pratāpar. 3. 3, p. 102. Cf. Lévi, p. 31.

ELEMENTS OF THE PLOT

24 (P. 16b; H. 16a). kāryam trivargas tac chuddham ekānekānubandhi ca. 'The Dénouement (karya) [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 are virtue, wealth, and pleasure (dharma, artha, kāma). NOTES. || Bh. 19. 25 b, 26 a; SD. 323 b, c; AP. 337. 7 b. Cf. Lévi, p. 31.

25 (P. 17a; H. 16b). svalpoddistas tu taddhetur bījam vistāry anekadhā. 'The cause of this [Dénouement] is the Germ (bija), [at first] manifested as very small, but expanding in manifold ways [as the action proceeds].' COM. Ex .: Ratn. I, p. 4-5 [quoted in part also at DR. I. 29 and I. 41]; in the Venisamhara, 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; Pratāpar. 3. 6. Cf. Lévi, p. 34-

26 (P. 17b; H. 16c). avāntarārthavicchede bindur acchedakāraņam. 'When the secondary matter [of the drama] is interrupted, the cause of its being resumed (accheda-karana) is the Expansion (bindu).'

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CoM. Ex .: Ratn. I, p. 20 .- 'The bindu [lit. drop] spreads out like a drop of oil in water.' NOTES. || Bh. 19. 22; SD. 319; Pratāpar. 3. 6. Cf. Lévi, p. 34

27 (P. 18; H. 17). bījabindupatākākhyaprakarīkāryalakșaņāḥ arthaprakrtayaḥ pañca tā etāh parikīrtitāḥ. '[The elements] designated as the Germ (bija), the Expan- sion (bindu), the so-called Episode (patākā), the Episodical Incident (prakari), and the Dénouement (kārya)-these are declared to be the five Elements of the Plot (artha- prakrti).' NOTES. The insertion of the word akhya in the enumeration is due merely to the exigencies of the meter. -Contrary to the usual custom, this section comes after the definitions of the elements mentioned in it, instead of introducing them, in order to avoid a repetition of the definitions of the patakd and the prakari given in another connection in I. 21 .- This section is quoted in the com. on Hemacandra's Anekārthasamgraha 2. 230 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 37, foot), and the second line is quoted ibid. 3. 565 (see Extr., p. 142, middle). The first line is quoted at Pratapar. 3. 3, p. 105. With the first line compare bijam binduh patakā ca, given in explanation of the word arthaprakrti in the com. on Mańkhakośa 390 (ed. Zachariae, Vienna, 1897, p. 50). Il Bh. 19. 20; SD. 317; AP. 337. 19. Cf. Lévi, p. 34-

THE FIVE STAGES OF THE ACTION 28 (P. 19; H. 18). avasthāh panca kāryasya prārabdhasya phalārthibhiḥ ārambhayatnaprāptyāśāniyatāptiphalāgamāḥ. 'There are five Stages of the action which is set on foot by those that strive after a result: Beginning (arambha), Ef- fort (yatna= prayatna), Prospect of Success (prāptyāśā), Cer- tainty of Success (niyatapti), and Attainment of the Result (phalāgama= phalayoga).' NOTES. The words kāryasya prarabdhasya phalārthibhih are taken di- rectly from Bh. 19. 13 .- The second line is quoted at Pratāpar. 3. 3, p. 105. I| Bh. 19. 7, 13; SD. 324; AP. 337. 19 b, 20. Cf. Lévi, p. 32.

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IO BOOK ONE [I. 29-

29 (P. 20a; H. 19a). autsukyamātram ārambhaḥ phalalābhāya bhūyase. 'Beginning (ärambha) is mere eagerness for the obtaining of the more important result.' CoM. Ex .: Ratn. I. 7, p. 5 [also quoted at DR. I. 25 and I. 41]. NOTES. || Bh. 19. 8; SD. 325; Pratāpar. 3. 4. Cf. Lévi, p. 32.

30 (P. 20b; H. 19b). prayatnas tu tadaprāptau vyāpāro 'titvarānvitaḥ. 'Effort (prayatna) is exertion attended with great haste, when this [result] has not been obtained.' CoM. Ex .: Ratn. 2, p. 24 [with variants]. NOTES. I| Bh. 19. 9; SD. 326; Pratāpar. 3. 4 Cf. Lévi, p. 33.

31 (P. 21a; H. 20a). upāyāpāyaśankābhyām prāptyāśā prāptisambhavaḥ. 'Prospect of Success (prāptyāśā) is the possibility of succeeding, with means at hand, [but also] with fear of failure.' CoM. Ex .: Ratn. 3, p. 76 [with variants]. NOTES. This is called praptisambhava in Bh. | Bh. 19. 10; SD. 327; Pratāpar. 3. 5. Cf. Lévi, p. 33.

32 (P. 21 b; H. 20b). apāyābhāvataḥ prāptir niyatāptiḥ suniścitā. '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. II; SD. 328; Pratāpar. 3. 5. Cf. Lévi, p. 33.

33 (P. 22a; H. 20c). samagraphalasampattiḥ phalayogo yathoditaḥ. 'Attainment of the Result (phalayoga) is the ac- complishment of the entire result, as previously mentioned.'

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COM. As, in the Ratnavali, the king's obtaining universal sovereignty through his marriage with Ratnāvali. NOTES. This is called phalagama in section 28 above, and also in the definition given in Pratāpar. || Bh. 19. 12; SD. 329; Pratāpar. 3. 5. Cf. Lévi, p. 33.

THE FIVE JUNCTURES 34 (P. 22 b, 23a; H. 21). arthaprakrtayaḥ pañca pañcāvasthāsamanvitāḥ yathāsamkhyena jāyante mukhādyāh pañca 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), beginning 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 following sections. - This section is quoted at Pratāpar 3. 3, p. 105. Il SD. 330; Pratāpar. 3. 3, p. 104 Cf. Lévi, p. 35.

35 (P. 23b; H. 22a). antaraikārthasambandhah samdhir ekānvaye sati. 'Juncture (samdhi) is the connection of one thing with a different one, when there is a single sequence [of events].' NOTES. || SD. 331; Pratāpar. 3. 3, p. 104. Cf. Lévi, p. 35.

36 (P. 24a; H. 22b). mukhapratimukhe garbha sāvamarsopasamhrtih. '[The five Junctures are]: the Opening (mukha), the Pro- gression (pratimukha), the Development (garbha), the Pause (avamarśa), and the Conclusion (upasamhrti=nirvahaņa).' NOTES. These are defined in sections 37, 51, 66, 81, 96 .- This section is quoted at Pratāpar. 3. 3, p. 104. Il Bh. 19. 35 b, 36 a; SD. 332; AP. 337. 21; Sarasv. 5. 128 (ed. B. 5. 129). Cf. Lévi, p. 35.

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THE OPENING AND ITS SUBDIVISIONS 37 (P. 24b, 25 a; H. 23). mukham bījasamutpattir nānārtharasasambhavā angāni dvādaśaitasya bījārambhasamanvayāt.

'The Opening (mukha) is the origination of the Germ (bija), giving rise to various purposes and Sentiments; it has twelve subdivisions, because of its connection with the Germ and the Beginning (arambha).' NOTES. °sambhava H, V, P; °samsraya Hall p. 38 .- The terms bija and drambha are defined at I. 25, 29. || Bh. 19. 37 b, 38a; SD. 333; AP. 337. 23 (mistranslated by Dutt); Pratāpar. 3. 8. Cf. Lévi, p. 36.

38 (P. 25 b, 26; H. 24). upakşepaḥ parikaraḥ parinyāso vilobhanam yuktiḥ prāptiḥ samādhānam vidhānam paribhāvanā udbhedabhedakaraņāny anvarthāny atha lakșaņam.

'[The twelve subdivisions of the Opening are]: Suggestion (upaksepa), Enlargement (parikara), Establishment (parinyāsa), Allurement (vilobhana), Resolve (yukti), Success (prāpti), Settling (samādhāna), Conflict of Feelings (vidhāna), Surprise (paribhāvanā), Disclosure (udbheda), Incitement (bheda), and Activity (karana). [These terms are] intelligible. Now follow their definitions.' NOTES. || Bh. 19. 57 b, 58; SD. 338; Pratāpar. 3. 9.

39 (P. 27 a1; H. 25 a1). bījanyāsa upakșepas. 'Suggestion (upaksepa) is the sowing of the Germ (bīja).' CoM. Ex .: Ratn. I. 6, p. 4 [quoted also at DR. 3. 3 and 3. I0]. NOTES. || Bh. 19. 69 b; SD. 339; Pratāpar. 3. 9. Cf. Lévi, p. 36.

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40 (P. 27 a2; H. 25 a2). tadbāhulyam parikriyā. 'Enlargement (parikriya=parikara) is the increase of this [Germ].' CoM. Ex .: Ratn. I, p. 4-5. NOTES. || Bh. 19. 70a; SD. 340; Pratāpar. 3. 9. Cf. Lévi, p. 36.

41 (P. 27 b1; H. 25 b1). tannișpattiḥ parinyāso. 'Establishment (parinyāsa) is its lodgment.' CoM. Ex .: Ratn. I. 7, p. 5 [quoted also at DR. I. 25 and I. 29]. NOTES. Bh. defines this as the relating of a matter that is to take place. I| Bh. 19. 70 b; SD. 341; Pratāpar. 3. 9. Cf. Lévi, p. 37.

42 (P. 27 b2; H. 25 b2). guņākhyānaņ vilobhanam. 'Allurement (vilobhana) is the mentioning of good qualities.' CoM. Ex .: Ratn. I. 23, p. 20 [quoted also at DR. I. 48]; Veņī. I, p. 26-30. NOTES. gunakhyanam Hall p. 38, P; gunakhyanad H, V. The form gundkhyanam is found also in SD., where this definition is repeated. Il Bh. 19. 71 a; SD. 342; Pratāpar. 3. 9. Cf. Lévi, p. 37.

43 (P. 28a1; H. 26 a1). sampradhāraņam arthānām yuktiḥ. 'Resolve (yukti) is the determination upon purposes.' CoM. Ex .: Ratn. I, p. 5. NOTES. || Bh. 19. 71 b; SD. 343; Pratāpar. 3. 9. Cf. Lévi, p. 38.

44 (P. 28 a2; H. 26a2). prāptiḥ sukhāgamaḥ. 'Success (prapti) is the attaining of happiness.' CoM. Ex .: Veņī. I, p. 18-19; Ratn. I, p. 20. NOTES. || Bh. 19. 72 a; SD. 344; Pratāpar. 3. 9. Cf. Lévi, p. 38.

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14 BOOK ONE [I. 45-

45 (P. 28b1; H. 26b1). bījāgamaḥ samādhānam. 'Settling (samādhāna) is the appearance of the Germ (bīja).' CoM. Ex .: Ratn. I, p. 15-16; Veņī. I, p. 25 [the stanza is quoted also at DR. I. 98]. NOTES. || Bh. 19. 72 b; SD. 345; Pratāpar. 3. 9. Cf. Lévi, p. 38.

46 (P. 28 b2; H. 26b2). vidhānam sukhaduḥkhakrt. 'Conflict of Feelings (vidhana) is that which causes both joy and sorrow.' CoM. Ex .: Mālatīm. I. 32, p. 35 [quoted also at DR. 4 56]; Mālatīm. I. 22, p. 24; Veņī. I, p. 30-31. NOTES. || Bh. 19. 73 a; SD. 346; Pratāpar. 3. 9. Cf. Lévi, p. 39.

47 (P. 29a1; H. 27 a1). paribhāvo 'dbhutāveśa. 'Surprise (paribhāva= paribhāvanā) is intentness upon something marvelous.' CoM. Ex .: Ratn. I, p. 19 [with many variations]; Veņī. I, p. 29. NOTES. It is evident that the shorter form paribhava is here used for metrical reasons. I| Bh. 19. 73 b; SD. 347; Pratāpar. 3. 9. Cf. Lévi, p. 39.

48 (P. 29a2; H. 27 a2). udbhedo gūdhabhedanam. 'Disclosure (udbheda) is the disclosing of something previously hidden.' CoM. Ex .: Ratn. I. 23, p. 20 [quoted also at DR. I. 42]; Veņī. 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. I. p. 30-3I, which is quoted by Dhanika as an illustration of the vidhana (DR. I. 46). Il Bh. 19. 74 a; SD. 348; Pratāpar. 3. 9. Cf. Lévi, p. 39.

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49 (P. 29 b1; H. 27 b1). karaņam prakṛtārambho. 'Activity (karana) is the beginning of the matter in question.' CoM. Ex .: Ratn. I, p. 19; Veņī. I, p. 30. NOTES. || Bh. 19. 74 b; SD. 349; Pratāpar. 3. 9. Cf. Lévi, p. 40.

50 (P. 29 b2; H. 27 b2). bhedaḥ protsāhanā matā.

'Incitement (bheda) is the term for an urging on.' CoM. Ex .: Veni. I, 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 .; Pratā- par. 3. 9, end]. NOTES. Bh. and SD., evidently on etymological grounds, explain bheda as a breach of union. As an example SD. quotes Veni. I, 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 I. 55; 2. 70, 71). I Bh. 19. 75 a; SD. 350; Pratāpar. 3. 9. Cf. Lévi, p. 39, 40.

THE PROGRESSION AND ITS SUBDIVISIONS 5I (P. 30; H. 28). lakşyālaksyatayodbhedas tasya pratimukham bhavet binduprayatnānugamād ańgāny asya trayodaśa. '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 sequence of the Expansion (bindu) and the Effort (prayatna), are thirteen [in number].' CoM. Ex .: Ratn. 2, where the love of the king for Sāgarikā prospers and is impeded in turn; Veņī. 2. 5, p. 38; Veņī. 2. 28, p. 60. NOTES. lakşyālakşyatayo° Hall p. 38, P; lakşyālaksya ivo° H, V .- The terms bindu and prayatna are defined at I. 26, 30. I| Bh. 19. 38 b, 39 a; SD. 334; Pratāpar. 3. 10. Cf. Lévi, p. 40.

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16 BOOK ONE [I. 52-

52 (P. 31, 32 a; H. 29, 30a). vilāsaḥ parisarpaś ca vidhūtam śamanarmaņī narmadyutiḥ pragamanam nirodhaḥ paryupāsanam vajram pușpam upanyāso varņasamhāra ity api. '[The thirteen subdivisions of the Progression are]: Amo- rousness (vilāsa), Pursuit (parisarpa), Unrequitedness (vidhūta), Alleviation (sama), Joke (narman), Amusement (narmadyuti), Response (pragamana), Frustration (nirodha), Courtesy (pary- upāsana), Thunderbolt (vajra), Gallantry (puspa), Intimation (upanyāsa), and Combination of the Castes (varnasamhāra).' NOTES. pragamanam Hall p. 38, P; pragayanam H, V (Bh. has pra- ganam, pragananam; SD., pragamanam; Pratapar., pragamah). I| Bh. 19. 59 b, 60, 61 a; SD. 351; Pratapar. 3. II.

53 (P. 32 b1; H. 30 b1). ratyarthehā vilāsaḥ syād. 'Amorousness (vilāsa) is desire for the object of pleasure.' CoM. Ex .: Ratn. 2, p. 23-24. NOTES. ratyartheha H, V (in V the letter th is defective, looking like y), P; ratyuttheha Hall p. 38. I| Bh. 19. 75 b; SD. 352; Pratāpar. 3. II. Cf. Lévi, p. 40.

54 (P. 32 b2, 33 a1; H. 30 b2, c1). drstanasțānusarpaņam 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; Pratāpar. 3. II. Cf. Lévi, p. 41.

55 (P. 33 a2; H. 30c2). vidhūtam syād aratis.

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'Unrequitedness (vidhūta) is absence of pleasure [due to unrequited love].' CoM. Ex .: Ratn. 2, p. 28 [with variations]; Veni., in the case of Bhanumatī. NOTES. In SD. this is variously called vidhrta (ed. Roer), vidhuta (tr. Mitra), and vidhuta (ed. Dviveda and Parab). It is there defined as 'a non-acceptance, at first, of a courtesy,' but the commentary adds: ke cit tu vidhrtam syad aratir iti vadanti, 'some say, however, that the vidhrta is absence of pleasure' - which is clearly a reference to the defini- tion of DR. (cf. the notes on I. 50 above). I Bh. 19. 76b; SD. 354; Pratāpar. 3. II. Cf. Lévi, p. 41.

56 (P. 33 a8; H. 30 c3). tacchamaḥ śamaḥ. '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 from Ratn. (2, p. 28) quoted by Dhanika as an example of the vidhuta (DR. I. 55). I| Bh. 19. 77 a; Pratāpar. 3. II. Cf. Lévi, p. 41.

57 (P. 33 b1; H. 31 a1). parihāsavaco narma. 'Joke (narman) is a humorous remark.' CoM. Ex .: Ratn. 2, p. 45; Veņī. 2, p. 49. NOTES. This narman must not be confused with the term narman, 'Pleasantry,' defined at 2. 79. I| Bh. 19. 77 b; SD. 356; Pratapar. 3. II. Cf. Levi, p. 41.

58 (P. 33 b2; H. 31 a2). dhṛtis tajjā dyutir matā.

'Amusement (dyuti= narmadyuti) is considered to be the satisfaction caused by this [Joke].' CoM. Ex .: Ratn. 2, p. 49. 3

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18 BOOK ONE [1.58-

NOTES. No definition of the narmadyuti occurs in the text of Bh. 19 given by Hall, although it is mentioned at 19. 60 a, in the preliminary enumeration. Ms. P of that work defines it directly after narman, and that definition is quoted in the commentary on SD. 357 (cf. Lévi, pt. 2, p. 8-9). Il SD. 357; Pratāpar. 3. II. Cf. Lévi, p. 42.

59 (P. 34 a1; H. 31 b1). uttarā vāk pragamanam. 'Response (pragamana) is a reply.' CoM. Ex .: Ratn. 2, p. 39-44- NOTES. pragamanam Hall p. 38, P; pragayanam H, V (Bh. has pra- ganam, pragananam [Ms. P, pragayana]; SD., pragamanam; Pratāpar., pragamah). || Bh. 19. 78a; SD. 358; Pratāpar. 3. II. Cf. Lévi, p. 42.

60 (P. 34 a2; H. 31 b2). hitarodho nirodhanam. 'Frustration (nirodhana= nirodha) is a beneficial pre- vention.'

CoM. Ex .: Ratn. 2, p. 50. NOTES. Pratāpar. has virodha, as also SD., which defines this sub- division as 'falling into danger.' Il Bh. 19. 78b; SD. 359; Pratāpar. 3. II. Cf. Lévi, p. 42.

61 (P. 34 b1; H. 32 a1). paryupāstir anunayaḥ. 'Courtesy (paryupāsti= paryupāsana) is politeness.' CoM. Ex .: Ratn. 2. 18, p. 54- NOTES. || Bh. 19. 79 a; SD. 360; Pratāpar. 3. II. Cf. Lévi, p. 42.

62 (P. 34 b2; H. 32 a2). puspam vākyam vieșavat. 'Gallantry (puspa) is a remark in relation to special [excellent] qualities.'

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I. 65] BOOK ONE I9

CoM. Ex .: Ratn. 2, p. 49. NOTES. || Bh. 19. 79 b; SD. 361; Pratāpar. 3. II. Cf. Lévi, p. 43.

63 (P. 35 a1; H. 32 b1). upanyāsas tu sopāyam. 'Intimation (upanyāsa) is [a remark] embodying a stratagem.' CoM. Ex .: Ratn. 2, p. 47. NOTES. upanyasas tu sopayam H, V, P; prasādanam 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 from some treatise a definition largely identical with that of Bh. Il Bh. 19. 80 b; SD. 363; Pratāpar. 3. II. Cf. Lévi, p. 43-

64 (P. 35 a2; H. 32 b2). vajram pratyaksanișthuram. '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; Pratāpar. 3. II. Cf. Lévi, p. 43.

65 (P. 35b; H. 32c). cāturvarņyopagamanam varņasamhāra ișyate. 'Combination of the Castes (varnasamhāra) is re- garded as a coming together of the four castes.' CoM. Ex .: Mahāvīra. 3. 5, p. 93 .- The most important divisions of the Progression are: Pursuit, Response, Thunderbolt, Intimation, and Gal- lantry. [The word praśama should evidently be corrected to pragama. - Cf. SD. 405, com .; Pratāpar. 3. II, end.] NOTES. caturvarnyo° Hall p. 38, P; caturvarno° H, V .- According to the commentary on SD. 364, Abhinavagupta interpreted varna as 'char- acters' and samhara as 'drawing together.' This close association of characters he illustrated by an incident in the second act of the Ratnāvali (p. 47, 49, 50). || Bh. 19. 81 a; SD. 364; Pratāpar. 3. II. Cf. Lévi, p. 43, 44-

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20 BOOK ONE [I. 66-

THE DEVELOPMENT AND ITS SUBDIVISIONS 66 (P. 36; H. 33). garbhas tu drstanastasya bījasyānvesanam muhuh dvādaśāngaḥ patākā syān na vā syāt prāptisambhavaḥ. 'The Development (garbha) is a searching after the Germ (bija), which is seen and lost by turns. It has twelve subdivisions. [In it] there should be an Episode (patākā), or [else] there should not be Prospect of Success (prāptisambhava =prāptyāśā).' CoM. Ex .: Ratn. 3, p. 73. NOTES. On the Episode see I. 21; on the Prospect of Success, I. 31. Bh. and SD. add a thirteenth subdivision; see DR. I. 80, notes. I| Bh. 19. 39 b, 40 a; SD. 335; Pratāpar. 3. 12. Cf. Lévi, p. 44- 57.

67 (P. 37, 38a; H. 34, 35 a). abhūtāharaņam mārgo rūpodāharaņe kramaḥ samgrahaś cānumānam ca toțakādhibale tathā udvegasambhramāksepā lakșaņam ca praņīyate. '[ The twelve subdivisions of the Development are]: Mis- statement (abhūtāharana), Indication (mārga), Supposition (rūpa), Exaggeration (udāharana), Progress (krama), Pro- pitiation (samgraha), Deduction (anumāna), 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 prarthand; see DR. I. 80, notes. I| Bh. 19. 62 b-64 a; SD. 365 a-c; Pratāpar. 3. 13.

68 (P. 38 b1; H. 35 b1). abhūtāharaņam chadma. 'Mis-statement (abhūtāharaņa) is deception.' CoM. Ex .: Ratn. 3, p. 56. NOTES. || Bh. 19. 82 a; SD. 365 d; Pratāpar. 3. 13. Cf. Lévi, p. 44.

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69 (P. 38 b2; H. 35 b2). mārgas tattvārthakīrtanam.

'Indication (marga) is a pointing out of one's real purpose.' CoM. Ex .: Ratn. 3, p. 61 [with variations]. NOTES. I Bh. 19. 82 b; SD. 366; Pratāpar. 3. 13. Cf. Lévi, p. 44-

70 (P. 39 a1; H. 36a1).

rūpam vitarkavad vākyam.

'Supposition (rūpa) is a remark which embodies a hypothesis.' CoM. Ex .: Ratn. 3, p. 65. NOTES. |[ Bh. 19. 83 a; SD. 367; Pratāpar. 3. 13. Cf. Lévi, p. 45.

71 (P. 39 a2; H. 36 a2). sotkarşam syād udāhrtiḥ.

'Exaggeration (udāhrti=udāharana) is [a remark] that contains an over-statement.'

CoM. Ex .: Ratn. 3, p. 60. NOTES. Lévi observes (p. 45) : 'D'après Bharata et Viçvanātha, uda- harana désigne l'extraordinaire, le surnaturel.' I cannot find any warrant for this statement. Bh. and SD. are substantially in accord with DR. on this point, and the example given in the SD. commentary is appropriate. The illustration from the Sakuntala given by Lévi was selected by him in accordance with the statements of the native commentaries (see Lévi, p. 5). I| Bh. 19. 83 b; SD. 368; Pratāpar. 3. 13. Cf. Lévi, p. 45.

72 (P. 39 b1; H. 36b1). kramaḥ saņcintyamānāptir. 'Progress (krama) is attainment of what one is thinking earnestly about.' CoM. Ex .: Ratn. 3, p. 67.

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22 BOOK ONE

NOTES. For parallel passages see the notes on the following section. Cf. Lévi, p. 45.

73 (P. 39 b2; H. 36 b2). bhāvajñānam athāpare. 'Others [say it is] a knowledge of the feelings [of another].' CoM. Ex .: Ratn. 3, 1I-13, p. 68-70. NOTES. This is the interpretation of the term krama in Bh. and SD. Lévi mentions still another, 'knowledge of the future,' occurring in a line attributed to Bharata in Jagaddhara's com. on Mālatīm. Il Bh. 19. 84 a; SD. 369; Pratāpar. 3. 13. Cf. Lévi, p. 46.

74 (P. 40 a1; H. 37 a1). samgrahaḥ sāmadānoktir. 'Propitiation (samgraha) is a speech in making a con- ciliatory present.' CoM. Ex .: Ratn. 3, p. 6r. NOTES. || Bh. 19. 84 b; SD. 370; Pratāpar. 3. 13. Cf. Lévi, p. 46.

75 (P. 40a2; H. 37 a2). abhyūho lingato 'numā. 'Deduction (anumā=anumāna) is an inference from some characteristic sign.'

CoM. Ex .: Ratn. 3, p. 72-73. NOTES. || Bh. 19. 85 a; SD. 371; Pratāpar. 3. 13. Cf. Lévi, p. 46.

76 (P. 40 b1; H. 37 b1). adhibalam abhisamdhiḥ. 'Outwitting (adhibala) is a [clever] deception.' CoM. Ex .: Ratn. 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. I| Bh. 19. 87 a; SD. 375; Pratāpar. 3. 13. Cf. Lévi, p. 47.

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77 (P. 40 b2; H. 37 b2). samrabdham toțakam vacaḥ. 'Quarrel (totaka) is an angry speech.' CoM. Ex .: Ratn. 3, p. 78-79; Veņī. 3. 34-46, p. 87-93. Quotation from some other treatise: [P. 41 a] totakasyānyathābhāvam bruvate 'dhibalam budhāh. 'The learned say that the adhibala is another form of totaka.' Ex .: Ratn. 3, p. 71. [Continuation of the quotation:] [P. 41 b] samrabdhavacanam yat tu toțakam tad udāhrtam. 'Quarrel (totaka) is declared to be the speech of angry persons.' [Or 'an angry speech.'] Ex .: Ratn. 3, p. 70; Venī. 4, p. 106-107 [with variations]. NOTES. I follow Hall in 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. I| Bh. 19. 86 b; SD. 374; Pratāpar. 3. 13. Cf. Lévi, p. 46, 47.

78 (P. 42 a1; 38a1). udvego 'rikrtā bhītiḥ. 'Dismay (udvega) is fear caused by an enemy.' CoM. Ex .: Ratn. 3, p. 79 [with variants]; Veņī. 4, p. 97. NOTES. || Bh. 19. 87 b; SD. 376; Pratāpar. 3. 13. Cf. Lévi, p. 47.

79 (P. 42 a2; H. 38 a2). śańkātrāsau ca sambhramaḥ. 'Consternation (sambhrama) is fear and trembling.' CoM. Ex .: Ratn. 3, p. 75 [with variants]; Veņī. 3, p. 94; Veņī. 3, p. 73. NOTES. This subdivision of the Development is called vidrava in Bh. and SD. See DR. I. 85 and the notes on that section. ll Bh. 19. 88 a; SD. 377; Pratāpar. 3. 13. Cf. Lévi, p. 47.

80 (P. 42b; H. 38b). garbhabījasamudbhedād ākșepaḥ parikīrtitaḥ.

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24 BOOK ONE [I. 80-

'Revelation (aksepa) is declared [to result] from the unfolding of the Germ (bija) in the Development (garbha).' CoM. Ex .: Ratn. 3, p. 73, 78, 80; Veņī. 4, p. 105. - The most impor- tant of these subdivisions of the Development are: Mis-statement, Indica- tion, Quarrel, Outwitting, and Revelation. The others are employed when possible. [Cf. SD. 405, com .; Pratāpar. 3. 13, end.] NOTES. Bh. gives a definition similar to the above, but employs the designation upaksipta (as one must emend, following Lévi, p. 47.) In the preliminary summary (Bh. 19. 63 a) it is called dksipta, 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 prarthana kşipram (for prarthanaksiptam =prār- thand + akşiptam) in 19. 63 a, and upasthitam (for upaksiptam) in 19. 86 a. The Ms. P of Bh. reads ksipti (Lévi, p. 47) .- SD., under the designation ksipti, gives a somewhat different definition and an obscure

ākşepah. example .- Pratapar. has the following definition: istarthopayanusaranam

Bh. 19. 85 b and SD. 372 mention and define a thirteenth division of the Development, the prarthand, 'Invitation', a summons to enjoyment or festivity. This is inserted so that those who exclude the Benediction (prasasti) from the number of divisions of the Conclusion (nirvahana) may still have the full complement of 64 subdivisions (SD. 372, com). Il Bh. 19. 86 a; SD. 373; Pratāpar. 3. 13. Cf. Lévi, p. 47-48.

THE PAUSE AND ITS SUBDIVISIONS 81 (P. 43; H. 39). krodhenāvamrśed yatra vyasanād vā vilobhanāt garbhanirbhinnabījārthah so 'vamarso 'ngasamgrahaḥ. 'The Pause (avamarsa, lit. deliberation) is that group of subdivisions [of the Junctures] in which one stops to reflect (avamrsed) because of anger or passion or temptation, and which has as its subject the Germ (bija) that has been unfolded in the Development (garbha).' COM. Ex .: Ratn. 4, as far as the excitement caused by the fire; Venī. 6. I, p. 158. NOTES. so 'vamarso 'ngasamgrahah V, P; °sang[r]ahah H; so 'vamarśa iti smrtah Hall p. 38 (apparently a reminiscence of Bh. 19. 41 a). -SD. calls this Juncture vimarsa; Bh. (and sometimes DR.), vimarsa. - On the use of avamrsed to explain avamarsa see the notes on DR. I. 19. I| Bh. 19. 40 b, 41 a; SD. 336; Pratāpar. 3. 14 Cf. Lévi, p. 48.

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82 (P. 44, 45 a; H. 40). tatrāpavādasamphețau vidravadravaśaktayaḥ dyutiḥ prasangaś chalanam vyavasāyo virodhanam prarocanā vicalanam ādānam ca trayodaśa. 'The thirteen [subdivisions] of it [i. e. of the Pause] are: Censure (apavāda), Altercation (sampheta), Tumult (vidrava), Contempt (drava), Placation (akti), Rebuke (dyuti), Rever- ence (prasanga), Humiliation (chalana), Assertion (vyavasāya), Opposition (virodhana), Foresight (prarocand), Boastfulness (vicalana), and Summary (ādāna).' NOTES. I Bh. 19. 64, 65, 66 a; SD. 378a, b, c; Pratāpar. 3. 15.

83 (P. 45 b1; H. 41 a1). doşaprakhyā 'pavādaḥ syāt. 'Censure (apavāda) is the proclaiming of a fault [of another].' CoM. Ex .: Ratn. 4, p. 82-83, 87; Veņī. 6, p. 160-161. NOTES. || Bh. 19. 89 a; SD. 378 d; Pratāpar. 3. 15. Cf. Lévi, p. 48.

84 (P. 45 b2; H. 4I a2). samphețo roșabhāșanam. 'Altercation (sampheta) is speaking in anger.' CoM. Ex .: Veni. 6, p. 168-169. NOTES. || Bh. 19. 89 b; SD. 379; Pratāpar. 3. 15. Cf. Lévi, p. 49.

85 (P. 45 c1 ; H. 41 b1). vidravo vadhabandhādir. 'Tumult (vidrava) is slaying, taking prisoner, and the like.' CoM. Ex .: yenāvrtya mukh°, stanza from the Chalitarāma [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. I. 79. In place of vidrava as a subdivision of

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26 BOOK ONE [1. 85

the avamarsa Bh. substitutes an element called vyāhara, 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 Mānavadharmaśāstra 5. 49. Il Pratāpar. 3. 15. Cf. Lévi, p. 49.

86 (P. 45 c2; H. 41 b2). dravo gurutiraskrtiḥ. 'Contempt (drava) is disrespect to one's elders.' CoM. Ex .: Uttararāma. 5. 34, p. 135; Veņī. 6, p. 182. NOTES. I| Bh. 19. 90 a; SD. 381; Pratāpar. 3. 15. Cf. Lévi, p. 50.

87 (P. 46a1; H. 42 a1). virodhaśamanam śaktis.

'Placation (sakti, lit. power) is the allaying of disa- greement.' CoM. Ex .: Ratn. 4 I, p. 85; Uttararāma. 6. II, p. 142. NOTES. From the examples it seems that DR. refers this to a dis- agreement of facts, SD. to a disagreement between persons. I| Bh. 19. 90 b; SD. 383; Pratāpar. 3. 15. Cf. Lévi, p. 50.

88 (P. 46 a2; H. 42 a2). tarjanodvejane dyutiḥ. 'Rebuke (dyuti, lit. flash) is reprimanding and hurting the feelings.'

CoM. Ex .: Veņi. 6, p. 164-167. NOTES. || Bh. 19. 95 a; SD. 382; Pratāpar. 3. 15. Cf. Lévi, p. 50.

89 (P. 46b1; H. 42 b1).

gurukīrtanam prasańgaś. 'Reverence (prasanga) is mentioning one's elders.' CoM. Ex .: Ratn. 4, p. 97 [with many variations]; Mrcch. I0, p. 259 [the stanza is quoted also at DR. 2. 4]. NOTES. || Bh. 19. 91 a; SD. 384; Pratāpar. 3. 15. Cf. Lévi, p. 50.

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90 (P. 46 b2; H. 42 b2). chalanam cāvamānanam. 'Humiliation (chalana, lit. deceit) is disrespect [shown to one].' CoM. Ratn. 4, p. 87; the abandoning of Sita in the Rāmābhyudaya [a 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 Arthadyotanikā, see Lévi, pt. 2, p. 9. Il Bh. 19. 94 a; SD. 390; Pratāpar. 3. 15. Cf. Lévi, p. 50.

91 (P. 47 a1; H. 43 a1). vyavasāyaḥ svaśaktyuktiḥ. 'Assertion (vyavasaya) is mention of one's own power.' CoM. Ex .: Ratn. 4 8, 9, p. 91-92 [the words between the stanzas, ahavā kim bahunā jampiena, constitute an alternative reading of the open- ing words of the second stanza]; Veni. 6. 6, p. 162. NOTES. I| Bh. 19. 91 b; SD. 380; Pratāpar. 3. 15. Cf. Lévi, p. 51.

92 (P. 47 a2; H. 43 a2). samrabdhānām 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. samrabdhānam 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 krodhasamrabdhānām anyonyavikşepo. I| Bh. 19. 92 a; SD. 387; Pratāpar. 3. 15. Cf. Lévi, p. 51.

93 (P. 47 b; H. 43 b). siddhāmantraņato bhāvidarśikā syāt prarocanā. 'Foresight (prarocana) is seeing what is to come because of an assurance of success.'

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28 BOOK ONE [I. 93-

CoM. Ex .: Veni. 6, p. 169-171. NOTES. || Bh. 19. 92 b; SD. 388; Pratāpar. 3. 15. Cf. Lévi, p. 51.

94 (P. 48 a1; H. 43 c1). vikatthanā vicalanam. 'Boastfulness (vicalana) is bragging.' CoM. Ex .: Veni. 5, p. 149-150 [in editions of the text of the play the words api ca täta do not appear, and the following stanza is given to Bhīma; quoted in part also at DR. 3. 20]; Ratn. 4 18, p. 105.

'Obstruction.' NOTES. SD. 386 substitutes for the vicalana an element called pratiseda,

Il Bh. 19. 93 a; Pratāpar. 3. 15. Cf. Lévi, p. 52.

95 (P. 48a2; H. 43 c2). ādānam kāryasamgrahaḥ. 'Summary (adāna) is a résumé of the action.' CoM. Ex .: Veni. 6, p. 199; Ratn. 4, p. IOI [with variations]; Ratn. 4. 18c, p. 105 .- The most important divisions of the Pause are: Censure. Placation, Assertion, Foresight, and Summary [cf. SD. 405, com.]. NOTES. || Bh. 19. 93 b; SD. 389; Pratāpar. 3. 15. Cf. Lévi, p. 52.

THE CONCLUSION AND ITS SUBDIVISIONS

96 (P. 48 b, 49 a; H. 44). bījavanto mukhādyarthā viprakīrņā yathāyatham aikārthyam upanīyante yatra nirvahaņam hi tat. 'The Conclusion (nirvahana) is that [Juncture] in which the matters that occurred in the Opening (mukha) and in the other Junctures, and that contained the Germ (bija) and were distributed in due order, are brought together to one end.' CoM. Ex .: Veņī. 6, p. 202; Ratn. 4, p. 103. NOTES. In I. 36, where the names of the five Junctures are given, the concluding one, here called nirvahana, is designated as upasamhrti. 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. Il Bh. 19. 41 b, 42 a; SD. 337; Pratāpar. 3. 16. Cf. Lévi, p. 52.

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97 (P. 49 b, 50; H. 45).

samdhir vibodho grathanam nirņayah paribhāșaņam prasādānandasamayāḥ kṛtibhāșopagūhanāḥ pūrvabhāvopasamhārau praśastiś ca caturdaśa.

'The fourteen [subdivisions of the Conclusion] are: Junction (samdhi), Vigilance (vibodha), Hint (grathana), Narration (nirnaya), Conversation (paribhasana), Graciousness (prasāda), Bliss (ananda), Deliverance (samaya), Confirmation (krti), Expression of Satisfaction (bhāsā= bhāsana), Unforeseen Cir- cumstance (upagūhana), Anticipation (pūrvabhāva), Termina- tion (upasamhāra= kāvyasamhāra), and Benediction (praśasti).' NOTES. I Bh. 19. 66 b, 67, 68; SD. 391; Pratāpar. 3. 18.

98 (P. 51 a1; H. 46 a1).

samdhir bījopagamanam.

'Junction (samdhi) is the coming up [again] of the Germ (bīja).'

DR. I. 45]. CoM. Ex .: Ratn. 4, p. 103; Veņī. I, p. 25 [the stanza is quoted also at

NOTES. This subdivision of the nirvahana must not be confused with samdhi, 'Juncture'; cf. I. 35. Il Bh. 19. 96 a; SD. 392; Pratāpar. 3. 18. Cf. Lévi, p. 53.

99 (P. 51 a2; H. 46 a2). vibodhaḥ kāryamārgaņam. 'Vigilance (vibodha) is seeking for the Dénouement (kārya).' CoM. Ex .: Ratn. 4, p. 103; Veņī. 6, p. 204-205. NOTES. Pratäpar. has the form virodha (observe that it reads niro- dhana for the virodhana of DR. I. 92), but the same definition as DR. Il Bh. 19. 96 b; SD. 393; Pratāpar. 3. 18. Cf. Lévi, p. 53.

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30 BOOK ONE [I. 100-

100 (P. 51 b1; H. 46b1). grathanam tadupakșepo. 'Hint (grathana) is an intimation of this [Dénouement, as if attained].' CoM. Ex .: Ratn. 4, p. 105; Veņī. 6, p. 201. NOTES. || Bh. 19. 97 a; SD. 394; Pratăpar. 3. 18. Cf. Lévi, p. 54-

IOI (P. 51 b2; H. 46 b2). 'nubhūtākhyā tu nirņayah. 'Narration (nirnaya) is a relation of experience.' CoM. Ex .: Ratn. 4, p. 106; Veņī. 6, p. 203. NOTES. || Bh. 19. 97 b; SD. 395; Pratāpar. 3. 18. Cf. Lévi, p. 54

102 (P. 52 a1; H. 47 a1). paribhāșā mitho jalpaḥ. 'Conversation (paribhāsā= paribhāsana) is talking [of persons] with one another.' CoM. Ex .: Ratn. 4, p. 104-105; Veņī. 6, p. 205-206. NOTES. Bh. and SD. define this subdivision of the nirvahana as a speech implying censure. Il Bh. 19. 98 a; SD. 396; Pratāpar. 3. 18 Cf. Lévi, p. 54.

103 (P. 52 a2; H. 47 a2). prasādaḥ paryupāsanam. 'Graciousness (prasada) is courtesy.' CoM. Ex .: Ratn. 4, p. 105; Veņī. 6, p. 205. NOTES. || Bh. 19. 99 a; SD. 398; Pratāpar. 3. 18 Cf. Lévi, p. 55.

104 (P. 52 b1; H. 47 b1). ānando vāñchitāvāptiḥ. 'Bliss (ananda) is the attainment of one's desires.'

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-I. 108] BOOK ONE 3I

CoM. Ex .: Ratn. 4, p. 107 [differs from the ordinary text]; Veni. 6, p. 206. NOTES. || Bh. 19. 99 b; SD. 399; Pratāpar. 3. 18. Cf. Lévi, p. 55.

105 (P. 52 b2; H. 47 b2). samayo duhkhanirgamaḥ. 'Deliverance (samaya, lit. occasion) is escape from mis- fortune.'

CoM. Ex .: Ratn. 4, p. 104; Veņī. 6, p. 208. NOTES. || Bh. 19. 100 a; SD. 400; Pratāpar. 3. 18. Cf. Lévi, p. 55.

106 (P. 53a1; H. 48 a1). krtir labdharthaśamanam. 'Confirmation (krti, lit. fact) is substantiation of the result attained.'

CoM. Ex .: Ratn. 4, p. 107; a passage from Veņī. [substantially equi- valent to the stanza 6. 44, p. 209]. NOTES. I| Bh. 19. 98b; SD. 397; Pratāpar. 3. 18. Cf. Lévi, p. 55.

107 (P. 53 a2; H. 48 a2). mānādyāptiś ca bhāșaņam. 'Expression of Satisfaction (bhāsana) is the attain- ment of one's expectations and the like.' CoM. Ex .: Ratn. 4, p. 108. NOTES. Pratāpar. calls this subdivision abhasana and defines it as prāptakāryānumodanam. - Bh. has ābhāşaņa. Il Bh. 19. 101 a; SD. 402; Pratāpar. 3. 18. Cf. Lévi, p. 56.

I08 (P. 53 b; H. 48b). kāryadrstyadbhutaprāptī pūrvabhāvopagūhane. 'Anticipation (purvabhava) and Unforeseen Cir- cumstance (upaguhana) are [respectively] the foreseeing of the Dénouement (kārya) and the experiencing of something wonderful.'

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32 BOOK ONE [I. 108-

CoM. Ex .: Ratn. 4, p. 106-107 (Anticipation); Venī. 6, p. 207 (Unfore- seen Circumstance). NOTES. For the pürvabhava SD. 403 substitutes the pürvavākya, or allusion to words spoken before. Il Bh. 19. 100 b, 101 b; SD. 401; Pratāpar. 3. 18. Cf. Lévi, p. 56.

109 (P. 54 a1; H. 48 c1). varāptiḥ kāvyasamhārah. 'Termination (kāvyasamhāra) is obtaining a boon.' CoM. Ex .: Ratn. 4, p. 108 [cf. Nāgānanda 5, p. 105; Priyadarśikā 4, p. 95]. NOTES. The illustrative example here and in SD. shows that this kavyasamhara is merely a designation for the phrase 'What further can I do for you?' which in many of the dramas precedes the final Benediction. || Bh. 19. 102 a; SD. 404; Pratāpar. 3. 18. Cf. Lévi, p. 56.

IIO (P. 54 a2; H. 48 c2). praśastiḥ śubhaśamsanam. 'Benediction (prasasti) is a prayer for good things.' CoM. Ex .: Veņi. 6, p. 210-2I1. 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.). I| Bh. 19. 102 b; SD. 405; Pratāpar. 3. 18. Cf. Lévi, p. 56.

III (P. 54b; H. 49a). uktāngānām catuhsasțiņ sodhā caisām prayojanam. 'The sixty-four subdivisions have now been spoken of. Their application is sixfold.' NOTES. Il SD. 406 a; Pratāpar. 3. 18 Cf. Lévi, p. 36.

SIXFOLD APPLICATION OF THE SUBDIVISIONS $I2 (P. 55; H. 49 b, c). isțasyārthasya racanā gopyaguptiḥ prakāśanam rāgaḥ prayogasyāścaryam vrttāntasyānupakșayaḥ.

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'[These six applications are]: the arranging of the subject chosen, concealing what is to be concealed, disclosing [what is to be disclosed], emotion, the element of surprise in the representa- tion, and sustaining interest in the story.' NOTES. || Bh. 19. 48 b, 49; SD. 407 a, b, c; AP. 337. 24, 25; Pratāpar. 3. 18. Cf. Lévi, p. 36.

TWOFOLD TREATMENT OF THE SUBJECT-MATTER.

II3 (P. 56; H. 50). dvedhā vibhāgah kartavyaḥ sarvasyāpīha vastunaḥ sūcyam eva bhavet kim cid drśyaśravyam athāparam. '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. || Pratāpar. 3. 18. Cf. Lévi, p. 57.

1I4 (P. 57; H. 51). nīraso 'nucitas tatra samsūcyo vastuvistaraḥ dśyas tu madhurodāttarasabhāvanirantaraḥ. ' 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 is to be presented in action.' NOTES. For an enumeration of actions considered unsuitable for actual presentation in the play see 3. 39. Cf. Lévi, p. 57.

THE FIVE KINDS OF INTERMEDIATE SCENE

1I5 (P. 58; H. 52). arthopakşepakaih sūcyam pañcabhiḥ pratipādayet vișkambhacūlikānkāsyānkāvatārapraveśakaiḥ. 'What is to be [merely] intimated one should make clear by means of the five Intermediate Scenes (arthopaksepaka),

4

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[namely]: the Explanatory Scene (viskambha), the Intimation- scene (cūlikā), the Anticipatory Scene (ankāsya), the Continua- tion-scene (ankavatara), and the Introductory Scene (prave- śaka)'. NOTES. I| Bh. 19. 109; SD. 305, 308 a, b; Pratāpar. 3. 18. Cf. Lévi, p. 59.

116 (P. 59; H. 53 a, b). vṛttavartisyamāņānām kathāmśānām nidarśakaḥ samkşepārthas tu vişkambho madhyapātraprayojitaḥ. '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 viskambhaka in Bh. and SD. and also in many dramas; DR. often uses the form viskambha .- In explanation of the vis- kambhaka the com. on Mankhakośa 563 (ed. Zachariae, Vienna, 1897, p. 77) quotes Bh. 18. 35. || Bh. 19. 110; 18. 34, 51; SD. 308c, d; Pratāpar. 3. 19. Cf. Lévi, p. 59.

1I7 (P.60a; H. 53c). ekānekakṛtaḥ śuddhah samkīrņo nīcamadhyamaiḥ. 'When performed by one or more persons [of one class], it [is called] pure (śuddha) ; when by inferior and middling [char- acters], it [is called] mixed (samkīrņa).' NOTES. The pure variety is a soliloquy or a dialogue in Sanskrit and is presented by one or two middle-class characters; the mixed variety is in Präkrit and is presented by middling and inferior characters together (whence the designation). I| Bh. 19. III; 18. 35, 52; SD. 308 e, f; Pratāpar. 3. 19. Cf. Lévi, p. 59.

118 (P. 60 b, 61 a; H. 54). tadvad evānudāttoktyā nīcapātraprayojitaḥ praveśo 'nkadvayasyāntaḥ śeșārthasyopasūcakaḥ. 'The Introductory Scene (praveśa = praveśaka), which is quite similar [to the preceding] and is performed by

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inferior characters in language 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 distinguished from the viskambhaka, is always in Prakrit. Gray, JAOS. 25. 205, note I, rightly protests against the misleading translation 'inter- lude,' which has an entirely different connotation in English. I| Bh. 19. 113, 114= 18. 30, 31; SD. 309; Pratāpar. 3. 22. Cf. Lévi, p. 61.

119 (P. 61 b; H. 55a). antaryavanikāsamsthaiś cūlikā 'rthasya sūcanā. 'The Intimation-scene (cūlikā) is an explanation of a matter by persons stationed behind the curtain.' CoM. Ex .: Uttararāma. 2, p. 47; Mahāvīra. 4, p. 125. NOTES. antaryavanika° H, V; antarjavanika° Hall p. 38, P .- On the curtain in the Hindu theater see Lévi, p. 373-374- Il Bh. 19. 112; SD. 310; Pratāpar. 3. 20. Cf. Lévi, p. 60.

120 (P. 62 a; H. 55 b). ańkāntapātrair ankāsyam chinnānkasyārthasūcanāt. 'The Anticipatory Scene (ankāsya) [is so called] be- cause of the allusion by characters at the end of an Act to the subject of the following Act [lit. of an Act that is detached (from it) ].' CoM. Ex .: Mahāvīra. 2, p. 87; 3, p. 89. NOTES. In Bh. and SD. this is called ankamukha in both summary and definition; here only ankāsya (anka + dsya). The variation is of no sig- nificance, since dsya and mukha are synonymous. -SD. gives, in addition to the explanation of ankasya as a reference 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 ankavatara, with which some persons (according to SD. 313, com.) claimed it was identical. I| Bh. 19. 116; SD. 312, 313; Pratāpar. 3. 21. Cf. Lévi, p. 60.

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36 BOOK ONE [I. 121-

I21 (P. 62 b, 63 a; H. 56). ankāvatāras tv ankānte pāto 'nkasyāvibhāgataḥ ebhiḥ samsūcayet sūcyam drśyam ankaiḥ pradarśayet. 'The Continuation-scene (ankāvatāra) 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 ankavatara: Mālav. I, p. 21 [with variants]. NOTES. pāto 'nkasyā° H, V, P; pātrānkasyā° 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 House (published at New York, 1908), 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. I. 1I4). Il Bh. 19. 115; SD. 311; Pratāpar. 3. 23. Cf. Lévi, p. 60.

ASIDES, CONFIDENTIAL REMARKS, AND THE LIKE 122 (P. 63b; H. 57 a). nātyadharmam 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. Lévi, p. 61.

I23 (P. 64 a; H. 57 b). sarveșām niyatasyaiva śrāvyam aśrāvyam eva ca. 'Of the matter in hand some is to be heard by all, some is not to be heard by all.'

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Lévi, p. 61. NOTES. The technical terms are given in the following section. Cf.

I24 (P. 64b; H. 58a). sarvaśrāvyam prakāśam syād aśrāvyam svagatam matam.

'What is to be heard by all is [called] an Aloud (prakāśa); what is not to be heard [by all] is known as an Aside (svagata).' NOTES. An Aside is also called dtmagata. The adverbial forms dtma- gatam and svagatam occur frequently in the stage-directions of the dramas. I SD. 425 a, b. Cf. Lévi, p. 61.

125 (P. 65a; H. 58b). dvidhā 'nyan nāțyadharmākhyam janāntam apavāritam. 'There is another so-called dramatic rule that is twofold: Per- sonal Address (janānta=janāntika) and Confidence (apavārita).' NOTES. Cf. Lévi, p. 61.

I26 (P. 65 b, 66 a; H. 59 a, b). tripatākākareņānyān apavāryāntarā kathām anyonyāmantraņam yat syāj janānte taj janāntikam. 'Personal Address (janāntika) 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 (tripatākā).' NOTES. The word tripatakd, 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 janāntika see Śakuntalā 6. 24 +, p. 221. Il SD. 425 d, e. Cf. Lévi, p. 61.

I27 (P. 66b; H. 59c). rahasyam kathyate 'nyasya parāvrttyā 'pavāritam.

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38 BOOK ONE [I. 127-

'A Confidence (apavārita) is a secret told to another by turning around [to him].'

NOTES. The apavarita is understood to be heard only by the person addressed. Il SD. 425 b, c. Cf. Lévi, p. 61.

I28 (P. 67; H. 60).

kim bravīsy evam ityādi vinā pātram bravīti yat śrutvevānuktam apy ekas tat syād ākāśabhāșitam.

'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 (ākāśabhāșita).'

COM. 'Some persons name other dramatic rules besides, such as pra- thamakalpa [cf. Lévi, 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, 191I, p. 108-109). Il SD. 425 f, g. Cf. Lévi, p. 61, 62.

CONCLUSION OF THE FIRST BOOK

I29 (P. 68; H. 61).

ityādy aśeşam iha vastuvibhedajātam Rāmāyaņādi ca vibhāvya Brhatkathām ca āsūtrayet tad anu netrrasānuguņyāc citrām kathām ucitacāruvacahprapañcaiḥ.

'After examining the entire body of divisions of the subject- matter here [presented] in these and the following [sections],

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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 Mudrāraksasa, 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 ślokas from Kşemendra's Brhatkathāmañjarī (2. 216, 217). These are doubtless to be regarded as an interpolation; see my Introduction, page xxxiii.] NOTES. Meter: vasantatilaka.

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BOOK TWO

CHARACTERISTICS OF THE HERO

I (P. I, 2; H. I, 2a, b). netā vinīto madhuras tyāgī daksah priyamvadaḥ raktalokaḥ śucir vānmī rūdhavamśa sthiro yuvā buddhyutsāhasmṛtiprajñākalāmānasamanvitaḥ śūro drdhaś ca tejasvī śāstracaksuś ca dhārmikaḥ.

'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 .: Mahāvīra. 4 21, p. 146 (well-bred) ; Mahāvīra. 2. 36, p. 75 (gentle); Spr. 1547 (liberal); Mahāvīra. I. 53, p. 37 [quoted also at DR. 2. 16] (clever) ; Mahāvīra. 2. 35, p. 75 (affable) ; Mahāvīra. 4. 44, p. 164 (popular) ; Raghuvamśa 16. 8 (upright) ; Mahānāțaka 2. 14, p. 52 [= Bāla- rāmāyaņa 4 60, p. 108] (eloquent); Anargharāghava 3. 21, p. 123 (of exalted lineage) ; Mahāvīra. 3. 8, p. 95 [quoted also at DR. 2. 20 and 4 22] (resolute); Bhartrhari, Nītiś. 27= Spr. 4342 (resolute); Mālav. I. 5, p. 8 (possessed of knowledge). NOTES. N SD. 64; Rudr. Śrng. I. 27; Rudr. Kāvyāl. 12. 7, 8; Sarasv. 5. 103 a, 122, 123 (ed. B. 5. 104 a, 123, 124) ; Hem. Kāvyān. 7, p. 295; Vāgbhațāl. 5. 7; Vāgbh. Kāvyān. 5, p. 62; Pratāpar. I. II, 22; Alaņkāra- śekhara 20. 6; Kāmasūtra, p. 308-309; Kandarpacūdāmaņi and Pañcasā- yaka, cited by Schmidt. Cf. Schmidt, p. 147-150 (2d ed., 109-III) ; Lévi, p. 62-64. THE FOUR TYPES OF HERO 2 (P. 3a; H. 2c). bhedais caturdhā lalitaśāntodāttoddhatair ayam. 'He [i. e. the Hero] is of four kinds, being light-hearted (lalita), calm (ānta), exalted (udātta), or vehement (uddhata).' 40

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NOTES. In the definitions of these four kinds of hero, which follow in sections 3-6, each of the terms lalita, fanta, etc. has prefixed to it the word dhira, 'self-controlled,' in order to indicate that the hero, unlike the heroine, must always have himself under control .- The Sāhityasāra mentions only the first three types. Il Bh. 24 3, 4; SD. 65; AP. 338. 37 b, 38 a; Sarasv. 5. 109 a (ed. B. 5. IIOa) ; Hem. Kāvyān. 7, p. 299; Vāgbh. Kāvyān. 5, p. 61; Pratāpar. I. 27; Sāhityasāra II. 2.

3 (P. 3b; H. 3a). niścinto dhīralalitaḥ kalāsaktaḥ sukhī mrduḥ. ''The self-controlled and light-hearted [Hero] (dhira- lalita) is free from anxiety, fond of the arts [song, dance, etc.], happy, and gentle.' CoM. Ex .: Ratn. I. 9, p. 6 [quoted also at DR. 4 14]. NOTES. || Bh. 24 5 a; SD. 68; Sarasv. 5. 556 (ed. B. p. 342) ; Hem. Kāvyān. 7, p. 299; Pratāpar. I. 32; Sāhityasāra II. 4. Cf. Lévi, p. 64.

4 (P. 4a; H. 3 b). sāmānyaguņayuktas tu dhīraśānto dvijādikaḥ. 'The self-controlled and calm [Hero] (dhīraśānta) is a Brahman or the like, possessed of the generic merits [of a Hero].' CoM. Ex .: Mālatīm. 2. 10, p. 73; Mrcch. I0. 12, p. 259 [quoted also at DR. I. 89]. NOTES. || Bh. 24. 6a; SD. 69; Sarasv. 5. 557 (ed. B. p. 343); Hem. Kāvyān. 7, p. 299; Pratāpar. I. 33; Sāhityasāra II. 5. Cf. Lévi, p. 64

5 (P. 4 b, 5 a; H. 4). mahāsattvo 'tigambhīraḥ kșamāvān avikatthanaḥ sthiro nigūdhāhamkāro dhīrodātto drdhavrataḥ. 'The self-controlled and exalted [Hero] (dhīrodātta) is of great excellence, exceedingly serious, forbearing, not boastful, resolute, with self-assertion suppressed, and firm of purpose.' CoM. Ex .: Nāgān. 5. 15, p. 89 [quoted also at DR. 2. 23]; Mahānāțaka 3. 25, p. 97 [quoted also at DR. 2. 19]. The objection may be raised by some that Jimutavahana, the hero of the Nagananda, belongs more properly in the category of 'calm' heroes, as would appear from Nāgan. I. 6, p. 4

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42 BOOK TWO [2.5-

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 Sakuntalā 5. 7, p. 158 (= Spr. 7328). [For details of the argument see Lévi, p. 65-66.] NOTES. I| Bh. 24. 5b; SD. 66; Sarasv. 5. 558 (ed. B. p. 343) ; Hem. Kāvyān. 7, p. 299; Pratāpar. I. 28; Sāhityasāra II. 3. Cf. Lévi, p. 65-66.

6 (P. 5 b, 6a; H. 5). darpamātsaryabhūyistho māyāchadmaparāyaņah dhīroddhatas tv ahamkārī calaś caņdo vikatthanaḥ. 'The self-controlled and vehement [Hero] (dhiroddhata) is altogether dominated by pride and jealousy, wholly devoted to magic practices and deceit, self-assertive, fickle, irascible, and boastful.'

CoM. Ex .: Mahāvīra. 2. 16, p. 57; trailokyaiśvarya° [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 Paraśurāma in the Mahāvīracarita, who appears as 'exalted' in 2. I0, p. 51 [quoted also at DR. 4 23 and Kāvyapradīpa 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 Lévi, p. 67-68.] NOTES. || Bh. 24. 5 a; SD. 67; Sarasv. 5. 555 (ed. B. p. 342); Hem. Kāvyān. 7, p. 299; Pratāpar. I. 30. Cf. Lévi, p. 66-68.

THE HERO AS LOVER

7 (P. 6b; H. 6a). sa dakşiņah satho dhrstah pūrvām praty anyayā hrtah. 'When he has been captivated by another woman, [the Hero may be] clever (daksina), deceitful (atha), or shameless (dhrsta) toward his previous [love].' NOTES. II SD. 70; Rudr. Śrng. I. 28; Rudr. Kāvyāl. 12. 9a; AP. 338. 38 b; Sarasv. 5. 109 b (ed. B. 5. 110 b) ; Hem. Kāvyān. 7, p. 299; Vāgbhațāl. 5. 8; Vāgbh. Kāvyān. 5, p. 61; Rasamañjarī, p. 208; Pratāpar. I. 34; Alamkāraśekhara 20. 7; Ratirahasya 2. 82 (ZDMG. 57, p. 728). Cf. Schmidt, p. 152-153 (2d ed., p. II2-113).

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8 (P. 7a1; H. 6b1). dakşiņo 'syām sahrdayo. 'A clever [Hero] (daksina) is [one that is] kind to her [i. e. to his previous love].' CoM. Ex .: prasida°, stanza by Dhanika; Mālav. 3. 3, p. 40= Spr. 1158 NOTES. H SD. 71; Rudr. Srng. I. 31; Rudr. Kāvyāl. 12. 10; Sarasv. 5. 562 (ed. B. p. 343) ; Hem. Kāvyān. 7, p. 300; Vāgbhațāl. 5. 9b; Vāgbh. Kāvyān. 5, p. 61; Rasamañjarī, p. 210; Pratāpar. I. 36; Alamkāraśekhara 20. 8b; Rasaratn. 49 a; Bhāşābhūșana 6b. Cf. Schmidt, p. 154-155 (2d ed., p. 1I4-1I5); Lévi, p. 68.

9 (P. 7a2; H. 6b2). gūḍhavipriyakṛc chațhaḥ. 'A deceitful [Hero] (śatha) [is one that] hides his un- faithfulness.'

CoM. Ex .: Amaru 73= Spr. 6357 [quoted also at SD. 74] .- A 'clever' hero, although equally unfaithful, differs from a 'deceitful' hero in that he is kind to his former love. NOTES. || Bh. 22. 298; SD. 74; Rudr. Śrńg. I. 33; Rudr. Kāvyāl. 12. II; Sarasv. 5. 559 (ed. B. p. 343) ; Hem. Kāvyān. 7, p. 301; Vāgbhațāl. 5. 10 a; Vāgbh. Kāvyān. 5, p. 61; Rasamañjarī, p. 213; Pratāpar. I. 39; Alam- kāraśekhara 20. 9 a; Rasaratn. 50 a; Bhāşābhūșaņa 7a; Ratirahasya 2. 84 (ZDMG. 57, p. 728). Cf. Schmidt, p. 155-157 (2d ed., p. 115-116) ; Lévi, p. 68.

I0 (P. 7b1; H. 6c1). vyaktāngavaikrto 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). USD. 72; Rudr. Śrng. I. 36; Rudr. Kāvyāl. 12. 12; Sarasv. 5. 560 (ed. B. p. 343) ; Hem. Kāvyān. 7, p. 300; Vāgbhațāl. 5. 10b; Vāgbh. Kāvyān. 5, p. 61; Rasamañjarī, p. 211; Pratāpar. I. 38; Alamkāraśekhara 20. 9 b; Rasaratn. 49 b; Bhāşābhūșaņa 7b; Ratirahasya 2. 85 (ZDMG. 57, p. 728). Cf. Schmidt, p. 157-158 (2d ed., p. 116-117) ; Lévi, p. 68.

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44 BOOK TWO [2.II-

II (P. 7 b2; H. 6c2). 'nukūlas tv ekanāyikaḥ. 'A faithful [Hero] (anukūla) [is one that] has only a single lady-love.' CoM. Ex .: Uttararāma. I. 39, p. 37 .- The question arises as to the classification of heroes of the Natika, such as King Vatsa in the Ratnāvali, who are at first faithful and later unfaithful but courteous. They are not to be regarded as 'deceitful' 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 tisthati 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-I1] may be superior, intermediate, or inferior, there are 48 varieties of hero [cf. Bh. 24. 2; SD. 75; Kumārasvāmin on Pratāpar. I. 27; Suka- saptati, text. simpl. 57 (p. 162, 1. 4-9) ; and see Schmidt, p. 158-160]. NOTES. H SD. 73; Rudr. Śrńg. I. 29; Rudr. Kāvyāl. 12. 9 b; Sarasv. 5. 561 (ed. B. p. 343); Hem. Kāvyān. 7, p. 301; Vāgbhațāl. 5. 9a; Vāgbh. Kāvyān. 5, p. 61; Rasamañjarī, p. 208; Pratāpar. I. 35; Alamkāraśekhara 20. 8a; Rasaratn. 49 a; Bhāşābhūșaņa 6 a; Ratirahasya 2. 83 (ZDMG. 57, p. 728). Cf. Schmidt, p. 153-154 (2d ed., p. 113-114) ; Lévi, p. 69.

COMPANIONS OF THE HERO

I2 (P. 8; H. 7). patākānāyakas tv anyah pīțhamardo vicaksanaḥ tasyaivānucaro bhaktaḥ kim cid ūnaś ca tadguņaiḥ. 'The Hero of the Episode (patākā) is a separate person, [called] Attendant (pithamarda), 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 Mālatīmadhava, and Sugriva in [the dramas based on] the Ramayana. NOTES. Il SD. 76; Rudr. Śrng. I. 39, 40; Rudr. Kāvyāl. 12. 13, 14; AP. 338. 39, 40 a; Sarasv. 5. 597 (ed. B. p. 348); Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 227; Pratāpar. I. 40; Rasaratn. 53 a; Kāmasūtra, p. 57- 58; Kandarpacūdāmaņi and Pañcasāyaka, cited by Schmidt. Cf. Schmidt, p. 197-200 (2d ed., p. 142-144) ; Lévi, p. 72.

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13 (P. 9a; H. 8a). ekavidyo vițaś cānyo hāsyakrc ca vidūsakaḥ. 'Another [companion] is the Parasite (vita), who has but a single accomplishment, and the Jester (vidūsaka), who is the fun-maker.' COM. An example of the vita is Sekharaka in the Nāgānanda; the vidu- saka is a familiar figure [and no example need therefore be mentioned]. NOTES. || Bh. 24. 105, 107 b, 108 a; SD. 77-79; Rudr. Srng. I. 41; Rudr. Kāvyāl. 12. 15; AP. 338. 40; Sarasv. 5. 598, 599 (ed. B. 5. 170*, 170, p. 348) ; Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 227; Pratāpar. I. 40; Rasaratn. 53 b, 55 a [by an oversight no section was numbered 54 in the printed edition]; Kāmasūtra, p. 58, 59; Ratirahasya I. 21-26 (ZDMG. 57, p. 712- 713). Cf. Schmidt, p. 200-204 (2d ed., p. 144-146); Lévi, p. 122-123.

THE OPPONENT OF THE HERO

14 (P. 9b; H. 8b). lubdho dhīroddhataḥ stabdhaḥ pāpakrd vyasanī ripuḥ. 'The Opponent [of the Hero] is avaricious, [of the type known as] self-controlled and vehement (dhiroddhata), stubborn, criminal, and vicious.' CoM. Rāvana, for example, is the opponent of Räma, and Duryodhana the opponent of Yudhisthira. NOTES. The technical term for this type of character is pratindyaka, 'counter-hero.' The use of the word ripu here is due to metrical exi- gencies. - Hem. Kāvyān. (7, p. 308) mentions also a pratindyikd as a foil to the heroine. DR. makes no mention of such a character. Il SD. 159; Sarasv. 5. 103 b (ed. B. 5. 104 b); Hem. Kāvyān. 7, p. 301. Cf. Lévi, p. 72.

QUALITIES OF THE HERO 15 (P. I0; H. 9). śobhā vilāso mādhuryam gāmbhīryam sthairyatejasī lalitaųdāryam ity aștau sattvajāh paurușā guņāh. 'The eight manly qualities that spring from one's nature are: Beauty of Character (śobhā), Vivacity (vilāsa), Equanimity

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46 BOOK TWO [2.15-

(mādhurya), Poise (gāmbhīrya), Firmness (sthairya), Sense of Honor (tejas), Lightheartedness (lalita), and Magnanimity (audārya).'

NOTES. sthairya° Hall p. 38, P; dhairya° H, V (Bh. has sthairya; SD., dhairya). Hall remarks (p. 16, n. 3) : 'The dhairya 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 correct word 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; sattvikah Hall p. 38 (SD. has sattvajaḥ). Five of these technical terms reappear below in the enumeration of the graces of women: sobha (2. 53), vilasa (2. 61), madhurya (2. 55), lalita (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. I| Bh. 22. 31; SD. 89; AP. 338. 47; Hem. Kāvyān. 7, p. 296.

16 (P. IIa; H. Ioa).

nīce ghrņā 'dhike spardhā sobhāyām sauryadakșate.

'In Beauty of Character (sobha) [are comprised] com- passion for the lowly, emulation of one's superiors, heroism, and cleverness.' CoM. Ex .: Mahāvīra. I. 37, p. 27 (compassion) ; etām paśya purah° [unidentified stanza, tr. Lévi, p. 70] (emulation); stanza by Dhanika = Śārng. 3973 [tr. Lévi, p. 70] (heroism); Mahāvīra. I. 53, p. 37 [quoted also at DR. 2. I] (cleverness). NOTES. || Bh. 22. 32; SD. 90; AP. 338. 48; Hem. Kāvyān. 7, p. 296. Cf. Lévi, p. 70.

17 (P. II b; H. 10b).

gatiḥ sadhairyā drstiś ca vilāse sasmitam vacaḥ.

'Vivacity (vilāsa) includes a firm step and glance and a laughing voice.' CoM. Ex .: Uttararāma. 6. 19, p. 147. NOTES. || Bh. 22. 33; SD. 91; Hem. Kāvyān. 7, p. 297. Cf. Lévi, p. 70.

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18 (P. 12a; H. IIa). ślakşņo vikāro mādhuryam samksobhe sumahaty api. 'Equanimity (mādhurya) [means] slight change of de- meanor even in very great agitation.' CoM. Ex .: Mahānāțaka 3. 54, p. 114= Sārng. 3990 [tr. Lévi, p. 70]. NOTES. || Bh. 22. 34; SD. 92; Hem. Kāvyān. 7, p. 297. Cf. Lévi, p. 70.

19 (P. 12b; H. IIb). gāmbhīryam yat prabhāvena vikāro nopalaksyate. 'Poise (gambhīrya) [means] that, because of strength of character, no change of demeanor whatsoever is observed [even in very great agitation].'

Lévi, p. 65]. CoM. Ex .: Mahānāțaka 3. 25, p. 97 [quoted also at DR. 2. 5; tr.

NOTES. || Bh. 22. 36; SD. 93; Hem. Kāvyān. 7, p. 298. Cf. Lévi, p. 71.

20 (P. 13a; H. I2a). vyavasāyād acalanam sthairyam vighnakulād api. 'Firmness (sthairya) is the not being swerved from one's determination even by a multitude of obstacles.' CoM. Ex .: Mahāvīra. 3. 8, p. 95 [quoted also at DR. 2. I and 4. 22]. NOTES. || Bh. 22. 35; SD. 94; Hem. Kāvyān. 7, p. 298. Cf. Lévi, p. 71.

21 (P. 13b; H. I2b). adhikşepādyasahanam tejaḥ prāņātyayeșv api. 'Sense of Honor (tejas) is the not enduring insults and the like, even at the cost of one's life.' CoM. Ex .: Sārng. 262. NOTES. The corresponding section of Bh., recorded by Hall (p. 16, n. 3) as cited by Kşīrasvāmin and by Rāyamukuțamaņi in their com- mentaries on the Amarakośa, is found also in the com. on Hemacandra's Anekärthasamgraha 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. N Bh. 22. 39; SD. 95 a, b; Hem. Kāvyān. 7, p. 298. Cf. Lévi, p. 71.

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48 BOOK TWO [2.22

22 (P. 14a; H. 13a).

śṛgārākāracestātvam sahajam lalitam mrdu.

'Lightheartedness (lalita) is the natural sweet appear- ance and demeanor of love.' COM. Ex .: lavanyamanmatha°, stanza by Dhanika [tr. Lévi, p. 71]. NOTES. || Bh. 22. 37; SD. 95 c; Hem. Kāvyān. 7, p. 297. Cf. Lévi, p. 71.

23 (P. 14b; H. 13b).

priyoktyā jīvitād dānam audāryam sadupagrahaḥ.

'Magnanimity (audārya) is the giving up of even as much as () one's life with a kindly word, [and] the propitia- tion of the virtuous.' CoM. Ex .: Nāgān. 5. 15, p. 89 [quoted also at DR. 2. 5]; Kumāra- sambhava 6. 63 (propitiation). NOTES. I take priyoktyā to represent priyoktyā (instrumental) + ā (prepositional adv. with jivitad). N Bh. 22. 38; SD. 95 d; Hem. Kāvyān. 7, p. 298. Cf. Lévi, p. 71.

THE THREE KINDS OF HEROINE

24 (P. 15a; H. I4a).

svā 'nyā sādhāraņastrī 'ti tadguņā nāyikā tridhā.

'The Heroine (nayika) is of three kinds: [the Hero's] own wife (svā), [a woman who is] another's (anyā), 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: divyā, nrpapatni, kulastrı, ganikā. Il SD. 96; Rudr. Srng. I. 46; Rudr. Kāvyāl. 12. 16; AP. 338. 41; Sarasv. 5. III a, 112 b (ed. B. 5. 112a, 113 b) ; Hem. Kāvyān. 7, p. 301; Vāgbhațāl. 5. 1I; Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. II; Alam- kāraśekhara 20. 2b, c; Rasaratn. 8b; Sāhityasāra I0. 2 a; Bhāşābhūșaņa I0; Ratirahasya I. 27 (ZDMG. 57, p. 713). Cf. Schmidt, p. 256-258 (2d ed., p. 186-187) ; Lévi, p. 72.

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THE HERO'S WIFE AS HEROINE

25 (P. 15b; H. 14b). mugdhā madhyā pragalbheti svīyā śīlārjavādiyuk. '[The Hero's] own wife (sviya=sva), who is possessed of good character, uprightness, and the like, [may be] inex- perienced (mugdhā), partly experienced (madhyā), or experi- enced (pragalbhā).' CoM. Ex .: Hāla 871 (good character) ; Hāla 867 (uprightness); Hāla 866 [quoted also at SD. 97] (modesty). NOTES. sulya H, V, P; sva 'pi Hall p. 38 .- This type of heroine is called variously svā, svīyā, or svakīyā. II SD. 97, 98; Rudr. Śrng. I. 47; Rudr. Kāvyāl. 12. 17; Sarasv. 5. 110 b (ed. B. 5. III b); Hem. Kāvyān. 7, p. 301; Vāgbhațāl. 5. 12, 13; Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 1I-12, 16; Pratāpar. I. 56; Alamkāraśekhara 20. 3, 4; Rasaratn. 9; Sāhityasāra I0. 8; Ratirahasya I. 28 (ZDMG. 57, p. 713). Cf. Schmidt, p. 258-260 (2d ed., p. 187-189); Lévi, p. 72.

26 (P. 16a; H. 15a). mugdhā navavayaḥkāmā ratau vāmā mrduḥ 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); drstih salasa° [unidentified stanza, quoted also at DR. 2. 50] (desire) ; Kumārasambhava 8. 2 [quoted also at DR. 4 61] (coyness in rati) : Subhaşitāvali 2060 (gentleness in anger); na madhye samskāram kusum° [unidentified stanza] (passion concealed because of modesty). NOTES. In most rhetorical treatises the mugdhd is not further sub- divided (cf. DR. 2. 31, com .: mugdha tv ekarūpaiva; see also Schmidt, p. 262-263; 2d ed., p. 191), but Rasamañjarī, Rasaratnahāra, and Bhāşā- bhūșana mention two varieties of mugdhā. Il SD. 99; Rudr. Śrńg. I. 48, 52, 54, 56; Rudr. Kāvyāl. 12. 18-20; Sarasv. 5. 566 (ed. B. p. 344); Rasamañjarī, p. 16-17; Pratāpar. I. 56; Rasaratn. I0, II a; Bhāşābhūșaņa 11; Ratirahasya I. 9-II (ZDMG. 57, p. 710). Cf. Schmidt, p. 260-262 (2d ed., p. 189-191) ; Lévi, p. 72-73.

27 (P. 16b; H. 15 b). madhyodyadyauvanānangā mohāntasuratakșamā.

5

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50 BOOK TWO [2.27-

'The partly experienced [kind of wife] (madhyā) has the love of rising youth and permits its indulgence even to fainting.' CoM. Ex .: alapan bhra° [unidentified stanza] (youth); Amaru 60 (love) ; Hāla 5 (sambhoga). NOTES. °yāvanānangā H, V, P; clearly a mistake for °yauvandnangā, which I adopt .- The term madhyd is here used to designate the kind of wife intermediate between the mugdha and the pragalbha. For another use of the word see 2. 30, notes. ISD. 100; Rudr. Srng. I. 58, 63; Rudr. Kāvyal. 12. 21, 22; Sarasv. 5. 567 (ed. B. p. 344) ; Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 31; Pratāpar. I. 56; Rasaratn. II b, 12a; Bhāşābhūșaņa 12 a; Ratirahasya I. 12, 13 (ZDMG. 57, p. 710). Cf. Schmidt, p. 263-264 (2d ed., p. 191-192) ; Lévi, p. 73.

28 (P. 17; H. 16). dhīrā sotprāsavakroktyā madhyā sāśru krtāgasam khedayed dayitam kopād adhīrā parușākșaram.

'In her anger a [partly experienced wife who is] self-con- trolled (dhīra) rebukes her erring husband with sarcasm and indirect speech; one that is partly self-controlled (madhyā) [does the same] with tears; one lacking in self-control (adhīra), with harsh words.' CoM. Ex .: Magha 7. 53 (self-controlled); Amaru 50= Spr. 4443 (partly self-controlled); Spr. 5447 (without self-control); Subhāșitāvali 2071 (other methods of procedure than those mentioned). NOTES. || SD. 102, 103; Rudr. Śrng. I. 65; Rudr. Kāvyāl. 12. 23; Hem. Kāvyān. 7, p. 303; Rasamañjarī, p. 42; Rasaratn. 16. Cf. Schmidt, p. 266- 269 (2d ed., p. 194-196); Lévi, p. 73.

29 (P. 18; H. 17). yauvanāndhā smaronmattā pragalbhā dayitāngake vilīyamānevānandād ratārambhe 'py acetanā. 'The experienced [kind of wife] (pragalbhā) 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.'

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CoM. Ex .: abhyunnata°, stanza by Dhanika [tr. Lévi, p. 74] (youth); Spr. 7183 (youth) ; Amaru 2. 63, p. 128= Spr. 3246 (emotion) ; Amaru 97 (rati) ; Amaru 65 (other methods of procedure than those mentioned). NOTES. For pragalbha Sāhityasāra substitutes the term adhyd (the com. explains: adhyatvam pragalbhyam eva); Pratāpar. and Vāgbh. Kāvyān. employ the synonymous designation praudha. ISD. 101; Rudr. Śrńg. I. 69, 74; Rudr. Kāvyāl. 12. 24, 25; Sarasv. 5. 568 (ed. B. p. 344); Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 34; Pratāpar. I. 56; Rasaratn. 12 b; Bhāşābhūșaņa 12 b; Ratirahasya I. 14, 15 (ZDMG. 57, p. 711). Cf. Schmidt, p. 264-266 (2d ed., p. 192-194) ; Lévi, p. 74

30 (P. 19; H. 18a, b).

sāvahitthādarodāste ratau dhīretarā krudhā samtarjya tādayen madhyā madhyādhīreva tam vadet.

'In her anger an [experienced wife who is] self-controlled (dhīrā) is pretendedly respectful (sāvahitthādarā) 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 (madhyādhīrā).' COM. Ex .: Amaru 17= Spr. 1363 (pretended respect) ; Amaru 63 (in- difference to rati); Amaru 10= Spr. 1938 (rebuke and striking); Amaru 33 = Spr. 1939 (like madhyādhīrā). NOTES. madhyā H, V, P; kantam Hall p. 38 .- A further threefold division of the madhyd 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 (dhira), lacking in self-control (adhira), or of an intermediate type called either madhyā, as in the second line above, or dhīrādhīrā (dhīrā + adhīrā), as in Dhanika's commentary and several of the other treatises (cf. Rasa- mañjarī, p. 41; Bhāşābhūșaņa 23). Both of these designations of the intermediate type cause occasional obscurity. The term madhyd is easily confused with the madhyd that denotes the intermediate between mugdhā and pragalbha (see DR. 2. 27). The term dhiradhira, which avoids this duplication of terms, is a source of difficulties of another kind. In Hem. Kāvyān. 7, p. 303, for example, we find the remarkable statement dhīrādhīrādhīrādhīrābhedad antye tredhā, which seems unintelligible until the first element is analyzed as dhird+ dhīrā-adhīrā + adhīrā. Similarly in Rasaratn. 14 a: dhīrādhīrā tathā

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52 BOOK TWO [2.30-

dhiradhtreti trividhe striyau. - In the word madhyddhira (madhya+ adhira) in the second line of the text above, the former element designates the 'partly experienced' type of wife (see 2. 27, notes). Il SD. 104-106; Rudr. Śrńg. I. 76, 79; Rudr. Kāvyāl. 12. 26, 27; Hem. Kāvyān. 7, p. 304; Rasamañjarī, p. 42-43; Rasaratn. 17, 18. Cf. Schmidt, p. 269-270 (2d ed., p. 196-197) ; Lévi, p. 74-75.

31 (P. 20a; H. 18c). dvedhā jyesthā kanișthā cety amugdhā dvādasoditāḥ. '[The varieties of wife-heroine] other than the inexperienced are said to be twelve [in number], being [each again] of two kinds: older (jyesthā) and younger (kanistha).' COM. There is only one type of mugdhd. The other six varieties [the three kinds of madhyd (2. 28) and the three kinds of pragalbha (2. 30)] are each twofold. Ex .: Amaru 18= Spr. 2937 [quoted also at DR. 2. 82]; Vāsavadattā and Ratnāvalī in the drama Ratnavali. Aside from the mugdhd there are thus twelve varieties [cf. SD. 108 a, b]. NOTES. I| SD. 107; Rudr. Srng. I. 83; Rudr. Kāvyāl. 12. 28; Sarasv. 5. III b (ed. B. 5. I12b); Hem. Kāvyān. 7, p. 303; Rasamañjarī, p. 57; Rasaratn. 13. Cf. Schmidt, p. 271-272 (2d ed., p. 197-198) ; Lévi, p. 75.

A MAIDEN OR ANOTHER'S WIFE AS HEROINE

32 (P. 20 b, 21 a; H. 19). anyastrī kanyakodhā ca nānyodhā 'ngirase kva cit kanyānurāgam icchātaḥ kuryād angāngisamśrayam. ' 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- vatī in the Nāgananda (love for a maiden). NOTES. icchātah H, V, P; anvicchan Hall p. 38. - The usual designa- tion for this type of heroine is paraktyā, but anya, anyadtya, and anyastri are also found. - On the principal and subordinate Sentiments see 3. 38; 4. I, 52. H SD. 108c, 109, 110; Rudr. Srng. I. 87; Rudr. Kāvyāl. 12. 30; Sarasv.

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5. III b (ed. B. 5. I12b); Hem. Kāvyān. 7, p. 305; Vāgbhațāl. 5. 14; Vāgbh. Kāvyān. 5, p. 62; Rasamañjarī, p. 64-65; Alamkāraśekhara 20. 4; Rasaratn. 20-22. Cf. Schmidt, p. 272-278 (2d ed., p. 199-203) ; Lévi, p. 75.

A COURTEZAN AS HEROINE 33 (P. 21 b; H. 20a). sādhāraņastrī gaņikā kalāprāgalbhyadhaurtyayuk. 'A common woman (sādhāraņastrī) is a courtezan, skilled in the arts, bold, and cunning.' NOTES. For parallel passages in other treatises see the notes on section 34 Cf. Schmidt, p. 280 (2d ed., p. 204) ; Lévi, p. 75.

34 (P. 22; H. 20 b, 21 a). channakāmasukhārthājñasvatantrāhamyupaņdakān rakteva rañjayed ādhyān niņsvān mātrā vivāsayet. '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 mother.' NOTES. The compound sukhartha might also be translated 'those that have pleasure as their [sole] aim,' but the corresponding expressions in other works (sukhapraptadhana, Rudr. Srng. and SD .; sukhapraptavitta, Vagbh. Kavyan.) show that it means 'those that obtain- wealth easily.' Dhanika gives both interpretations without deciding on their merits. II SD. III; Rudr. Śrng. I. 120-126; Rudr. Kāvyāl. 12. 39, 40; Hem. Kāvyān. 7, p. 305; Vāgbhațāl. 5. 15, 16a; Vāgbh. Kāvyān. 5, p. 63; Rasa- mañjarī, p. 88; Alaņkāraśekhara 20. 5; Rasaratn. 27; Sāhityasāra I0. 3 b; Ratirahasya I. 62, 64 (ZDMG. 57, p. 717). Cf. Schmidt, p. 278-282 (2d ed., p. 203-205) ; Lévi, p. 75.

35 (P. 23 a; H. 21 b). raktaiva tv aprahasane naișā divyanrpāśraye. '[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.'

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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; rūpakeşv anuraktaiva kāryā pra- hasanetare Hall p. 38. - Cf. Lévi, p. 75-76.

CLASSIFICATION OF HEROINES ACCORDING TO THEIR RELATIONS WITH THE HERO

36 (P. 23b; H. 22a). āsām așțāv avasthāḥ syuḥ svādhīnapatikādikāḥ. '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. || Bh. 22. 197, 198; SD. 112; Rudr. Srng. I. 131, 132; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation); Sarasv. 5. 113 b (ed. B. 5. II4b) ; Hem. Kāvyān. 7, p. 305-306; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 105; Pratāpar. I. 41, 42; Alamkāraśekhara 20, p. 70; Rasaratn. 37; cf. Sāhityasāra I0. 21. Cf. Schmidt, p. 284-287 (2d ed., p. 208-209) ; Lévi, p. 76.

37 (P. 24a; H. 22 b). āsannāyattaramaņā hrsțā svādhīnabhartṛkā. ""One that has her husband in subjection" (svādhīnabhartṛkā) 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 svādhīnapatikā. I| Bh. 22. 201; SD. 113; Rudr. Śrng. I. 133; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation); 12. 45; Sarasv. 5. 118 (ed. B. 5. 119); Hem. Kāvyān. 7, p. 306; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 163; Pratāpar. I. 43; Rasaratn. 38a; Bhāșābhūșaņa 20 a; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 287-289 (2d ed., p. 209-211) ; Lévi, p. 76.

38 (P. 24b; H. 23a). mudā vāsakasajjā svam mandayaty esyati priye.

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'"One that is dressed up to receive" (vāsakasajjā) [is one who] adorns herself for joy when her lover is about to come.' CoM. She adorns herself and her house. Ex .: Māgha 9. 52. NOTES. This type of heroine is also called vāsakasajjikā and vāsaka- sajjitā. Il Bh. 22. 199; SD. 120; Rudr. Srng. I. 137; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation) ; Sarasv. 5. 117 (ed. B. 5. 118); Hem. Kāvyān. 7, p. 307; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 154; Pratāpar. I. 44; Rasaratn. 38 b, 39 a; Bhāşābhūşaņa 19 b; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 292-294 (2d ed., p. 213- 216) ; Lévi, p. 76.

39 (P. 25a; H. 23 b). cirayaty avyalīke tu virahotkanțhitonmanāḥ. '"One that is distressed at [her lover's] absence" (vira- hotkanthita) [is one who] is disturbed (unmanas) when he tarries without being at fault.' CoM. Ex .: sakhi sa vijito vind° [unidentified stanza, tr. Lévi, p. 76]. NOTES. virahotkanthitonmanah H, V, P; virahotkanthit matd Hall p. 38. - This type of heroine is also called utkd and utkanthitd. Il Bh. 22. 200; SD. 121; Rudr. Śrng. I. 135; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation) ; Sarasv. 5. 120 (ed. B. 5. I21); Hem. Kāvyān. 7, p. 307; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 145; Pratāpar. I. 46; Rasaratn. 39 b; Bhāşābhūşaņa 18; Anangaranga, Pañcasāyaka, and Smara- dīpikā, cited by Schmidt. Cf. Schmidt, p. 289-292 (2d ed., p. 211-213); Lévi, p. 76.

40 (P. 25 b; H. 24a). jñāte 'nyāsangavikrte khaņditersyākașāyitā. '"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 .: Māgha II. 34= Spr. 3413 [quoted also at DR. 4 67 and SD. 219; Böhtlingk 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).

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56 BOOK TWO [2.40-

I| Bh. 22. 203; SD. 114; Rudr. Śrng. I. 143; Rudr. Kāvyāl. 12, p. 155 (supposed interpolation); 12. 44; Sarasv. 5. 114 (ed. B. 5. 115); Hem. Kāvyān. 7, p. 306; Vāgbh. Kāvyān. 5, p. 64; Rasamañjarī, p. 118; Pratāpar. I. 49; Rasaratn. 41 a; Bhāşābhūşaņa 17 a; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 299-301 (2d ed., p. 219- 221); Lévi, p. 76.

4I (P. 26a; H. 24b). kalahāntaritā 'marșād vidhūte 'nuśayārtiyuk. ""One that is separated [from her lover] by a quarrel" (kalahāntaritā) [is one who] suffers remorse after she has re- pulsed [him] in indignation.' CoM. Ex .: Amaru 98= Sarng. 3543. NOTES. vidhute H, V, P; vibhate Hall p. 38 .- In Rudr. Srng. and Rudr. Kāvyāl. this type of heroine is called abhisamdhitd; the Smara- dīpikā uses the term kupitā. I Bh. 22. 202; SD. 117 e, f; Rudr. Srng. I. 139; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation); Sarasv. 5. 115 (ed. B. 5. 116) ; Hem. Kāvyān. 7, p. 306; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 125; Pratāpar. I. 51; Rasaratn. 41 b; Bhāşābhūşaņa 16b; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 294-297 (2d ed., p. 216- 217) ; Lévi, p. 77.

42 (P. 26b; H. 25 a). vipralabdhoktasamayam aprāpte 'tivimānitā. '"One that is deceived" (vipralabdhā) [is one who] is greatly offended that [her lover] has not come to the rendezvous agreed upon.' CoM. Ex .: Subhașitāvali 1940= Spr. 119I [quoted also at SD. 118]. NOTES. || Bh. 22. 204; SD. 118; Rudr. Śrng. I. 141; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation); Sarasv. 5. 116 (ed. B. 5. 117); Hem. Kāvyān. 7, p. 307-308; Vāgbh. Kāvyān. 5, p. 64; Rasamañjarī, p. 133; Pratāpar. I. 47; Rasaratn. 40b; Bhāşābhūșaņa 19a; Anangaranga and Pañcasāyaka, cited by Schmidt. Cf. Schmidt, p. 297-299 (2d ed., p. 218- 219); Lévi, p. 77.

43 (P. 27 a; H. 25 b). dūradeśāntarasthe tu kāryataḥ proșitapriyā.

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'"One whose beloved is away" (proșitapriyā) 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 proșita- bhartrkā; in Rudr. Srng., proşitapreyasī; in Rudr. Kāvyāl., proşitanāthā. These names are all synonymous and the variation has no significance. Rasamañjarī (p. 184-185), Rasaratnahāra (42b), and Bhāşābhūșaņa (20 b) mention an additional type called prosyatpatikā or pravatsyatpatikā, 'one whose husband is about to depart.' Cf. Schmidt, p. 307-309 (2d ed. p. 226-228). I| Bh. 22. 205; SD. 119; Rudr. Srng. I. 147; Rudr. Kāvyāl. 12, p. 155 (supposed interpolation) ; 12. 46; Sarasv. 5. 119 b (ed. B. 5. 120 b) ; Hem. Kāvyān. 7, p. 306; Vāgbh. Kāvyān. 5, p. 63; Rasamañjarī, p. 108; Pratāpar. I. 53; Rasaratn. 42 a; Bhāşābhūșaņa 16a; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 305-307 (2d ed., p. 224-226) ; Lévi, p. 77.

44 (P. 27b; H. 25c). kāmārtā 'bhisaret kāntam sārayed vā 'bhisārikā. '"One that goes after [her lover] " (abhisārikā) [is one who], lovesick, goes to her lover or makes him come to her.' CoM. Ex .: Amaru 29= Spr. 1316; Māgha 9. 56. NOTES. I| Bh. 22. 206; SD. 115; Rudr. Śrng. I. 145; Rudr. Kāvyāl. 12, p. 154 (supposed interpolation); 12. 42; Sarasv. 5. 119 a (ed. B. 5. 120 a) ; Hem. Kāvyān. 7, p. 308; Vāgbh. Kāvyān. 5, p. 64; Rasamañjarī, p. 171; Pratāpar. I. 54; Rasaratn. 40 a; Bhāşābhūşaņa 17 b; Anangaranga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, p. 302-304 (2d ed., p. 222- 223) ; Lévi, p. 77.

45 (P. 28; H. 26). cintāniḥśvāsakhedāśruvaivarņyaglānyabhūșaņaiḥ yuktāḥ sad antyā dve cādye krīdaujjvalyapraharșitaiḥ. '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, Mālavika, in Mālav. 4. 14, p. 79, etc., should not be considered as khanditd. [For details of the argu- ment see Lévi, p. 78.]

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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 cited there-to which might be added Sarasv. 5. 107, 110 a (ed. B. 5. 108, III a) - each of the varieties thus far enumerated may be either uttamā, madhyama, or adhamd. We thus arrive, by successive multiplication, at the grand total of 384 varieties (see SD. 122; Rudr. Srng. I. 154, 155; Rudr. Kāvyāl. I2, p. 155 [supposed interpolation]; Rasamañjari, p. 105; and cf. Schmidt, p. 315; 2d ed., p. 232). The DR. does not mention this last differentiation (except in a general way at 2. 75) and so admits of but 128 varieties. Rasamañjarī (p. 106) adds: yat tv etāsām divyā'divyobhayabhedena gaņanayā dvipañcāsadadhikasatayutam sahasram bhedā bhavanti, thus claim- ing the existence of 1152 varieties of heroine!

MESSENGERS OF THE HEROINE

46 (P. 29; H. 27). dūtyo dāsī sakhī kārūr dhātreyī prativeśikā linginī silpinī svam ca netrmitraguņānvitāḥ. '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. II, p. 88= Spr. 6451; mrgaśiśu° [unidentified stanza] (friend as messenger); Hāla 12; Hāla 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. Il SD. 157; Rudr. Śrng. 2. 102; Vāgbh. Kāvyān. 5, p. 63; Pratāpar. I. 55; Rasaratn. 46 b, 47 a; Kāmasūtra, p. 287; Ratirahasya (of Kokkoka), Anan- garańga, Pañcasāyaka, and Smaradīpikā, cited by Schmidt. Cf. Schmidt, P. 777-779 (2d ed., p. 564-566) ; Lévi, p. 123.

THE TWENTY NATURAL GRACES OF THE HEROINE

47 (P. 30a; H. 28a). yauvane sattvajāḥ strīņām alamkārās tu vimśatiḥ. 'The natural graces of women in the prime of youth are twenty [in number].'

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NOTES. || Bh. 22. 4, 5; SD. 125a; Hem. Kāvyān. 7, p. 308; Rasaratn. 58 b, 59 a.

48 (P. 30 b, 31; H. 28 b, 29). bhāvo hāvaś ca helā ca trayas tatra śarīrajāḥ śobhā kāntiś ca dīptiś ca mādhuryam ca pragalbhatā audāryam dhairyam ity ete sapta bhāvā ayatnajāh. 'Three of them are physical: Feeling (bhava), Emotion (hāva), and Passion (helā). These seven qualities come of their own accord: Beauty (śobhā), Loveliness (kānti), Radiance (dīpti), Sweetness (mādhurya), Courage (pragalbhatā), Dig- nity (audārya), and Self-control (dhairya).' NOTES. The three qualities in the first group, forming a progressive series 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 enumerated in the following section (49). The terms sobha, madhurya, and audarya occur also in the list of quali- ties of the hero; see DR. 2. 15 and the notes on that section. Pratāpar. omits sobhā, kānti, dīpti, prāgalbhya, and audārya; it adds, however, three other qualities named kutūhala, cakita, and hasita (4. 65, 66, 68, p. 269-270), thus bringing the number up to eighteen. The list in Sarasv. shows similar variations. - In the Alamkārasekhara these qualities are enumerated as Consequents (see DR. 4. 3). I Bh. 22. 6, 24; SD. 125b, c, d; AP. 338. 49, 50 a; Sarasv. 5. 364, 365 a (ed. B. 5. 168, 169 a, p. 310); Hem. Kāvyān. 7, p. 309, 314; Pratāpar. 4 53; Alamkāraśekhara 20. 33, 34; Rasaratn. 59 b, 60.

49 (P. 32, 33 a; H. 30). līlā vilāso vicchittir vibhramaḥ kilakiñcitam mottāyitam kuțtamitam bibboko lalitam tathā vihrtam ceti vijñeyā daśa bhāvāḥ svabhāvajāh.

'The ten qualities that arise from one's disposition are con- sidered to be: Sportiveness (līlā), Delight (vilāsa), Tasteful- ness (vicchitti), Confusion (vibhrama), Hysterical Mood (kila- kincita), Manifestation of Affection (mottayita), Pretended Anger (kuttamita), Affected Indifference (bibboka), Lolling (lalita), and Bashfulness (vihrta).'

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NOTES. These qualities are defined in sections 60-69. The terms vildsa 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, 147-153, and Lévi, p. 83-84. Il Bh. 22. 12, 13; SD. 125 e-g; AP. 340. 2, 3 a; Sarasv. 5. 41, 42 a; Hem. Kāvyān. 7, p. 311; Rasatar. 6, p. 58; Pratāpar. 4. 53; Alamkāraśe- khara 20. 33, 34; Rasaratn. 61-63 a.

50 (P. 33b; H. 31 a). nirvikārātmakāt sattvād bhāvas tatrādyavikriyā. 'Feeling (bhava) is the first touch of emotion in a nature that was [previously] unaffected.' CoM. Ex .: Kumārasambhava 3. 40; drstih sālasa° [unidentified stanza, quoted also at DR. 2. 26]; Kumārasambhava 3. 67 [quoted also at Kāvya- pradīpa 5, p. 168]; tam ccia vaa°, stanza by Dhanika. NOTES. | Bh. 22. 7, 8; SD. 126; AP. 338. 50 b; Hem. Kāvyān. 7, p. 310; Pratāpar. 4 53; Rasaratn. 63 b. Cf. Lévi, p. 79.

51 (P. 34a; H. 31 b). hevākasas tu śṛngāro hāvo 'kșibhrūvikārakṛt. 'Emotion (hava) 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; alpalapas Hall p. 38 .- The expression akşibhrūvikara is taken from Bh. I Bh. 22. 7, 10; SD. 127; AP. 338. 50 b; Sarasv. 5. 353 (ed. B. p. 308); Hem. Kāvyān. 7, p. 310; Pratāpar. 4 54, p. 263; Rasaratn. 64 a. Cf. Lévi, p. 79.

52 (P. 34b; H. 32a). sa eva helā suvyaktaśṛngārarasasūcikā. 'That [i. e. Emotion] is Passion (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, II; SD. 128; Sarasv. 5. 351 (ed. B. p. 308) ; Hem. Kāvyān. 7, p. 310; Pratāpar. 4. 54, p. 263; Rasaratn. 64 b. Cf. Lévi, p. 79.

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53 (P. 35 a; H. 32 b).

rūpopabhogatāruņyaiḥ śobhā 'ngānām vibhūșaņam.

'Beauty (sobhā) is bodily adornment due to handsome form, passionateness, and youthfulness.' CoM. Ex .: Kumārasambhava 7. 13; Sakuntalā 2. I0, p. 72 = Spr. 271. NOTES. I| Bh. 22. 25; SD. 129; Hem. Kāvyān. 7, p. 314; Rasaratn. 65 a. Cf. Lévi, p. 79.

54 (P. 35b; H. 33 a).

manmathāvāpitacchāyā saiva kāntir iti smrtā.

'Loveliness (kānti) is the name given to the touch of beauty imparted by love.' COM. Ex .: unmIladvadan° [unidentified stanza, tr. Lévi, p. 79]; as can be seen in the Mahāśvetāvarņanāvasara of Bhatța Bāņa. NOTES. manmathavapita° H, V, P; manmathādhyāsita° Hall p. 38 .- A higher degree of this quality is called dipti (see 2. 56). H Bh. 22. 26 a; SD. 130; Hem. Kāvyān. 7, p. 314; Rasaratn. 65 b. Cf. Lévi, p. 79.

55 (P. 36 a1; H. 33 b1).

anulbaņatvam mādhuryam. 'Sweetness (madhurya) is a quality not very intense.' CoM. Ex,: Sakuntalā I. 17, p. 28= Spr. 6896. NOTES. || Bh. 22. 27; SD. 132; Hem. Kāvyān. 7, p. 315; Pratāpar. 4 55, p. 263 [59 is a misprint for 55]; Rasaratn. 66 b. Cf. Lévi, p. 80.

56 (P. 36 a2; H. 33 b2). dīptiḥ kāntes tu vistaraḥ. 'Radiance (dipti) is a higher degree of Loveliness.' CoM. Ex .: Dhvanyāloka I. 4, com., p. 22. NOTES. Bh. 22. 26b; SD. 131; Hem. Kāvyān. 7, p. 314; Rasaratn. 66 a. Cf. Lévi, p. 80.

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57 (P. 36b1; H. 34 a1). niḥsādhvasatvam prāgalbhyam. 'Courage (pragalbhya= pragalbhata) is the quality of not becoming agitated.'

CoM. Ex .: tathā virīda°, stanza by Dhanika [tr. Lévi, p. 80]. NOTES. { Bh. 22. 29 a; SD. 133; Hem. Kāvyān. 7, p. 316; Rasaratn. 67 a. Cf. Lévi, p. 80.

58 (P. 36 b2; H. 34 a2). audāryam praśrayaḥ sadā.

'Dignity (audārya) is courteous bearing at all times.' CoM. Ex .: Hāla 226; Ratn. 2. 19, p. 55. NOTES. | Bh. 22. 29 b; SD. 134; Hem. Kāvyān. 7, p. 315; Rasaratn. 67 a. Cf. Lévi, p. 80.

59 (P. 37 a; H. 34b).

cāpalāvihatā dhairyam cidvrttir avikatthanā.

'Self-control (dhairya) is a state of mind not affected by inconstancy and free from boastfulness.'

CoM. Ex .: Mālatīm. 2. 2, p. 62. NOTES. || Bh. 22. 28; SD. 135; Hem. Kāvyān. 7, p. 315; Pratāpar. 4 56; Rasaratn. 67 b. Cf. Lévi, p. 80.

60 (P. 37b; H. 35a).

priyānukaraņam līlā madhurāngaviceștitaiḥ.

'Sportiveness (lilā) is the imitation of a lover in the actions of a fair-limbed [maiden].'

COM. Ex .: taha dittham taha bhan°, stanza by Dhanika; tenoditam vad° [unidentified quotation]. NOTES. H Bh. 22. 14; SD. 136; AP. 340. 3 b; Sarasv. 5. 340 (ed. B. p. 307) ; Hem. Kāvyān. 7, p. 311; Rasatar. 6, p. 58; Pratāpar. 4. 57; Rasaratn. 68; Bhāşābhūșaņa 27 a. Cf. Lévi, p. 81.

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61 (P. 38a; H. 35 b). tātkāliko viśeșas tu vilāso 'ngakriyādișu. 'Delight (vilasa) is an immediate change in appearance, actions, and the like [at the sight of the beloved, etc.].' CoM. Ex .: Mālatīm. I. 29, p. 32. NOTES. °kriyādişu H, V, P; °kriyoktişu Hall p. 38 .- The words in brackets in the translation are justified by Dhanika's commentary. || Bh. 22. 15; SD. 137; AP. 340. 4 a; Sarasv. 5. 341 (ed. B. p. 307) ; Hem. Kāvyān. 7, p. 31I, (313); Rasatar. 6, p. 58; Pratāpar. 4. 59; Rasaratn. 69; Bhāşābhūșaņa 28 a. Cf. Lévi, p. 81.

62 (P. 38b; H. 36a). ākalparacanā 'Ipā 'pi vicchittiḥ kāntipoșakṛt. 'Tastefulness (vicchitti) is an arrangement, though slight, of adornment so as to increase loveliness.' CoM. Ex .: Kumārasambhava 7. 17. NOTES. H Bh. 22. 16; SD. 138; Sarasv. 5. 342 (ed. B. p. 307); Hem. Kāvyān. 7, p. 31I; Rasatar. 6, p. 58; Pratāpar. 4 58; Rasaratn. 70 a; Bhāşābhūșaņa 29 a. Cf. Lévi, p. 81.

63 (P. 39a; H. 36b). vibhramas tvarayā kāle bhūşāsthānaviparyayah. 'Confusion (vibhrama) consists in misplacing ornaments in haste on some occasion.' COM. Ex .: abhyudgate saśini peśa° [unidentified stanza]; Spr. 6576, stanza by Dhanika [quoted, with one variation, at SD. 143]. NOTES. H Bh. 22. 17; SD. 143; Sarasv. 5. 343 (ed. B. p. 307); Hem. Kāvyān. 7, p. 312; Rasatar. 6, p. 58; Pratāpar. 4. 59; Rasaratn. 74; Bhāșā- bhūșaņa 29 b. Cf. Lévi, p. 81.

64 (P. 39b; H. 37 a). krodhāśruharşabhītyādeḥ samkaraḥ kilakiñcitam. 'Hysterical Mood (kilakincita) is a combination of anger, weeping, joy, fear, and the like.'

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CoM. Ex .: ratikrīdā°, stanza by Dhanika [tr. Lévi, p. 81]. NOTES. || Bh. 22. 18; SD. 140; AP. 340. 4 b; Sarasv. 5. 344 (ed. B. p. 307) ; Hem. Kāvyān. 7, p. 312; Rasatar. 6, p. 58; Pratāpar. 4. 60; Rasaratn, 71; Bhāşābhūșaņa 30 a. Cf. Lévi, p. 81.

65 (P. 40a; H. 37 b). moțțāyitam tu tadbhāvabhāvanestakathādișu. '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, Navasāhasānkacarita 6. 42 [tr. Lévi, p. 82]; matah kam hrd° [unidentified stanza]; smaradavathu°, stanza by Dhanika. NOTES. || Bh. 22. 19; SD. 141; Sarasv. 5. 345 (ed. B. p. 307); Hem. Kāvyān. 7, p. 312; Rasatar. 6, p. 58; Pratāpar. 4. 61; Rasaratn. 72; Bhāșā- bhūșaņa 32. Cf. Lévi, p. 82.

66 (P. 40b; H. 38 a). sānandā 'ntaḥ kuttamitam kupyet keśādharagrahe. '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 .: nandipad° [unidentified stanza, tr. Lévi, p. 82]. NOTES. H Bh. 22. 20; SD. 142; Sarasv. 5. 346 (ed. B. p. 307); Hem. Kāvyān. 7, p. 313; Rasatar. 6, p. 58; Pratāpar. 4 62; Rasaratn. 73; Bhāşā- bhūșaņa 30 b. Cf. Lévi, p. 82.

67 (P. 41 a; H. 38b). garvābhimānād iste 'pi bibboko 'nādarakriyā. 'Affected Indifference (bibboka) is neglectful be- havior, even toward one that is loved, because of haughtiness due to pride.' COM. Ex .: savyājam tilakā°, stanza by Dhanika. NOTES. Owing to dialectic preference for v, this quality is called vivvoka in SD. || Bh. 22. 21; SD. 139; AP. 340. 5 a; Sarasv. 5. 347 (ed. B. p. 308) ; Hem. Kāvyān. 7, p. 312; Rasatar. 6, p. 58; Pratāpar. 4. 63; Rasaratn. 70 b; Bhāşā- bhūșaņa 31. Cf. Lévi, p. 82.

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68 (P. 41 b; H. 39a). sukumārāngavinyāso masrņo lalitam bhavet. 'Lolling (lalita) is a graceful pose of one of fair form.' COM. Ex .: sabhrübhangam kara°, stanza by Dhanika. NOTES. || Bh. 22. 22; SD. 144; AP. 340. 5 a; Sarasv. 5. 348 (ed. B. p. 308) ; Hem. Kāvyān. 7, p. 313; Rasatar. 6, p. 58; Pratāpar. 4. 64; Rasaratn. 75 a; Bhāşābhūșaņa 28 b. Cf. Lévi, p. 82.

69 (P. 42a; H. 39b). prāptakālam na yad brūyād vrīdayā vihrtam 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) = Subhāșitāvali 1377 = Sārng. 3463 [tr. Lévi, p. 83]. NOTES. This is called vikrta in SD., which defines: vaktavyakale 'py avaco vrīdayā vikrtam matam. N Bh. 22. 23; SD. 146; Sarasv. 5. 349 (ed. B. p. 308); Hem. Kāvyān. 7, p. 313; Rasatar. 6, p. 59; Pratāpar. 4 67; Rasaratn. 76 a; Bhāşābhūșaņa 27 b. Cf. Lévi, p. 82.

ASSISTANTS OF THE HERO WHEN A KING 70 (P. 42 b; H. 40a). mantrī svam vobhayam vā 'pi sakha tasyārthacintane. '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 Viśvanātha, SD. 80, com., on the ground that it belongs rather to a treatment of the means of handling affairs of state than to an account of assistants in that task; and that, furthermore, 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. Il Bh. 24. 70 b, 71 a; SD. 80.

7I (P. 43a; H. 40 b). mantriņā lalitaḥ śeșā mantrisvāyattasiddhayah. 6

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'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 Viśvanātha, SD. 80, com., on the ground that, from the mere characterization of the 'light-hearted' hero, it is clear that he leaves his affairs of state entirely to his minister. And, if 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 tapasvibrahmavādinaḥ.

'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 (brahmavādin).' NOTES. I| SD. 83.

73 (P. 44 a; H. 41 b).

suhrtkumārāțavikā daņde sāmantasainikāḥ.

'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). antaḥpure varsavarāḥ kirātā mūkavāmanāḥ mlecchābhīrasakārādyāh svasvakāryopayoginaḥ.

' In the harem [the assistants of the Hero are] eunuchs, moun- taineers, mutes, dwarfs, barbarians, cowherds, the brother of a concubine (śakāra), and such persons-each being charged with his own particular task.' NOTES. II SD. 81.

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GROUPING OF CHARACTERS ACCORDING TO RANK

75 (P. 45 b, 46a; H. 43 a, b). jyesthamadhyādhamatvena sarveșām ca trirūpatā tāratamyād yathoktānām guņānām cottamāditā. 'All [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. || Bh. 24. 2 b, 86; SD. 84, 85. Cf. Lévi, p. 121-122.

76 (P. 46b; H. 43c). evam nāțye vidhātavyo nāyakah saparicchadaḥ.

'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. 47; H. 44 a, b). tadvyāpārātmikā vrttiś caturdhā tatra kaiśikī gītanrtyavilāsādyair mrduh śrngāraceștitaih. 'The Style of Procedure which is based on his [i. e. the Hero's] conduct is of four kinds. Of these [four Styles of Procedure] the Gay Style (kaisikt) 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 Lévi, p. 87-89. The four Styles are: kaisikt (2.77), sattvatt (2. 83), drabhatt (2. 88), and bharatt (3. 5). Il Bh. 6. 25; (18. 4, 5) ; 20. 45; SD. 410, 411 a-d; Rudr. Śrńg. I. 19; 3. 52-54; AP. 339. 5; Sarasv. 2. 64-66 a (ed. B. 2. 34-36 a) ; 5. 733 (ed. B. 5. 194, p. 378); Pratāpar. 2. 15 a. Cf. Lévi, p. 89.

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78 (P. 48a; H. 44c). narmatatsphūrjatatsphoțatadgarbhaiś caturańgikā. '[The Gay Style is] of four varieties: Pleasantry (narman), Outburst of Affection (narma-sphūrja), Disclosure of Affec- tion (narma-sphota), and Development of Affection (narma- garbha).' NOTES. °sphūrja° (sphañja, sphinja), with reference to these readings see section 80, notes. N Bh. 20. 46; SD. 4II e, f; Sarasv. 5. 746 (ed. B. p. 380).

79 (P. 48 b-50; H. 45, 46). vaidagdhyakrīditam narma priyopacchandanātmakam hāsyenaiva saśrngārabhayena vihitam tridhā ātmopaksepasambhogamānaiḥ śrngāry api tridhā śuddham angam bhayam dvedhā tredhā vāgvesaceșțitaiḥ sarvam sahāsyam ity evam narmāstādaśadhoditam. '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 .: Kumārasambhava 7. 19 (Pleasantry in words) ; the incident of the vidūşaka and Sekharaka in Nāgān. (Pleasantry in costume); in Malav., the scene where Nipunika drops a stick upon the awakening vidūşaka, who takes it to be a snake (Pleasantry in action) ; madhyāhnam gama° [unidentified stanza] (Pleasantry connected with love, allusion to oneself) ; Hāla 130 (manifestation of desire for pleasure); Māgha II. 33 (show of jealousy); Ratn. 2, p. 46 [with variations] (Pleasantry con- nected with fear); abhivyaktalkah sakala°, stanza by Dhanika [quoted also at DR. 4. 69] (Pleasantry connected with fear subordinate to love).

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NOTES. This narman must not be confused with the term narman, 'Joke,' defined at 1. 57. Il Bh. 20. 47, 48; SD. 412; Sarasv. 5. 747 (ed. B. p. 380). Cf. Lévi, p. 89-90.

80 (P. 51a; H. 47 a). narmasphurjaḥ sukharambho bhayānto navasamgame. 'Outburst of Affection (narmasphūrja) at the first meeting [of lovers] is characterized by happiness at the begin- ning, [but] ends in fear.' CoM. Ex .: Mālav. 4. 13+, p. 78 [the stanza = Spr. 6234]. NOTES. narmasphürjah, correct reading adopted on the authority of BR. 5. 1537 (s. v.); 7. 1369 (s. v. sphanja); 7. 1372 (s. v. sphinja: 'wohl nur fehlerhaft für sphürja'); narmasphinjah H, V, P; narmasphañjah Hall p. 38, p. 21 note 3 (Bh., ed. Sivadatta and Parab, 20. 48, 51, has narmaspuñja; Bh., ed. Hall, 20. 46, 49, narmasphañja; SD. 411, 413, narma- sphūrjja; Sarasv. 5. 746, 748, narmasphija). N Bh. 20. 49; SD. 413; Sarasv. 5. 748 (ed. B. p. 380). Cf. Lévi, p. 90.

81 (P. 51 b; H. 47 b). narmasphoțas tu bhāvānām sūcito 'lparaso lavaiḥ. 'Disclosure of Affection (narmasphota) is moderate sentiment indicated by slight expressions of the feelings.' CoM. Ex .: Mālatīm. I. 20, p. 22. NOTES. The word lava, here translated ' slight expression,' means liter- ally 'particle.' N Bh. 20. 50; SD. 414; Sarasv. 5. 749 (ed. B. p. 380). Cf. Lévi, p. 90.

82 (P. 52; H. 48). channanetrapratīcaro narmagarbho 'rthahetave angaiḥ sahāsyanirhāsyair ebhir eșā 'tra kaiśikī. ·Development of Affection (narmagarbha) 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.'

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CoM. Ex .: Amaru 18= Spr. 2937 [quoted also at DR. 2. 31]; as in the case of the appearance of Vatsaraja himself in place of Susamgatā [error ! it is Manorama] dressed up as Vatsarāja, in the play within a play in the drama Priyadarśika. NOTES. The word praticdra is not contained in the smaller Petersburg lexicon; I have taken it as an equivalent of prati-cara, 'approach.' N Bh. 20. 51; SD. 415; Sarasv. 5. 750 (ed. B. p. 380). Cf. Lévi, p. 90.

THE GRANDIOSE STYLE OF PROCEDURE

83 (P. 53; H. 49). viśokā sāttvatī sattvasauryatyāgadayārjavaiḥ samlāpotthāpakāv asyām sāmghātyaḥ parivartakaḥ. 'The Grandiose Style (sattvatt) 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 (utthā- paka), Breach of Alliance (samghatya), and Change of Action (parivartaka).' NOTES. °arjavaih, corrected in accordance with SD. 416 a; °ajavaih 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 drjava 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, harsa, does not explain either word. Il Bh. 20. 37-40; SD. 416 a-d; Rudr. Śrng. 3. 63, 64; Sarasv. 2. 67 b (ed. B. 2. 37 b) ; 5. 734 (ed. B. 5. 195, p. 378) ; Pratāpar. 2. 16b. Cf. Lévi, p. 91.

84 (P. 54a; H. 50a). saņlāpako gabhīroktir nānābhāvarasā mithaḥ. 'Discourse (samlapaka) is mutual talk of a serious nature, expressing various feelings and sentiments.' CoM. Ex .: Mahāvīra. 2, p. 72-74. NOTES. °rasā mithah H, V, P; °rasātmakah Hall p. 38. The former reading is clearly preferable. ll Bh. 20. 43; SD. 418; Sarasv. 5. 753 (ed. B. p. 381). Cf. Lévi, p. 92.

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85 (P. 54b; H. 50b). utthāpakas tu yatrādau yuddhāyotthāpayet param. 'Challenge (utthapaka) is [a situation] in which, at the outset, one challenges another to combat.' CoM. Ex .: Mahāvīra. 5. 49, p. 209 of the supplement. NOTES. (| Bh. 20. 41; SD. 416 e; Sarasv. 5. 751 (ed. B. p. 381). Cf. Lévi, p. 91. .

86 (P. 55a; H. 51 a). mantrārthadaivasaktyādeḥ sāmghātyah samghabhedanam. 'Breach of Alliance (sāmghatya) is a violation of alli- ance under the influence of advice, gain, fate, or the like.' COM. As in the Mudrārāksasa (under the influence of advice and of desire for gain); as in [stories based on] the Rāmāyana (under the influence of fate). NOTES. This is called sanghatya and sanghataka in Bh .; samhātya in SD. In Sarasv. the term appears in the form samghatyaka. Il Bh. 20. 44; SD. 417; Sarasv. 5. 754 (ed. B. p. 381). Cf. Lévi, p. 91.

87 (P. 55 b; H. 51 b). prārabdhotthānakāryānyakaraņāt parivartakaḥ. 'Change of Action (parivartaka) [arises] from doing something else than the thing whose development is already begun.' CoM. Ex .: Mahavīra. 2. 37 +, p. 76. NOTES. || Bh. 20. 42; SD. 419; Sarasv. 5. 752 (ed. B. p. 381). Cf. Lévi, p. 91.

THE HORRIFIC STYLE OF PROCEDURE

88 (P. 56, 57a; H. 52). ebhir angais caturdheyam sāttvaty ārabhațī punah māyendrajālasamgrāmakrodhodbhrāntādiceșțitaiḥ samkşiptikā syāt samphețo vastūtthānāvapātane.

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'Because of these divisions [just mentioned] the Grandiose Style is fourfold .- The Horrific Style (arabhatt), on the other hand, [consists of] deeds of magic, conjuration, con- flict, rage, frenzy, and the like. [Its four subdivisions are] Com- pression (samksiptikā=samksipti), Conflict (sampheța), Pro- duction of a Matter (vastūtthāna=vastūtthāpana), and Tumul- tuous Disturbance (avapātana= avapāta).' NOTES. || Bh. 20. 53-55; SD. 420 a-d; Rudr. Srng. 3. 58, 59; AP. 339. I0b, c; Sarasv. 2. 66b (ed. B. 2. 36b); 5. 732 (ed. B. 5. 193, p. 378) ; Pratāpar. 2. 15 b. Cf. Lévi, p. 92.

89 (P. 57 b, 58 a; H. 53). saņkșiptavasturacanā samkșiptiḥ śilpayogataḥ pūrvanetrnivrttyā '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 .: Mahāvīra. 4. 22, p. 147 [quoted also at DR. 2. 6]. NOTES. °parigraham, corrected in accordance with the commentary (°parigraham anye samkşiptikam manyante); °parigrahah H, V, P. Il Bh. 20. 56; SD. 422; Sarasv. 5. 743 (ed. B. p. 379). Cf. Lévi, p. 92.

90 (P. 58b; H. 54a). samphețas tu samāghātaḥ kruddhasamrabdhayor dvayoḥ. 'Conflict (sampheta) is an encounter of two angry and excited persons.' CoM. As the encounter between Madhava and Aghoraghanta in the Mālatīmadhava, and between Indrajit and Laksmana in plots based on the Rāmāyaņa. NOTES. (| Bh. 20. 59; SD. 421; Sarasv. 5. 746 (ed. B. p. 380). Cf. Lévi, p. 93.

91 (P. 59a; H. 54 b). māyādyutthāpitam vastu vastūtthāpanam ișyate. 'Production of a Matter (vastutthapana) is the name

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given to [a case where] a matter [is] produced by magic or the like.' COM. Ex .: jiyante jayi°, stanza from the Udāttarāghava of Māyurāja [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. Lévi, p. 92.

92 (P. 59 b; H. 54c). avapātas tu nișkrāmapraveśatrāsavidravaiḥ. 'Tumultuous Disturbance (avapāta) [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. 86]; the tumult in the attack on Vindhyaketu in the first act of the Priyadarsikā. NOTES. || Bh. 20. 57; SD. 423; Sarasv. 5. 744 (ed. B. p. 379). Cf. Lévi, p. 93.

93 (P. 60 a1; H. 55 a1). ebhir angais caturdheyam. 'Because of these divisions this [Horrific Style] is fourfold.'

OTHER STYLES OF PROCEDURE

94 (P. 60 a2, b, 61; H. 55 a2, b, 56). nārthavrttir ataḥ parā caturthī bhāratī sā 'pi vācyā nāțakalaksane kaiśikīņ sāttvatīm cārthavrttim ārabhațīm iti pațhantaḥ pañcamīm vrttim Audbhațāḥ pratijānate. 'There is no other Style of Procedure than these [three]. The fourth Style is the Eloquent Style (bharatī). That, how- ever, will be spoken of in describing the Nataka. The followers of 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

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3. 5 .- On the rhetorician Udbhata (fl. c. 800 A. D.) see Jacob, 'Notes on Alankara Literature,' JRAS. 1897, p. 286-287, 829-847. Il See the parallel passages listed at 2. 77 and 3. 5. Cf. Lévi, p. 93.

EMPLOYMENT OF THE STYLES OF PROCEDURE

95 (P. 62; H. 57). śṛngāre kaisikī vīre sāttvaty ārabhațī punaḥ rase raudre ca bībhatse vrttiḥ sarvatra bhāratī. '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 Mānavadharmaśāstra 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.) Il Bh. 20. 61, 62; SD. 410 a, b.

LOCAL CHARACTERISTICS OF A DRAMA

96 (P. 63; H. 58). deśabhāşākriyāveşalakşaņāh syuh pravrttayaḥ lokād evāvagamyaitā 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. evāvagamy° H, P; evāgamy° V (merely a haplographic mis- print) ; for the verbal prefix ava-, the variants adhi-, upa-, and anu- also occur, Hall p. 38. Il Bh. 17. 63 b.

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LANGUAGE OF THE VARIOUS CHARACTERS

97 (P. 64; H. 59). pāțhyaņ tu samskrtam nīņām anīcānām krtātmanām linginīnām mahādevyā mantrijāveśyayoh kva cit.

'Sanskrit is to be spoken by men that are not of low rank, by devotees, and in some cases by female ascetics, by the chief queen, by daughters of ministers, and by courtezans.' NOTES. I| Bh. 17. 31, 37, 40, 41; SD. 432 a, r, s. Cf. Lévi, p. 130.

98 (P. 65a; H. 60a).

strīņām tu prākrtam prāyah śauraseny adhameșu ca. 'Prākrit is generally [to be the language] of women, and Saurasenī in the case of male characters of low rank.' . NOTES. sauraseny Hall p. 38; sauraseny Hall p. 38, P; saraseny H, V. (In using the list of readings given by Hall on pages 38 and 39, it is neces- sary to bear in mind that he always records variants in their pause-form, without regard to the context.) Il Bh. 17. 35, 36, 51 b; SD. 432 b, m, n, o. Cf. Pischel, Grammatik der Prākrit-Sprachen, p. 20-21; Lévi, p. 130.

99 (P. 65 b, 66; H. 60 b, 61). piśācātyantanīcādau paiśācam māgadham tathā yaddeśam nīcapātram yat taddeśam tasya bhāșitam kāryataś cottamādīnām kāryo bhāşāvyatikramaḥ.

'In like manner Piśācas, very low persons, and the like are to speak Paiśācī and Māgadhī. 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 Mudrārāksasa, where Virādhagupta, in his disguise as a snake-charmer, speaks Präkrit, reverting to the usual Sanskrit in asides. Il Bh. 17. 50 a; SD. 432 d, 1, t, u. Cf. Lévi, p. 130-131.

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76 BOOK TWO [2.100-

PRESCRIBED MODES OF ADDRESS

I00 (P. 67; H. 62).

bhagavanto varair vācyā vidvaddevarșilinginaḥ viprāmātyāgrajāś cāryā națīsūtrabhrtau mithaḥ.

'Learned men, divine sages, and ascetics are to be addressed by the best persons as "blessed one" (bhagavant); Brahmans, ministers, and elder brothers [are to be addressed as] "sir" (arya), and the chief actress and the Stage-manager (sutrabhrt) mutually [also employ this mode of address].' NOTES. Il Bh. 17. 82 b; SD. 431 j, d, f. Cf. Lévi, p. 129.

I0I (P. 68; H. 63).

rathī sūtena cāyuşmān pūjyaiḥ śişyātmajānujāḥ vatseti tātaḥ pūjyo 'pi sugrhītābhidhas tu taiḥ.

'A chariot-rider [is to be called] by his charioteer "long-lived one" (āyusmant) ; 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" (sugrhītābhidha).' COM. The term tata 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. Lévi, p. 129.

102 (P. 69a; H. 64a). bhāvo 'nugena sūtrī ca mārsety etena so 'pi ca. 'The Stage-manager (strin) [is to be called] "respected sir" (bhäva) by his assistant, and the latter [is to be called] " worthy friend" (mārsa) by the former.' NOTES. For mārşa SD. has mārişa. See also DR. 3. 8 and the notes on that section. Il Bh. 17. 73; SD. 431 g, h. Cf. Lévi, p. 380.

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-2. 105] BOOK TWO 77

103 (P. 69 b, 70 a; H. 64 b, 65 a). deva svāmī 'ti nrpatir bhrtyair bhațțeti cādhamaiḥ āmantraņīyāḥ pativaj jyesthamadhyādhamaiḥ striyaḥ. 'A king [is to be called] "lord" (deva) or "sire" (svāmin) 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. I| Bh. 17. 79; SD. 431 a, v. Cf. Lévi, p. 129.

104 (P. 70 b, 71; H. 65 b, 66). samā haleti preșyā ca hañje veśyā 'jjukā tathā kuțținy ambety anugataiḥ pūjyā vā jaratī janaiḥ vidūșakeņa bhavatī rājñī cețī 'ti sabdyate. '[Among the women] an equal [is to be addressed with the word] " friend!" (hala); a serving-maid, [with the word] "servant!" (hañje); a courtezan [is to be called] "mistress" (ajjukā). A bawd [is to be called] "madam" (ambā) by her followers, and an honorable old woman [is also to be called "madam"] by [all] persons. The queen, [as also] her servant (cețī), is addressed as "lady" (bhavatī) by the jester (vidūşaka).' NOTES. veśyājjuka H, V, P; veśydrjaka Hall p. 38. - Line 2 as above H, V, P; kuttiny anugataih pūjyā ambeti yuvatt janaih (observe the hiatus!) Hall p. 38 .- rajnt H, V, P; rajna Hall p. 38. - The word iti in the last line has been forced from the expected position after bhavatt by the requirements of the meter. |l Bh. 17. 81 a, 85 a, 89, 90; SD. 431 w, x, k. Cf. Lévi, p. 129.

CONCLUSION OF THE SECOND BOOK

105 (P. 72; H. 67). ceșțāguņodāhrtisattvabhāvān aśeșato netrdaśāvibhinnān ko vaktum īśo Bharato na yo vā yo vā na devaḥ śasikhandamauliḥ.

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78 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 (sattva- bhava) 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 netrdaśa 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 : upajāti.

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BOOK THREE

THE NATAKA AS THE TYPICAL VARIETY OF DRAMA

(P. I; H. I). prakrtitvād athānyeșām bhūyo rasaparigrahāt sampūrņalakșaņatvāc ca pūrvam nāțakam ucyate. 'The Nätaka is spoken of first, because of its being the type of all [the varieties of drama], furthermore 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 aspects 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 enumeration of their points of divergence from the nātaka. (Cf., for example, the phrase śeşam nātakavat, 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). pūrvarangam vidhāyādau sūtradhāre vinirgate praviśya tadvad aparah kāvyam āsthāpayen nataḥ. 'When the Stage-manager (sūtradhāra) has gone out after disposing of the Preliminaries (pürvaranga) 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 Vinu-like stride, etc. [cf. Bh. 5. 165 a]. From his function of introducing (sthapana) 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 performance, which are described in detail at 79

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80 BOOK THREE [3.2-

Bh. 5. 1-175. - No mention is made of the sthapaka in most of the known plays; he is found in action, however, in the Karpūramañjari (I. 12ª). See the edition of Konow and Lanman, Cambridge, Mass., 1901, p. 196. Il Bh. 5. 163, 164; SD. 283 a, b; cf. AP. 337. 8. Cf. Lévi, p. 135, 376.

3 (P. 3; H. 3). divyamartye sa tadrūpo miśram anyataras tayoh sūcayed vastu bījam vā mukham pātram athāpi vā. '[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 (bija), or the Opening (mukha), or to one of the characters (patra).' COM. Ex .: ramo mardhni nidha°, stanza from the Udāttarāghava of Māyurāja [a drama apparently not extant] (allusion to the subject- matter); Ratn. I. 6, p. 4= Spr. 3026 [quoted also at DR. I. 39 and 3. 10] (allusion to the Germ); dsādita° [unidentified stanza from a drama, quoted also at DR. 3. II and SD. 283; tr. Lévi, p. 139] (allusion to the Opening) ; Sakuntalā I. 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. Lévi, p. 379.

4 (P. 4; H. 4). raṅgam prasādya madhuraiḥ ślokaiḥ kāvyārthasūcakai ṛtum kam cid upādāya bhāratīm vrttim āśrayet. 'After propitiating the audience with pleasing verses that hint at the subject of the composition, he shall use the Eloquent Style (bharatī) in describing some season.' CoM. Ex .: Ratn. 1. 2, p. I [quoted also at Kāvyapradīpa 7, p. 315]. NOTES. The first line of this section refers to the ndndt, a benediction consisting of one or more stanzas, with which a play opens. No special prescriptions regarding the ndndt are given in DR .; see Bh. 5. 106-11I; SD. 282; Pratāpar. 3. 34. - This section is quoted at Pratāpar. 3. 35, p. 124. Il Bh. 5. 167; SD. 284; Pratāpar. 3. 35, p. 124. Cf. Lévi, p. 137; pt. 2, p. 27.

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-3.7] BOOK THREE 8I

THE ELOQUENT STYLE

5 (P. 5; H. 5). bhāratī samskrtaprāyo vāgvyāpāro națāśrayaḥ bhedaiḥ prarocanāyuktair vīthīprahasanāmukhaiḥ.

'The Eloquent Style (bharatī) is a manner of speaking, chiefly in Sanskrit, employed by actors (nata) [i. e. not by ac- tresses], which has as varieties, in addition to the Laudation (prarocana), the Vithi, the Prahasana, and the Introduction (āmukha).' NOTES. AP. has the statement striyuktd prakrtoktita, 'when used by women it is in Prakrit.'- On the Styles of Procedure see DR. 2. 77, 83, 88, 94, 95. || 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); Pratāpar. 2. 16 a. Cf. Lévi, p. 93.

6 (P. 6a; H. 6a).

unmukhīkaraņaņ tatra praśamsātaḥ prarocanā.

'Among these [varieties] the Laudation (prarocand) is a means of arousing expectancy by means of praise [of the matter in hand].' CoM. Ex .: Ratn. I. 5, p. 3 [ = Priyadarśikā I. 3, and, with change of one word, Nāgān. I. 3]. NOTES. (| Bh. 20. 27; SD. 286 b; AP. 337. 10; Sarasv. 5. 735 (ed. B. p. 378). Cf. Lévi, p. 137.

7 (P. 6b, 7a; H. 6b, c).

vīthī prahasanam cāpi svaprasange 'bhidhāsyate vīthyangāny āmukhāngatvād ucyante 'traiva tat punaḥ.

'The Vithi and the Prahasana also, will be mentioned, [each] in its proper connection; the subdivisions of the Vithi, however (tat punah), are mentioned at this point because they form sub- divisions of the Introduction (āmukha).' 7

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82 BOOK THREE [3.7-

NOTES. For the subsidiary parts of the vitht see 3. 13. - DR. seems to confuse the vithi 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. Il Bh. 20. 35; Pratāpar. 3. 30 a. Cf. Lévi, p. 137.

THE INTRODUCTION AND ITS VARIOUS FORMS 8 (P. 7b, 8a, b1; H. 7, 8a1). sūtradhāro națīm brūte mārsam vā 'tha vidūșakam svakāryam prastutākşepi citroktyā yat tad āmukham prastāvanā vā. 'The Introduction (amukha) or Induction (pra- stāvanā), is that [variety of the Eloquent Style] in which the Stage-manager (sūtradhāra) addresses an actress (natī) or an assistant (mārsa) or the Jester (vidūsaka) on a matter of his own, in bright conversation, hinting at the matter in progress.' NOTES. On marsa see DR. 2. 102. In its definition of the Induction SD. substitutes the term pariparsvika. - The assignment of a female role to an actress (națt) is substantiated by Karpūramañjarī I. 12* (see the ed. of Konow and Lanman, Cambridge, Mass., 1901, p. 196). H Bh. 20. 28, 29 a; SD. 287; AP. 337. 11 b-13 a; Sarasv. 5. 736 (ed. B. p. 378) ; Pratāpar. 3. 25, 26 a. Cf. Lévi, p. 138.

9 (P. 8b2, 9a; H. 8a2, b). tatra syuh kathodghātah pravrttakam prayogātiśayaś cātha vīthyangāni trayodaśa. 'Of this there are [three forms]: the Opening of the Story (kathodghāta), the Entrance of a Character (pravrttaka), and the Particular Presentation (prayogātisaya). The subdivisions of the Vithi are thirteen [in number].' NOTES. The words vithyangani trayodaa 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 udghātyaka (DR. 3. 14) and the avalagita (DR. 3. 15) being included here as well as among the subdivisions of the vitht (SD. 521). Cf. Bh. 20. 30 b. || Bh. 20. 29 b, 30 a; SD. 288; AP. 337. 13 b, 14 a; 339. 7 b; Pratāpar. 3. 26.

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-3. 12 ] BOOK THREE 83

I0 (P. 9b, Ioa; H. 9). svetivrttasamam vākyam artham vā yatra sūtriņa grhītvā praviśet pātram kathodghāto dvidhaiva saḥ. 'The Opening of the Story (kathodghata) [is that form of the Induction] in which a character enters taking up a remark of the Stage-manager or the meaning [of such a re- mark], which corresponds with some incident connected with himself. It is of two kinds.'

CoM. Ex .: Ratn. I. 6, p. 4= Spr. 3026 [quoted also at DR. I. 39 and 3. 3] (taking up of a remark); Veņī. I. 7, p. 10 [spoken by the stage-manager, but here erroneously assigned to Bhīma; quoted also at Kāvyapradīpa 7, p. 302] and 1. 8, p. II [quoted also at DR. 4. 81] (taking up of the mean- ing of a remark). NOTES. Line I, as above, H, V, P; vākyam vākyārtham atha vā prastutam yatra satrinah Hall p. 39 .- The word sütrin is used for sütradhara because of metrical requirements. -The kathodghata is of two kinds, since either the very words of the sütradhara or the purport of his remarks may be taken up by the entering character. Il Bh. 20. 31 b, 32 a; SD. 290; AP. 337. 15 b, 16 a; Pratāpar. 3. 27. Cf. Lévi, p. 138.

II (P. I0b; H. 10a).

kālasāmyasamākșiptapraveśaḥ syāt 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 .: dsddita° [unidentified stanza from a drama, quoted also at DR. 3. 3 and SD. 283; tr. Lévi, p. 139]. NOTES. This form of Induction is called pravartaka in SD .- On the description of a season in the Induction see 3. 4. || Bh. 20. 33 b, 34 a; SD. 292; AP. 337. 14 b, 15 a; Pratāpar. 3. 28. Cf. Lévi, p. 139.

12 (P. II; H. 10b, c).

eşo 'yam ity upakşepāt sūtradhāraprayogataḥ pātrapraveśo yatraișa prayogātiśayo mataḥ.

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84 BOOK THREE [3.12-

·'Particular Presentation (prayogātiśaya, lit. excess of representation) is that [form of the Induction] in which a character enters in accordance with a reference [to him] by (prayogatas) the Stage-manager (sūtradhāra) in the words "Here he is."'

DR. 3. 3]. COM. Ex .: Sakuntalā I. 5b, p. 14 [this stanza is quoted in full at

NOTES. || Bh. 20. 32 b, 33 a; SD. 291; AP. 337. 16 b, 17 a; Pratāpar. 3. 29. Cf. Lévi, p. 139.

THE SUBDIVISIONS OF THE VITHI

13 (P. 12, I3a; H. II). udghātyakāvalagite prapañcatrigate chalam vākkelyadhibale gandam avasyanditanālike asatpralāpavyāhāramrdavāni trayodaśa. 'The thirteen [subdivisions of the Vithi are]: Abrupt Dia- logue (udghātyaka), Continuance (avalagita), Compliment (prapañca), Triple Explanation (trigata), Deception (chala), Repartee (vākkelī), Outvying (adhibala), Abrupt Remark (ganda), Re-interpretation (avasyandita), Enigma (nālikā), Incoherent Chatter (asatpralāpa), Humorous Speech (vyāhāra), and Mildness (mrdava).' NOTES. The vithi itself is defined at DR. 3. 62. See the notes on 3. 7 and 3. 9. || Bh. 18. 104, 105; SD. 521; AP. 339. 8, 9; Pratāpar. 3. 30 b, 31.

I4 (P. 13b, 14a; H. I2). gūdhārthapadaparyāyamālā praśnottarasya vā yatrānyonyam samālāpo dvedhodghātyam tad ucyate. 'Abrupt Dialogue (udghātya= udghātyaka), 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.'

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-3. 17] BOOK THREE 85

CoM. Ex .: Vikramorvasi [a passage not located] (first variety); kā ślaghya guni°, stanza [tr. Lévi, p. 112] from the Pandavananda [a drama otherwise unknown] (second variety). NOTES. || Bh. 18. 106; SD. 289; Pratāpar. 3. 32, p. 120. Cf. Lévi, p. II2.

15 (P. 14b, 15a; H. I3). yatraikatra samāvesāt kāryam anyat prasādhyate prastute 'nyatra vā 'nyat syāt tac cāvalagitam dvidhā. 'Continuance (avalagita), which is of two kinds, is that [subdivision of the Vithi] 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 Sitā in the Uttararāmacarita; a passage from the Chalitarama [an unpublished drama]. NOTES. || Bh. 18. 107; SD. 293; Pratāpar. 3. 32, p. 120. Cf. Lévi, p. 113.

16 (P. 15b; H. 14a). asadbhūtam mithastotram prapañco hāsyakrn mataḥ. 'Compliment (prapañca) is mutual praise that is untrue and causes a laugh.' CoM. Ex .: Karpūramañjarī I. 23, p. 24. NOTES. asadbhütam mithahstotram Hall p. 39, P; asadbhatamithahsto- tram H, V .- The example given in the commentary seems very inap- propriate. I| Bh. 18. 1IO; SD. 522; Pratāpar. 3. 32, p. 120. Cf. Lévi, p. 113.

17 (P. 16; H. 14b, c). śrutisāmyād anekārthayojanam trigatam tv iha națāditritayālāpah pūrvarange tad ișyate. '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 (pūrvaranga).' CoM. Ex .: Vikramorvaśī I. 3, p. 9 [see Lévi, pt. 2, p. 36, note on p. 177].

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86 BOOK THREE [3.17-

NOTES. SD. 523, com., quotes a definition similar to that of DR. -On the term purvaranga see Bh. 5; SD. 281. || Bh. 18. 115 (cf. also 5. 135-136) ; SD. 523; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 114-

18 (P. 17a; H. 15a). priyābhair apriyair vākyair vilobhya chalanāc chalam. 'Deception (chala) [arises] from deceit that misleads by means of unfriendly words that seem friendly.' CoM. Ex .: Veni. 5. 26, p. 148 [lines b and c are transposed]. NOTES. chalandc Hall p. 39 (Hall prints chalandt, in disregard of samdhi), P; chalana H, V. || Bh. 18. 113 a; SD. 524, 525 a, b; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 114

19 (P. 17b; H. 15 b). vinivrttyā 'sya vākkelī dvis triḥ pratyuktito 'pi vā. 'Repartee (vakkel) [arises] from stopping short in it [i. e. in a speech] or from replying two or three times.' CoM. Ex .: Uttararāma. 3. 26, p. 80 (stopping short); Ratn. I, p. 10 (remark and reply). NOTES. The name vakkelt, lit. 'speech-play,' is appropriate only to the second of the two varieties mentioned; I selected the English rendering 'Repartee' with this in mind. I| Bh. 18. I1I b; SD. 525 c and com. (SD. tr. 525, 526) ; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 114

20 (P. 18a; H. 16a). anyonyavākyādhikyoktiḥ spardhayā '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. I. 92 and I. 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. Il Bh. 18. 112; SD. 526; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 115.

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.3. 24] BOOK THREE 87

21 (P. 18b; H. 16b). . gaņdaḥ prastutasambandhibhinnārtham sahasoditam. 'Abrupt Remark (ganda) is a separate matter, suddenly mentioned, that has some connection with the matter in prog- ress (prastuta).' CoM. Ex .: Uttararāma. I. 38+, p. 36. NOTES. || Bh. 18. 116; SD. 527; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 115.

22 (P. 19a; H. 17a). rasoktasyānyathā vyākhyā yatrāvasyanditam hi tat. 'Re-interpretation (avasyandita) is that [subdivision of the Vithi] in which there is an explanation in another way of words uttered because of sentiment.' CoM. Ex .: a passage [tr. Lévi, p. 115] from the Chalitarāma [an un- published drama]. NOTES. || Bh. 18. 108; SD. 528; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 115.

23 (P. 19b; H. 17b). sopahāsā nigūdhārthā nālikaiva prahelikā. 'Enigma (nālikā) is an enigmatical remark that is humor- ous and whose meaning is hidden.' COM. Ex .: Mudrārākșasa I, p. 74-75 (ed. Kale, p. 27-28). NOTES. || Bh. 18. III a; SD. 529; Pratāpar. 3. 32, p. 121. Cf. Lévi, p. 116.

24 (P. 20a; H. 18a). asambaddhakathāprāyo 'satpralāpo yathottaraḥ. 'Incoherent Chatter (asatpralapa), [here mentioned] in due order, consists of (prāya) 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 .: Sārng. 105; Vikramorvaśī 4 33, p. 102 = Spr. 7357 ; bhukta hi mayd 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

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88 BOOK THREE [3.24-

be salutary advice given to a foolish person who does not accept it. Il Bh. 18. 109; SD. 530; Pratāpar. 3. 32, p. 121-122. Cf. Lévi, p. 116.

25 (P. 20b; H. 18b).

anyārtham eva vyāhāro hāsyalobhakaram vacah.

'Humorous Speech (vyāhāra) is a remark made for the sake of some one else and causing laughter and desire.' CoM. Ex .: Mālav. 2, p. 29-31 [departs widely from the published text]. NOTES. || Bh. 18. 113 b; SD. 531; Pratāpar. 3. 32, p. 122. Cf. Lévi, p. 116.

26 (P. 21 a; H. 18c).

doşā guņā guņā doșā yatra syur mrdavam hi tat. 'Mildness (mrdava) is that [subdivision of the Vithī] in which faults are [considered as] merits and merits [as] faults.' CoM. Ex .: Sakuntalā 2. 5, 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. || Bh. 18. 114; SD. 532; Pratāpar. 3. 32, p. 122. Cf. Lévi, p. 117.

USE OF THESE INTRODUCTORY ELEMENTS

27 (P. 21 b, 22 a; H. 19).

eşām anyatamenārtham pātram cākşipya sūtrabhrt prastāvanānte nirgacchet tato vastu prapañcayet.

'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 (prapancayet) of the Subject-matter.' NOTES. The word sütrabhrt, like sutrin in 3. 10, is used for sūtradhara because of metrical requirements. N SD. 295.

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SELECTION OF THE PRINCIPAL SUBJECT

28 (P. 22 b-24 a; H. 20, 21).

abhigamyaguņair yukto dhīrodāttaḥ pratāpavān kīrtikāmo mahotsāhas trayyās trātā mahīpatiḥ prakhyātavaņśo rājarșir divyo vā yatra nāyakaḥ tatprakhyātam vidhātavyam vrttam atrādhikārikam. '[In a play] in which the Hero is endowed with attractive qualities, [of the type known as] self-controlled and exalted (dhīrodātta), glorious, eager for fame, of great energy, a pre- server of the three Vedas (tray), 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 (ādhikārika).' COM. A hero with all these qualities, such as is exemplified in the Rāmāyana and Mahābhārata. NOTES. abhigamya° H, V, P; abhigami° and adhigamya° Hall p. 39. - The ' self-controlled and exalted' hero is defined at 2. 5; the adhikārika, at I. 19. - Cf. Lévi, p. 31.

ADAPTATION OF THE STORY 29 (P. 24 b, 25 a; H. 22). yat tatrānucitam kim cin nāyakasya rasasya vā viruddham tat parityājyam anyathā vā 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 Māyurāja in the Udāttarāghava; as this same incident was altered [by Bhavabhūti] in the Mahaviracarita, where Vāli 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. 5. 730 (ed. B. p. 377). Cf. Lévi, p. 3I.

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90 BOOK THREE [3.30-

ARRANGEMENT OF THE DRAMATIC STRUCTURE

30 (P. 25 b, 26 a; H. 23). ādyantam evam niścitya pañcadhā tad vibhajya ca khaņdaśaḥ saņdhisaņjñāņś ca vibhāgān api khaņdayet. 'After determining upon the beginning and end [of the play] in this manner and after dividing it into five parts, [the author] should furthermore (ca + api) break up into small sections the divisions called Junctures (samdhi).' 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-III) .- Cf. Lévi, p. 32.

31 (P. 26 b, 27; H. 24). catuḥsașțis tu tāni syur angānīty aparam tathā patākāvrttam apy ūnam ekādyair anusamdhibhiḥ angāny atra yathālābham asamdhim prakarīm nyaset. 'These subdivisions should be sixty-four [in number] .- In like manner, moreover, [one should divide] the incidents of the Episode (patākā), [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 (prakari) without any Juncture.'

plete Juncture. CoM .... The Episodical Incident is to be employed without a com-

NOTES. || Bh. 19. 27 b, 28 a. Cf. Lévi, p. 57.

APPROPRIATE ARRANGEMENT OF THE BEGINNING

32 (P. 28a; H. 25a). ādau vişkambhakam kuryād ankam vā kāryayuktitaḥ. 'At the beginning [of the play] one should put an Explanatory Scene or an Act, according to the appropriateness of the action.'

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33 (P. 28 b, 29a; H. 25 b, c). apekşitam parityajya nīrasam vastuvistaram yadā samdarsayec cheşam kuryād vișkambhakam tadā. 'When, after omitting an extensive part of the subject-matter that is required, but is without Sentiment, one wishes to present the rest, then one should put an Explanatory Scene (viskambhaka) [at the beginning].' NOTES. The viskambhaka, one of the five varieties of Intermediate Scene, is defined at I. 116, 117. H SD. 314

34 (P. 29 b, 30a; H. 26).

yadā tu sarasam vastu mūlād eva pravartate ādāv eva tadā 'nkaḥ syād āmukhāksepasamśrayaḥ.

'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 [given] in the Introduction.' NOTES. On the Introduction (Induction) and references in it to the subject of the play, see 3. 8. H SD. 315.

CHARACTERISTICS OF AN ACT

35 (P. 30 b, 31 a; H. 27).

pratyaksanetrcarito binduvyāptipuraskrtaḥ aṅko nānāprakārārthasaņvidhānarasāśrayaḥ.

'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. I Bh. 18. 14, 15; SD. 278 a, c, e; Pratāpar. 3. 24 Cf. Lévi, p. 58.

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92 BOOK THREE [3.36-

THE SENTIMENTS AND THEIR USES

36 (P. 31 b, 32 a; H. 28).

anubhāvavibhāvābhyām sthāyinā vyabhicāribhiḥ grhītamuktaiḥ kartavyam anginaḥ paripoșaņam.

'The principal Sentiment (angin, sc. rasa) is to be furthered by means of the Consequents (anubhāva), the Determinants (vibhäva), the Permanent State (sthāyin, sc. bhava), and the Transitory States (vyabhicārin, sc. bhāva), taken up and dropped [in turn].' NOTES. Definitions of all these terms will be found in sections 1-8, 43, and 54 of Book 4 .- Cf. Lévi, p. 86, 257.

37 (P. 32 b, 33 a; H. 29).

na cātirasato vastu dūram vicchinnatām nayet rasaņ vā na tirodadhyād vastvalamkāralakșanaih.

'One should not make the Subject-matter too disconnected by the excessive [use of] Sentiment, nor should one overwhelm the Sentiment with matters relating to the Subject-matter or its em- bellishment.'

NOTES. This section is quoted at SD. 316, com. - Cf. Lévi, p. 86.

38 (P. 33 b, 34 a; H. 30).

eko raso 'ngīkartavyo vīrah śrngāra eva vā angam anye rasāh sarve kuryān nirvahane 'dbhutam.

'One Sentiment, either the Heroic or the Erotic, is to be made the principal Sentiment; all the other Sentiments [should be made] subordinate. The Marvelous Sentiment should be em- ployed [only] in the Conclusion (nirvahana).' NOTES. On the Erotic, Heroic, and Marvelous Sentiments see 4 56, 79, 85; on the nirvahaņa, I. 96. I| Pratāpar. 3. 4 (p. 103), 33 a. Cf. Lévi, p. 86.

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ACTIONS NOT PERMITTED ON THE STAGE

39 (P. 34 b, 35; H. 31, 32 a). dūrādhvānam vadham yuddham rājyadeśādiviplavam samrodham bhojanam snānam suratam cānulepanam ambaragrahaņādīni pratyaksāņi na nirdiśet. 'One should not visibly represent a long journey, murder, fighting, revolt of a kingdom or province or the like, a siege, eating, bathing, intercourse, anointing the body, putting on cloth- ing, or the like.' NOTES. ambara° H, V, P; astrasya Hall p. 39. - For dürādhvānam (düra + adhvan) SD. has dürāhvānam (dūra + āhvāna), 'shouting from afar.'- Cf. DR. I. 113, 114. I| Bh. 18. 19; SD. 278 i-m. Cf. Lévi, p. 57.

40 (P. 36a; H. 32 b). nādhikārivadhaņ kvāpi tyājyam āvaśyakam na ca. '[One should] not [present] the death of the principal char- acter anywhere [in the play], [but] what is inevitable is not to be avoided.'

NOTES. According to this rule, the death of the hero or heroine should neither occur on the stage nor be related in one of the Explanatory Scenes. Judging from Hindu dramatic literature, however, this canon may be violated provided the dead person is restored to life in the course of the play. On such restoration of the dead to life in the Sanskrit drama see Jackson, 'Certain Dramatic Elements in Sanskrit Plays, first series,' in Am. Journ. of Philol. 19 (1898), p. 247-250. Il Bh. 18. 23 b; SD. 215, 316. See p. 150.

THE CONTENTS OF AN ACT

41 (P. 36b, 37 a; H. 33). ekāhācaritaikārtham ittham āsannanāyakam pātrais tricaturair ankam teșām ante 'sya nirgamaḥ. 'An Act [should be arranged] with a single purpose [exempli- fied] by the doings of a single day, with the hero thus engaged,

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and with three or four characters-these making their exit at its end.' NOTES. °caritaikartham H, V, P; °caritaih karyam Hall p. 39 .- Cer- tain features of the Act are mentioned also in 3. 35. H Bh. 18. 22 a, 24 a; SD. 278g, h, p. Cf. Lévi, p. 58.

42 (P. 37 b, 38 a; H. 34 a, b). patākāsthānakāny atra bindur ante ca bījavat evam ankāḥ prakartavyāh praveśādipuraskrtāḥ. '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, bija, and bindu are defined at I. 22, 25, 26.

THE NUMBER OF ACTS IN THE NĀTAKA

43 (P. 38b; H. 34c). pañcānkam etad avaram dasānkam nāțakam param. 'When it has five Acts, this [kind of drama] is a lesser Nātaka; when it has ten Acts, a greater.' NOTES. That is, a regular nataka has five acts; one with ten acts, such as Rājaśekhara's Bālarāmāyaņa, iş called a mahānāțaka. Il Bh. 18. 50; SD. 510. Cf. Lévi, p. 140.

DESCRIPTION OF THE PRAKARANA

44 (P. 39, 40; H. 35, 36). atha prakaraņe vṛttam utpādyam lokasamśrayam amātyavipravaņijām ekam kuryāc ca nāyakam dhīraprasāntam sāpāyam dharmakāmārthatatparam śeșaņ nāțakavat samdhipraveśakarasādikam. 'Now in a Prakarana the action should be invented and should take place on the earth, and one should make the Hero

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a minister, a Brahman, or a merchant, [of the type known as] self-controlled and calm (dhirapraśānta= dhīraśānta), under- going misfortune, and with virtue, pleasure, and wealth as his chief objects. The remaining [features] -Junctures, Introduc- tory Scenes, Sentiments, and the like-are as in the Nātaka.' NOTES. sapayam H, V, P; sopdyam Hall p. 39 .- The three aims in life- virtue, pleasure, and wealth - are referred to, under the designation trivarga, in I. 24. I| Bh. 18. 41-49; SD. 511; Pratāpar. 3. 4 (p. 103), 35. Cf. Lévi, p. 141.

45 (P. 41, 42; H. 37, 38). nāyikā tu dvidhā netuḥ kulastrī gaņikā tathā kva cid ekaiva kulajā veśyā kvāpi dvayam kva cit kulajā 'bhyantarā bāhyā veśyā nātikramo 'nayoḥ ābhiḥ prakaraņam tredhā samkīrņam dhūrtasamkulam. '[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 be] 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 kinds [i. e. śuddha, with the wife as Heroine; vikrta, with the courtezan; samkirņa, with both]. The mixed variety (samkirna) abounds in rogues. CoM. [The commentary quotes:] Kāmasūtra 3, p. 41. The heroine is a courtezan, for example, in the Tarangadatta [a drama apparently not extant]; a high-born woman in the Puspadūșitaka [a drama apparently not extant, mentioned as Puspabhūșita in SD. 512, com.]; of both kinds in the Mrcchakatika. NOTES. || SD. 512. Cf. Lévi, p. 141.

DESCRIPTION OF THE NĀTIKĀ 46 (P. 43 a; H. 39a). laksyate nāțikā 'py atra samkīrņānyanivrttaye. 'At this point the Natika, also, is defined for the purpose

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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 prakaranikā has been predicated as a lesser form of the prakarana, on the analogy of the natikd as a lesser form of the nataka. The prakaranika, however, is identical with the prakarana and has no separate existence. [But see SD. 554, where it is defined as a separate form. Cf. Lévi, p. 146-147.] NOTES. Strictly speaking, description of the natikd does not come within the scope of this work, which is limited by its title to the ten principal forms of drama (see also I. I1). The nāțika 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, 44 a; H. 39 b, c). tatra vastu prakaraņān nāțakān nāyako nrpaḥ prakhyāto dhīralalitah śrngāro 'ngī salakșaņaḥ. 'In that [i. e. in the Nāțikā] 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 (dhīralalita), from the Nataka; the principal Sentiment (angin, sc. rasa) is the Erotic, with its [various] characteristics.' NOTES. || Bh. 18. 54-56 a; SD. 539 a, b. Cf. Lévi, p. 146.

48 (P. 44 b, 45 a; H. 40). strīprāyacaturankādibhedakam yadi ceșyate ekadvitryańkapātrādibhedenānantarūpatā. '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 Nātikā] 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 striprayacaturanka are evidently an allusion to Bh. 18. 55 a, and this section modifies to a certain extent the definition given there. N Bh. 18. 55 a; SD. 539 a. Cf. Lévi, p. 146.

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49 (P. 45 b, 46a; H. 41). devī tatra bhavej jyesthā pragalbhā nrpavamśajā gambhīrā māninī krcchrāt tadvasān netrsamgamaḥ. '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. netrsamgamah H, V, P; netrsamgame Hall p. 39 .- The term pragalbha, 'experienced,' is defined at 2. 29. I SD. 539 f, g. Cf. Lévi, p. 146.

50 (P. 46b; H. 42a). nāyikā tādrśī mugdhā divyā cātimanoharā. '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; prapyā 'nyā Hall p. 39. - The term mugdha, 'inexperienced,' is defined at 2. 26. Il SD. 539 d. Cf. Lévi, p. 146.

51 (P. 47, 48a; H. 42 b, 43 a, b). antaḥpurādisambandhād āsannā śrutidarśanaiḥ anurāgo navāvastho netus tasyām yathottaram netā tatra pravarteta devītrāsena śankitaḥ.

'[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 Nātikā] is apprehensive through fear of the queen.' NOTES. II SD. 539c, d, e. Cf. Lévi, p. 146.

52 (P. 48b; H. 43 c). kaiśikyańgaiś caturbhiś ca yuktānkair iva nāțikā. 8

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'The Națika contains the four subdivisions of the Gay Style (kaiśikī), 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. Il SD. 539 h. Cf. Lévi, p. 146.

DESCRIPTION OF THE BHAŅA

53 (P. 49-51; H. 44-46).

bhāņas tu dhūrtacaritam svānubhūtam pareņa vā yatropavarņayed eko nipuņah pandito vițaḥ sambodhanoktipratyuktī kuryād ākāśabhāșitaiḥ sūcayed vīraśrngārau śauryasaubhāgyasamstavaiḥ bhūyasā bhāratī vrttir ekānkam vastu kalpitam mukhanirvahaņe sānge lāsyāngāni daśāpi ca.

'The Bhāna (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 (ākāsabhāșita); and he should indicate the Heroic and Erotic Sentiments by means of descriptions of prowess and of 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 (mukha) and the Con- clusion (nirvahana), with their subdivisions, and also the ten sub- divisions of the Gentle Dance (lāsya).' NOTES. The term ākasabhașita, 'Conversation with Imaginary Persons,' is defined at I. 128; the Eloquent Style (bharatt) at 3. 5 .- One would rather expect svanubhuta to have the meaning 'experienced by himself'; in my translation I follow Dhanika, who glosses the word by svakrta.

Cf. Lévi, p. 141. I| Bh. 18. 99-I0I; 19. 45 b, 46 a; SD. 513; Pratāpar. 3. 4 (p. 103), 36, 37.

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THE FORMS OF GENTLE DANCE

54 (P. 52, 53; H. 47, 48). geyam padam sthitam pāțhyam āsīnam puspagaņdikā pracchedakas trigüdham ca saindhavākhyam dvigūdhakam uttamottamakam caiva uktapratyuktam eva ca lāsye daśavidham hy etad ańganirdeśakalpanam. 'The tenfold enumeration of the subdivisions in the Gentle Dance (lāsya) is: the Geyapada (Song), the Sthitapāthya (Recitation by one standing), the Āsīnapāthya (Recitation by one seated), the Puspagandikā, the Pracchedaka, the Trigūdha, the one called Saindhava, the Dvigūdha, the Uttamottamaka, and the Uktapratyukta (Amoebean Song).' NOTES. caiva ukta° H, V, P; cānyadukta° 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. Il Bh. 18. 117-119; SD. 504. Cf. Lévi, p. 119-120.

DESCRIPTION OF THE PRAHASANA 55 (P. 54a; H. 49a). tadvat prahasanaņ tredhā śuddhavaikrtasamkaraiḥ. 'Similar is the Prahasana (Farce), which is of three kinds: regular, modified, and mixed.'

Lévi, p. 142. NOTES. || Bh. 18. 93 b; 19. 45 b, 46 a; SD. 533; Pratāpar. 3. 38. Cf.

56 (P. 54 b, 55 a; H. 49 b, c). pākhaņdivipraprabhrticețacețīvițākulam ceșțitam veșabhāsābhiḥ suddham hāsyavaconvitam. 'The regular [Prahasana] (śuddha) 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.'

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100 BOOK THREE [3.56-

NOTES. veşabhaşābhih H, V, P; veşabhāşādi and desabhāşādi Hall p. 39. - On pakhanda for paşanda (North Indian kh for f) see Wackernagel, Altindische Grammatik, I. 136, § 118. Il Bh. 18. 94 b-96 a; SD. 535; Pratāpar. 3. 4 (p. 103), 39; cf. AP. 339. 10 a. Cf. Lévi, p. 142.

57 (P. 55 b, 56a; H. 50a, b). kāmukādivacoveșaiḥ saņdhakañcukitāpasaiḥ vikrtam samkarād vīthyā samkīrņam dhūrtasamkulam. 'The modified [Prahasana] (vikrta) contains eunuchs, cham- berlains, and ascetics [represented] with the speech and dress of lovers and the like; the mixed [Prahasana] (samkīrņa), [so called] because of its admixture of [features of] the Vithī, is filled with rogues.' NOTES. I| Bh. 18. 96 b-98; SD. 536-538; Pratāpar. 3. 40, 41. Cf. Lévi, p. 142.

58 (P. 56b; H. 50c). rasas tu bhūyasā kāryah sadvidho hāsya eva tu. 'The sixfold Comic Sentiment (hāsya) is generally to be em- ployed [in it].' NOTES. Il SD. 534; Pratāpar. 3. 4 (p. 103), 38 b. Cf. Lévi, p. 142.

DESCRIPTION OF THE DIMA 59 (P. 57-60 a; H. 51-53). dime vastu prasiddham syād vrttayaḥ kaiśikīņ vinā netāro devagandharvayaksaraksomahoragāḥ bhūtapretapiśācādyāh sodaśātyantam uddhatāḥ rasair ahāsyaśrngāraih sadbhir dīptaih samanvitaḥ māyendrajālasamgrāmakrodhodbhrāntādiceșțitaiḥ candrasūryoparāgais ca nyāyye raudrarase 'ngini caturańkaś catuḥsamdhir nirvimarśo dima 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-

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șasas, Mahoragas, Bhūtas, Pretas, Pisācas, 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, wrath, excitement, and the like, and by eclipses of 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 samghata, 'injuring.' ... 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; Pratāpar. 3. 4 (p. 103), 42-44 Cf. Lévi, p. 142.

DESCRIPTION OF THE VYĀYOGA

60 (P. 60 b-62 a; H. 54, 55).

khyātetivrtto vyāyogaḥ khyātoddhatanarāśrayah hīno garbhavimarsābhyām dīptāh syur dimavad rasāḥ astrīnimittasamgrāmo jāmadagnyajaye yathā ekāhācaritaikānko vyāyogo bahubhir naraiḥ.

'The Vyāyoga (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 Paraśurāma [Jāmadagnya]. The Vyāyoga consists of one act, [presenting] the doings of a single day, and contains many male characters.' CoM. This kind of drama is called vydyoga because many men disagree with one another (vyaywjyante) in it ... NOTES. I| Bh. 18. 83-85; 19. 44 b, 45 a; SD. 514; Pratāpar. 3. 4 (p. 103), 45. Cf. Lévi, p. 143.

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IO2 BOOK THREE [3.61-

DESCRIPTION OF THE SAMAVAKĀRA 61 (P. 62 b-68 a; H. 56-61). kāryaņ samavakāre 'pi āmukham nāțakādivat khyātam devāsuram vastu nirvimarśās tu samdhayaḥ vṛttayo mandakaiśikyo netāro devadānavāḥ dvādasodāttavikhyātāḥ phalam teşām prthak prthak bahuvīrarasāh sarve yadvad ambhodhimanthane ańkais tribhis trikapatas triśrngāras trividravaḥ dvisamdhir ańkaḥ prathamaḥ kāryo dvādaśanālikaḥ caturdvinālikāv antyau nālikā ghațikādvayam vastusvabhāvadaivārikrtāh syuh kapațās trayaḥ nagaroparodhayuddhe vātāgnyādikavidravāḥ dharmārthakāmaiņ śrngāro nātra bindupraveśakau vīthyangāni yathālābham kuryāt prahasane yathā. 'In the Samavakāra 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, twelve [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 nālikas; the last two [should have a duration] of four and two nālikās [respectively], a nālikā consisting of two ghatikās. 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

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passion. [The Samavakāra 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 samavakdra because various themes are scattered about (samavakIryante) in it .... Its heroes are twelve in number-gods, demons, and the like. The ends attained by these are to be separate and distinct, as, for example, the obtaining of Lakşmī and the like by Vasudeva and the others in the Churning of the Ocean (Samudramanthana) [cf. SD. 516, com.] ... NOTES. °nālikaḥ, °nālikāv, nālikā H, V, P; °nādikah, °nādikāv, nādikā Hall p. 39. - Lévi (p. 143) assigns to the third act a duration of one nālikā; this is apparently an error, unless the information was drawn from another source. The SD. text gives the second act a duration of three nalikas, a variation evidently to be attributed to a corruption of the text from catasrbhir to ca tisrbhir, as explained by Mitra, SD. tr. p. 249, note I. || Bh. 18. 57-70; 19. 43 b, 44 a; SD. 515, 516; Pratāpar. 3. 4 (p. 103), 46-49. Cf. Lévi, p. 143-144-

DESCRIPTION OF THE VITHI 62 (P. 68b-70 a; H. 62, 63). vīthī tu kaisikīvrttau samdhyangānkais tu bhāņavat rasaḥ sūcyas tu śrngāraḥ sprśed api rasāntaram yuktā prastāvanākhyātair angair udghātyakādibhiḥ evam vīthī vidhātavyā dvyekapātraprayojitā. '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 Vithī] 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 vitht-this word meaning either 'road' or 'series of subdivisions.' ... NOTES. The Induction is defined at 3. 8. The word anga in the com- pound samdhyangankais refers to the subdivisions of the Junctures (see DR. I. 37-III) ; the word anga in the third line of the text refers to the subdivisions of the Vithi defined at 3. 13-26.

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104 BOOK THREE [3.62-

I Bh. 18. 102-103; 19. 45 b, 46 a; SD. 520; Pratāpar. 3. 4 (p. 103), 50. Cf. Lévi, p. 144-

DESCRIPTION OF THE UTSRSTIKĀŃKA 63 (P. 70 b-72 a; H. 64, 65). utsrsțikānke prakhyātam vrttam buddhyā prapañcayet rasas tu karuņaḥ sthāyī netāraņ prākrtā narāh bhāņavat samdhivṛttyangair yuktaḥ strīparidevitaiḥ vācā yuddham vidhātavyam tathā jayaparājayau. 'In the Utsrstikanka one should develop a well-known subject by means of the imagination. The Pathetic should be the permanent 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 utsrstikdnka [instead of merely anka] for the pur- pose of distinguishing it from the anka (act) included in a play (nataka) [cf. SD. 519, 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 utkrstikdnka; in view of SD. 519, com., and of the inaccuracy of Hall's text in other respects [see my notes on DR. I. 80] this may safely be regarded as an error. Il Bh. 18. 86 b-89 a; 19. 45 b, 46 a; SD. 519; Pratāpar. 3. 4 (p. 103-104), 51. Cf. Lévi, p. 144-

DESCRIPTION OF THE IHĀMRGA 64 (P. 72 b-75; H. 66-68). miśram īhāmrge vrttam caturankam trisamdhimat naradivyāv aniyamān nāyakapratināyakau khyātau dhīroddhatāv antyo viparyāsād ayuktakṛt divyastriyam anicchantīm apahārādinecchataḥ śrngārābhāsam apy asya kim cit kim cit pradarśayet samrambham param ānīya yuddham vyājān nivārayet vadhaprāptasya kurvīta vadham naiva mahātmanaḥ.

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'In the Ihämrga 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 as] self-controlled and vehement, the latter committing improper acts by mistake. One should also present, though only to a slight extent, the semblance of love on the part of one who tries to obtain 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, [even though he is] killed [in the legend from which the plot is derived].'

CoM. This kind of drama is called thdmrga because in it the hero pur- sues (thate) 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.

Cf. Lévi, p. 145. Il Bh. 18. 72-76; 19. 44 b, 45 a; SD. 518; Pratāpar. 3. 4 (p. 104), 52, 53.

CONCLUSION OF THE THIRD BOOK

65 (P. 76; H. 69). ittham vicintya daśarūpakalaksmamārgam ālokya vastu paribhāvya kaviprabandhān kuryād ayatnavad alamkrtibhiḥ prabandham vākyair udāramadhuraiḥ sphuțamandavrttaiḥ. 'After observing in this manner the series of definitions of the ten forms of drama (daśarūpaka), 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.

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BOOK FOUR

SENTIMENT AND ITS PRODUCTION

(P. I; H. I). vibhāvair anubhāvaiś ca sāttvikair vyabhicāribhiḥ ānīyamānaḥ svādyatvam sthāyī bhāvo 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. svadyatvam H, V, P; svadutvam 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 Pratāpar. 4. I, 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 rasa-theory is given by Zachariae, ZDMG. 56 (1902), p. 394-396; see also Grierson, The Satsaiya of Bihāri, 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 Phèdre) see Regnaud, p. 361-364.

DETERMINANTS AND CONSEQUENTS DEFINED 2 (P. 2; H. 2). jñāyamānatayā tatra vibhāvo bhāvapoșakrt ālambanoddīpanatvaprabhedena sa ca dvidhā. 'Among these a Determinant (vibhava) is that which causes the development of the States by its being recognized. 106

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-4.4] BOOK FOUR 107

Determinants are of two kinds, being divided into Fundamental Determinants (ālambana, sc. vibhāva) and Excitant Determi- nants (uddipana, sc. vibhāva).' 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. 161]. ... sabdopahita°, [unidentified śloka] by Bhartrhari; Bh. 7, prose after v. 6. Ex .: Vikramorvaśī I. 10, p. 18= Sārng. 3268 [quoted also at Kāvyapradīpa 10, p. 383] (Fundamental Deter- minant); ayam udayati candr° [unidentified stanza] (Excitant Determi- nant). NOTES. Line 2, as above, H, V, P; alambanoddīpanabhyam kanto- dydnadind dvidha Hall p. 39. N Bh. 7. 4; SD. 61, 62, 160, com. on 37; AP. 338. 36; Rasatar. 2, p. 47-48; Candrāloka 6. I a; Pratāpar. 4. I, p. 122; Alamkāraśekhara 20, p. 76; Rasa- gańg. p. 33; Rasaratn. 4 a; Sāhityasāra 4 51 a, 52 a; Sāhityakaumudī 4, p. 29; Bhāșābhūșaņa 39 a, 40 a. Cf. Regnaud, p. 352-353.

3 (P. 3a; H. 3a). anubhāvo vikāras tu bhāvasamsūcanātmakaḥ. 'A Consequent (anubhava), on the other hand, is an external manifestation that serves to indicate a feeling.'

CoM. Ex .: stanza by Dhanika = Sārng. 3417. NOTES. || Bh. 7. 5; SD. 162; Rasatar. 3, p. 48-49; Pratāpar. 4. I, p. 222; Alamkāraśekhara 20. 33 a; Rasagang. p. 33; Rasaratn. 4b; Sāhityasāra 4. 51 b; Sāhityakaumudī 4, p. 29; Bhāşābhūșaņa 39 b. Cf. Regnaud, p. 354-356.

4 (P. 3b; H. 3b). hetukāryātmanoḥ siddhis tayoḥ samvyavahārataḥ. '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 separately defined here, as is explained also at Bh. 7, prose after v. 5 [quoted with some variations]. NOTES. || Bh. 7, prose after v. 5; 7. 6. Cf. Regnaud, p. 355.

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108 BOOK FOUR [4.5-

A STATE DEFINED 5 (P. 4a; H. 4a). sukhaduḥkhādikair bhāvair bhāvas tadbhāvabhāvanam. '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 v. I. NOTES. || Bh. 7, prose and v. I-3; SD. 208; Kāvyaprakāśa 35-36; Rasatar. I, p. 43; Kāvyapradīpa 4. 12 b. Cf. Regnaud, p. 317-318.

THE INVOLUNTARY STATES

6 (P. 4b, 5a; H. 4b, c). prthag bhāvā bhavanty anye 'nubhāvatve 'pi sāttvikāḥ sattvād eva samutpattes tac ca tadbhāvabhāvanam. 'The Involuntary States (bhava sattvika= sattva- bhäva) 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. N Bh. 7, prose after v. 91; SD. 164, 165; Sarasv. 5. 20; Rasatar. 4, p. 49-50; Pratāpar. 4 I, p. 223; Alamkāraśekhara 20. 35. Cf. Regnaud, P. 347-348.

7 (P. 5 b, 6; H. 5). stambhapralayaromāñcāḥ svedo vaivarņyavepathū aśruvaisvaryam ity aștau stambho 'smin nișkriyāngatā pralayo nastasamjñatvam śeșāḥ suvyaktalakșaņāh. 'The eight [Involuntary States are]: Paralysis (stambha), Fainting (pralaya), Horripilation (romanca), Sweating (sveda), Change of Color (vaivarnya), Trembling (vepathu), Weeping (aśru), and Change of Voice (vaisvarya). Of these, Paralysis is immobility of the body, and Fainting is loss of consciousness. The characteristics of the rest are sufficiently clear.'

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CoM. Ex .: vevai seada°, muhau sam° [two Apabhramśa stanzas; cf. Pischel, Hemacandra's Grammatik der Prakritsprachen, I. viii, Halle, 1877]. NOTES. The words stambhadya vyabhicdrinah 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. Il Bh. 6. 22; 7. 92-104; SD. 166, 167; Rudr. Śrng. I. 15; AP. 338. 13 a, 16-21; Sarasv. 5. 15, 169-184 (ed. B. 5. 15, 143-147); Hem. Kāvyān. 2, p. 99; Vāgbh. Kāvyān. 5, p. 58; Rasatar. 4, p. 50-51; Rasamañjarī, p. 232; Pratāpar. 4. I (p. 224), 13-19; Alamkāraśekhara 20, p. 69; Kāvyapradīpa 4, p. 71; Rasaratn. 84; Sāhityasāra 4 54; Sāhityakaumudī 4, p. 29; Bhāşā- bhūșaņa 25. Cf. Regnaud, p. 349-351.

THE THIRTY-THREE TRANSITORY STATES 8 (P.7; H. 6). viśeşād ābhimukhyena caranto vyabhicāriņaḥ sthāyiny unmagnanirmagnāḥ kallolā iva vāridhau. 'The Transitory States (vyabhicārin, sc. bhāva) 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 vyabhicdrin, in which an attempt is made to show the force of the three elements vi, abhi, and car by the use of the words viseşad, abhi- mukhyena, and caranto. This device, which reminds one of the mystical word-analysis frequent in the Upanişads (cf., for example, Brhad- Āraņyaka Upanişad 5. 7), is characterized more by its ingenuity 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. I. 9, 19, 20, 81. Il Bh. 7, prose after v. 26; SD. 168; Sarasv. 5. 21; Rasatar. 5, p. 51; Candrāloka 6. I b; Alamkāraśekhara 20. 36; Kāvyapradīpa 4, p. 72; Rasa- gańg. p. 33; Rasaratn. 4 b; Sāhityasāra 4 51 b; Sāhityakaumudī 4, p. 29-30; Bhāşābhūșaņa 40 b. Cf. Regnaud, p. 327-328.

9 (P.8; H.7). nirvedaglāniśankā- śramadhrtijadatā- harșadainyaugryacintās

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IIO BOOK FOUR [4.9

trāserșyāmarșagarvāḥ smrtimaranamadāḥ suptanidrāvibodhāḥ vrīdāpasmāramohāḥ samatir alasatā- vegatarkāvahitthā vyādhyunmādau vișādot- sukacapalayutās trimśad ete trayaś ca. 'The thirty-three [Transitory States] are these: Discourage- ment (nirveda), Weakness (glāni), Apprehension (śańkā), Weariness (śrama), Contentment (dhrti), Stupor (jadatā), Joy (harsa), Depression (dainya), Cruelty (augrya= ugratā), Anx- iety (cintā), Fright (trāsa), Envy (īrsyā=asūyā), Indigna- tion (amarsa), Arrogance (garva), Recollection (smrti), Death (marana), Intoxication (mada), Dreaming (supta), Sleeping (nidrā), Awakening (vibodha), Shame (vrīdā), Epilepsy (apasmāra), Distraction (moha), Assurance (mati), Indolence (alasatā= ālasya), Agitation (āvega), Deliberation (tarka), Dissimulation (avahitthā), Sickness (vyādhi), Insanity (un- māda), Despair (vișāda), Impatience (utsuka=autsukya), and Inconstancy (capala= capala).' NOTES. The list given at AP. 338. 22-34 mentions only 30 of these, omitting marana, supta, nidrā. - Meter: sragdharā. N Bh. 6. 18-21; SD. 169; Rudr. Śrng. I. 1I-14; Sarasv. 5. 16-18; Kāvya- prakāśa 31-34; Hem. Kāvyān. 2, p. 84-85; Vāgbh. Kāvyān. 5, p. 57; Pratā- par. 4. I, p. 225; Alamkāraśekhara 20. 37-39; Kāvyapradīpa 4. 8-I1; Rasa- gang. p. 76; Rasaratn. 81-83; Sāhityakaumudī 4. 8-II; Bhāşābhūşaņa 41- 43. Cf. Regnaud, p. 328-329.

I0 (P.9; H. 8). tattvajñānāpadīrsyāder nirvedaḥ svāvamānanam tatra cintāśruniḥśvāsavaivarņyocchvāsadīnatā. '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, Vairāgyaś. 71 = Spr. 4327 [quoted also at

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-4. 12] BOOK FOUR III

Kāvyapradīpa 7, p. 284] (Discouragement caused by knowledge of the Real) ; Spr. 5770 (Discouragement caused by misfortune); Mahānāțaka 9. 55, p. 398 [with the lines transposed; quoted also in the com. on Hema- candra's Anekārthasamgraha 7. 9 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 189)] (Discouragement caused by envy); ye baha° [unidentified stanza] (Discouragement as Transitory State in connection with the Heroic and Erotic Sentiments); Dhvanyāloka 3. 4I, com., p. 219= Subhāșitāvali 822 = Spr. 1603 [quoted also at Kāvyapradīpa 10, p. 400]. NOTES. The compound tattva-jnana, here translated 'knowledge of the Real,' means the realization that God alone is the real existence, the world being merely an illusion. Il Bh. 7, prose and v. 27-29; SD. 170; AP. 338. 22 a; Sarasv. 5. 238 (ed. B. 5. 161*); Hem. Kāvyān. 2, p. 96; Rasatar. 5, p. 51; Pratāpar. 4. 20; Kāvyapradīpa 4, p. 100; Rasagang. p. 97-98; Sāhityasāra 4 139. Cf. Reg- naud, p. 329.

II (P. 10; H. 9). ratyādyāyāsatrțksudbhir glānir nișprānateha ca vaivarņyakampānutsāhakșāmāṅgavacanakriyāḥ. '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 1I. 20= Sārng. 3725. NOTES. On the euphonic combination trtksud (trs+ ksud) 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. Kāvyān. 2, p. 93; Rasatar. 5, p. 51; Pratāpar. 4. 21; Kāvyapradīpa 4, p. 100, 10I; Rasagang. p. 80; Sāhityasāra 4. 140. Cf. Regnaud, p. 329-330.

12 (P. II; H. I0). anarthapratibhā śankā parakrauryāt svadurnayāt kampaśoșābhivīkșādir atra varņasvarānyatā. 'Apprehension (śankā) is anticipation of misfortune resulting from the cruelty of another or from 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.'

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II2 BOOK FOUR [4.12-

CoM. Ex .: Ratn. 3. 4, p. 60 (Apprehension resulting from another's cruelty); Mahāvīra. 2. I, p. 45 (Apprehension resulting from one's own misconduct). NOTES. kampasoşa° H, V, P; kampasokaº Hall p. 39. The latter reading is evidently merely the blunder of a copyist. I Bh. 7, prose and v. 32-34; SD. 189; AP. 338. 23 a; Sarasv. 5. 227 (ed. B. 5. 158*); Hem. Kāvyān. 2, p. 90; Rasatar. 5, p. 51; Pratāpar. 4. 22; Kāvyapradīpa 4, p. 100; Rasagańg. p. 80; Sāhityasāra 4. 141. Cf. Reg- naud, p. 330.

13 (P. 12a; H. IIa). śrama khedo 'dhvaratyādeḥ svedo 'smin mardanādayah. 'Weariness (śrama) 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 .: Uttararāma. I. 24, p. 25 (Weariness arising from a journey) ; Mägha 10. 80 (Weariness arising from intercourse). NOTES. | Bh. 7, prose and v. 46; SD. 173; AP. 338. 24 a; Sarasv. 5. 236 (ed. B. 5. 160) ; Hem. Kāvyān. 2, p. 93; Rasatar. 5, p. 52; Pratāpar. 4. 25; Kāvyapradīpa 4, p. I0I; Rasagang. p. 83-84; Sāhityasāra 4 144. Cf. Regnaud, p. 331-332.

I4 (P. 12b; H. IIb). samtoso jñānasaktyāder dhrtir avyagrabhogakrt. 'Contentment (dhrti) is delight springing from knowl- edge, power, or the like and giving rise to undisturbed en- joyment.' CoM. Ex .: Bhartrhari, Vairāgyas. 49= Spr. 5941 (Contentment arising from knowledge); Ratn. I. 9, p. 6 [quoted also at DR. 2. 3] (Content- ment arising from power). NOTES. I| Bh. 7, prose and v. 55, 56; SD. 198; AP. 338. 29 a; Sarasv. 5. 201 (ed. B. 5. 151); Hem. Kāvyān. 2, p. 87; Rasatar. 5, p. 52; Pratāpar. 4 31; Kāvyapradīpa 4, p. I0I; Rasagang. p. 79; Sāhityasāra 4 150. Cf. Regnaud, p. 334-

15 (P. 13; H. I2). apratipattir jadatā syād iștānistadarśanaśrutibhiḥ animișanayananirīksaņatūsnīmbhāvādayas tatra.

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-4. 17] BOOK FOUR II3

'Stupor (jadatā) is to be [understood as] incapacity 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 .: Kumārasambhava 8. 5 (Stupor caused by seeing something agreeable) ; tavantas te mahatm°, passage from the Udattaraghava of Māyurāja [a drama apparently not extant] (Stupor caused by hearing something disagreeable). NOTES. In a number of the other treatises this Transitory State is called jādya. - Meter: āryā. Il Bh. 7, prose and v. 65; SD. 175; AP. 338. 28 b; Sarasv. 5. 240 (ed. B. 5. 161); Hem. Kāvyān. 2, p. 88; Rasatar. 5, p. 53; Pratāpar. 4 36; Kāvyapradīpa 4, p. 102; Rasagang. p. 93-94; Sāhityasāra 4 155. Cf. Regnaud, p. 337-338.

16 (P. 14a; H. 13a).

prasattir utsavādibhyo harso 'śrusvedagadgadāh.

'Joy (harsa) is pleasure caused by joyous occasions and the like, and manifested in weeping, sweating, and stammering.'

CoM. Ex .: Subhāşitāvali 2075 = Sārng. 3528. NOTES. N Bh. 7, prose and v. 60, 61; SD. 195; AP. 338. 27 b; Sarasv. 5. 211 (ed. B. 5. 154*) ; Hem. Kāvyān. 2, p. 91; Rasatar. 5, p. 53; Pratāpar. 4 34; Kāvyapradīpa 4, p. 102; Rasagang. p. 76-77; Sāhityasāra 4. 153. Cf. Regnaud, p. 336.

17 (P. 14b; H. 13 b). daurgatyādyair anaujasyam dainyam kārsnyāmrjādimat.

'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. I Bh. 7, prose and v. 48; SD. 172; AP. 338. 25 a; Sarasv. 5. 221 (ed. B. 5. 156); Hem. Kāvyān. 2, p. 93; Rasatar. 5, p. 52; Pratāpar. 4. 27; Rasagang. p. 80-81; Sāhityasāra 4 146. Cf. Regnaud, p. 332.

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18 (P. 15; H. 14). duşțe 'parādhadaurmukhyakrauryaiś caņdatvam ugratā tatra svedaśiraḥkampatarjanātādanādayah. 'Cruelty (ugrata) 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 .: Mahāvīra. 2. 47, p. 84. NOTES. °krauryais H, V, P; °cauryais Hall p. 39 .- The second line of this section is identical with the second line of 4. 22. N Bh. 7, prose and v. 79; SD. 176; AP. 338. 33 a; Sarasv. 5. 223 (ed. B. 5. 157*); Hem. Kāvyān. 2, p. 92; Rasatar. 5, p. 54; Pratāpar. 4. 46; Kāvyapradīpa 4, p. 104; Rasagang. p. 89-90; Sāhityasāra 4. 165. Cf. Regnaud, p. 342.

19 (P. 16a; H. 15a). dhyānam cintehitānāpteņ śūnyatāśvāsatāpakṛt.

'Anxiety (cintā) is meditation due to non-attainment of a desired object; it occasions desolate feelings, sighs, and fever- ishness.'

CoM. Ex .: Sārng. 3414; Subhāșitāvali 1385= Sārng. 3400. NOTES. I| Bh. 7, prose and v. 49, 50; SD. 201; AP. 338. 25 a; Sarasv. 5. 191 (ed. B. 5. 149*) ; Hem. Kāvyān. 2, p. 94; Rasatar. 5, p. 52; Pratāpar. 4. 28; Kāvyapradīpa 4, p. I01; Rasagang. p. 82; Sāhityasāra 4. 147. Cf. Regnaud, p. 333.

20 (P. 16b; H. 15b). garjitāder manaņksobhas trāso 'trotkampitādayaḥ. 'Fright (trasa) is agitation of mind occasioned by thunder or the like; in this [state] there is trembling and so on.'

CoM. Ex .: Māgha 8. 24. NOTES. N Bh. 7, prose and v. 89; SD. 193; AP. 338. 31 b; Sarasv. 5. 225 (ed. B. 5. 157); Hem. Kāvyān. 2, p. 95; Rasatar. 5, p. 54; Pratāpar. 4 51; Kāvyapradīpa 4, p. 105; Rasagang. p. 86; Sāhityasāra 4. 170. Cf. Regnaud, p. 345.

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21 (P. 17; H. 16). parotkarșākșamā 'sūyā garvadaurjanyamanyujā doșoktyavajñe bhrukuțimanyukrodhengitāni ca. 'Envy (asūyā) is intolerance of another's prosperity, arising from pride, baseness, or anger; [its manifestations are] censure, contempt, frowning, anger, and wrathful gestures.' CoM. Ex .: Mahāvīra. 2. 9, p. 49 (Envy arising from pride) ; Subhāșitāvali 453 [stanza by a poet named Mahendra] (Envy arising from baseness); Amaru 2. 46, p. 124= Spr. 4137; Amaru 3. 52, p. 135= Subhāșitāvali 1324 (Envy arising from anger). NOTES. I| Bh. 7, prose and v. 35, 36; SD. 196; AP. 338. 23 a; Sarasv. 5. 215 (ed. B. 5. 155*) ; Hem. Kāvyān. 2, p. 97; Rasatar. 5, p. 51; Pratāpar. 4 23; Kāvyapradīpa 4, p. 100; Rasagang. p. 95-96; Sāhityasāra 4. 142. Cf. Regnaud, p. 330-331.

22 (P. 18; H. 17). adhikșepāpamānāder amarșo 'bhinivișțatā tatra svedaśiraḥkampatarjanātādanādayaḥ. '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 .: Mahāvīra. 3. 8, p. 95 [quoted also at DR. 2. I and 2. 20]; Veņī. I. 12, p. 14. NOTES. The second line of this section is identical with the second line of 4 18. H Bh. 7, prose and v. 76, 77; SD. 184; AP. 338. 32 a; Sarasv. 5. 213 (ed. B. 5. 154) ; Hem. Kāvyān. 2, p. 95; Rasatar. 5, p. 54; Pratāpar. 4. 44; Kāvyapradīpa 4, p. 103; Rasagang. p. 88-89; Sāhityasāra 4. 163. Cf. Reg- naud, p. 341-342.

23 (P. 19; H. 18). garvo "bhijanalāvanyabalaiśvaryādibhir madaḥ karmāņy ādharșaņāvajñā savilāsāngavīkșaņam. '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.'

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CoM. Ex .: Mahāvīra. 2. 27, p. 67; 2. I0, p. 51 [quoted also at DR. 2. 6 and Kāvyapradīpa 5, p. 169]. NOTES. I[ Bh. 7, prose and v. 66; SD. 181; AP. 338. 29 b; Sarasv. 5. 197 (ed. B. 5. 150); Hem. Kāvyān. 2, p. 92; Rasatar. 5, p. 53; Pratāpar. 4. 37; Kāvyapradīpa 4, p. 102; Rasagang. p. 84-85; Sāhityasāra 4. 156. Cf. Regnaud, p. 338.

24 (P. 20; H. 19a, b). sadśajñānacintādyaiḥ samskārāt smrtir atra ca jñātatvenārthabhāsinyām bhrūsamunnayanādayaḥ. '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 .: Mahānāțaka 3. 79, p. 128; Mālatīm. 5, p. 126-128 [the prose portion is quoted also at DR. 4- 43]. NOTES. H Bh. 7, prose and v. 53, 54; SD. 190; AP. 338. 26 a; Sarasv. 5. 185 (ed. B. 5. 147) ; Hem. Kāvyān. 2, p. 87; Rasatar. 5, p. 52; Pratāpar. 4 30; Kāvyapradīpa 4, p. IOI; Rasagańg. p. 77-78; Sāhityasāra 4. 149. Cf. Regnaud, p. 334. See page 150.

25 (P. 21a; H. 19c). maraņam suprasiddhatvād anarthatvāc ca nocyate. 'Death (marana) is not defined [here] because of its being well understood and because of the [consequent] uselessness [of explaining it].' CoM. Ex .: samprapte 'vadhi° [unidentified stanza]; Mahāvīra. I, p. 28. NOTES. In Rasatar. this is called nidhana and dismissed with the re- mark vibhāvānubhāvau spastau, 'its Determinants and Consequents are well-known.' Nevertheless, SD. records, with customary fidelity, that 'Death, that is, departing this life, is occasioned by arrows and the like and results in falling down of the body and so on.' I| Bh. 7, prose and v. 84-88; SD. 182; Hem. Kāvyān. 2, p. 98; Rasatar. 5, p. 54; Pratāpar. 4. 50; Kāvyapradīpa 4, p. 104; Rasagang. p. 90-91; Sāhityasāra 4. 169. Cf. Regnaud, p. 344-345.

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26 (P. 21 b, 22 a; H. 20 a, b). harșotkarso madaḥ pānāt skhaladangavacogatiḥ nidrā hāso 'tra ruditam jyesthamadhyādhamādișu. 'Intoxication (mada) is excess of joy caused by drink. [It manifests itself in] unsteady limbs, voice and gait, [and in] sleeping, hilarity, and blubbering in the case of better, middling, and baser persons [respectively].' CoM. Ex .: Magha 10. 13= Sārng. 3652. NOTES. I| Bh. 7, prose and v. 37-45; SD. 174; AP. 338. 23 b; Sarasv. 5. 209 (ed. B. 5. 153) ; Hem. Kāvyān. 2, p. 88; Rasatar. 5, p. 51; Pratāpar. 4. 24; Kāvyapradīpa 4, p. 100; Rasagańg. p. 82-83; Sāhityasāra 4. 143. Cf. Regnaud, p. 331.

27 (P. 22b; H. 20c). suptam nidrodbhavam tatra śvāsocchvāsakriyā param. 'Dreaming (supta) is [a state] originating in sleep; in it the action of heaving sighs and drawing sighs is the chief thing.' CoM. Ex .: Subhașitavali 1840= Sarng. 3922 [stanza by a poet named Kamalāyudha]. NOTES. In Rasatar. this is designated as susupta. Pratāpar. has the form supti. In some of the other treatises it is called svapna. I[ Bh. 7, prose and v. 74; SD. 179; Sarasv. 5. 246 (ed. B. 5. 163*) ; Hem. Kāvyān. 2, p. 90; Rasatar. 5, p. 54; Pratāpar. 4. 42; Kāvyapradīpa 4, p. 103; Rasagang. p. 86-87; Sāhityasāra 4. 161. Cf. Regnaud, p. 340-34I.

28 (P. 23; H. 21 a, b). manasammīlanam nidrā cintālasyaklamādibhiḥ tatra jṛmbhāṅgabhaṅgākșimīlanotsvapnatādayaḥ. '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 .: Subhașitavali 1280= Sarng. 3468; Māgha II. 4. NOTES. °otsvapnatādayah H, V, P; °occhvasanādayah Hall p. 39. I follow Hall's text, though his variant deserves consideration.

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II8 BOOK FOUR [4.28-

H Bh. 7, prose and v. 70, 71; SD. 185; Sarasv. 5. 244 (ed. B. 5. 162); Hem. Kāvyān. 2, p. 89; Rasatar. 5, p. 53; Pratāpar. 4. 40; Kāvyapradīpa 4, p. 103; Rasagang. p. 85; Sāhityasāra 4. 159. Cf. Regnaud, p. 339-340.

29 (P. 24a; H. 21c). vibodhaḥ pariņāmādes tatra jrmbhākșimardane. 'Awakening (vibodha) results from the coming to an end [of sleep] and the like, and is accompanied by yawning and rubbing the eyes.' COM. Ex .: Māgha II. 13. NOTES. In Sarasv. and in Hem. Kavyan. this Transitory State is called prabodha. H Bh. 7, prose and v. 75; SD. 178; AP. 338. 32 a; Sarasv. 5. 248 (ed. B. 5. 163) ; Hem. Kāvyān. 2, p. 92; Rasatar. 5, p. 54; Pratāpar. 4. 43; Kāvya- pradīpa 4, p. 103; Rasagang. p. 87-88; Sāhityasāra 4 162. Cf. Regnaud, p. 34I.

30 (P. 24b, c; H. 22). durācārādibhir vrīdā dhārstyābhāvas tam unnayet sācīkrtāngāvaraņavaivarņyādhomukhādibhiḥ. '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 .: Amaru 36= Spr. 3869. NOTES. I| Bh. 7, prose and v. 57, 58; SD. 194; AP. 338. 27 a; Sarasv. 5. 203 (ed. B. 5. 152*); Hem. Kāvyān. 2, p. 88; Rasatar. 5, p. 52; Pratāpar. 4. 32; Kāvyapradīpa 4, p. 102; Rasagag. p. 78-79; Sāhityasāra 4. 151. Cf. Regnaud, p. 335.

31 (P. 25; H. 23). āveśo grahaduḥkhādyair apasmāro yathāvidhiḥ bhūpātakampaprasvedalālāphenodgamādayaḥ. 'Epilepsy (apasmāra) is madness, properly speaking, brought on by the influence of planets, by misfortune, or by

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some such cause, [and resulting in] falling to the ground, tremb- ling, sweating, drooling, frothing at the mouth, and the like.' CoM. Ex .: Māgha 3. 72. NOTES. || Bh. 7, prose and v. 72, 73; SD. 180; AP. 338. 31 a; Hem. Kāvyān. 2, p. 95; Rasatar. 5, p. 53; Pratāpar. 4. 41; Kāvyapradīpa 4, p. 103, n. 3; Rasagang. p. 96; Sāhityasāra 4. 160. Cf. Regnaud, p. 340.

32 (P. 26; H. 24). moho vicittatā bhītiduņkhāveśānucintanaiḥ tatrājñānabhramāghātaghūrņanādarśanādayaḥ. 'Distraction (moha) is perplexity [caused] by fear, mis- fortune, madness, or recollection; in it [there arise] uncon- sciousness, dizziness, striking, staggering, inability to see, and the like.'

CoM. Ex .: Kumārasambhava 3. 73; Uttararāma. I. 35, p. 33 [differs in the last line from the printed texts; quoted also at DR. 4. 76]. NOTES. I| Bh. 7, prose and v. 51, 52; SD. 177; AP. 338. 25b; Sarasv. 5. 207 (ed. B. 5. 153*) ; Hem. Kāvyān. 2, p. 94; Rasatar. 5, p. 52; Pratāpar. 4 29; Kāvyapradīpa 4, p. I0I; Rasagang. p. 79; Sāhityasāra 4. 148. Cf. Regnaud, p. 333.

33 (P. 27a; H. 25a). bhrānticchedopadeśābhyām śāstrādes tattvadhīr matiḥ. '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 .: Kirātārjunīya 2. 30= Spr. 6970; Spr. 3331. NOTES. bhranti° H, V; bhanti (misprint) P .- SD. and Sāhityasāra define mati as arthanirdhāraņa. Il Bh. 7, prose and v. 80; SD. 191; AP. 338. 26 b; Sarasv. 5. 195 (ed. B. 5. 150*) ; Hem. Kāvyān. 2, p. 87; Rasatar. 5, p. 54; Pratāpar. 4. 47; Kāvya- pradīpa 4, p. 104; Rasagańg. p. 85; Sāhityasāra 4. 166. Cf. Regnaud, p. 343.

34 (P. 27b; H. 25 b). ālasyam śramagarbhāder jādyam jrmbhāsitādimat.

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'Indolence (alasya) is inactivity [arising] from 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; °garbhāder jādyam restored by me, in place of the unintelligible reading of the other editions (cf. SD. I83). H Bh. 7, prose and v. 47; SD. 183; AP. 338. 24 b; Sarasv. 5. 242 (ed. B. 5. 162*); Hem. Kāvyān. 2, p. 91; Rasatar. 5, p. 52; Pratāpar. 4. 26; Kāvyapradīpa 4, p. IOI; Rasagańg. p. 94-95; Sāhityasāra 4. 145. Cf. Reg- naud, p. 332.

35 (P. 28; H. 26). ävegah sambhramo 'sminn abhisarajanite śastranāgābhiyogo vātāt pāmsupadigdhas tvaritapadagatir varșaje piņditāngaḥ utpātāt srastatā 'ngesv ahitahitakrte śokaharșānubhāvā vahner dhūmākulāsyaḥ karijam anu bhaya- stambhakampāpasārāḥ. 'Agitation (avega) 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 attempts to escape.' COM. Ex .: āgacchāgaccha saj°, stanza by Dhanika; tanutrānam tanu° [unidentified stanza]; prārabdham tarw° [unidentified stanza]; vātāhatam vas° [unidentified quotation] (Agitation caused by violent wind); deve varșaty aśana° [unidentified stanza] (Agitation caused by rain); paula- styapina° [unidentified stanza] (Agitation caused by a startling occur-

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rence); two passages from the Udāttarāghava of Māyurāja [a drama apparently not extant] (Agitation caused by desirable and undesirable matters) ; Mahāvīra. I. 55, p. 39 (same); Amaru 2= Spr. 2018 [quoted also at SD. 601 and Kāvyapradīpa 7, p. 321] (Agitation caused by fire); Ratn. 4. 16, p. 100 (same); Raghuvamśa 5. 49 (Agitation caused by an elephant). NOTES. °nagabhiyogo H, V, P; °mayabhiyogau Hall p. 39 .- In AP. this Transitory State is called dvesa. - Meter: sragdhara. H Bh. 7, prose and v. 62-64; SD. 171; AP. 338. 28 a; Sarasv. 5. 234 (ed. B. 5. 160*); Hem. Kāvyān. 2, p. 96; Rasatar. 5, p. 53; Pratāpar. 4. 35; Kāvyapradīpa 4, p. 102; Rasagańg. p. 93; Sāhityasāra 4. 154. Cf. Regnaud, p. 336-337.

36 (P. 29a; H. 27a).

tarko vicāraḥ samdehād bhrūśirongulinartakaḥ. 'Deliberation (tarka) is consideration caused by un- certainty; it causes one to move his brows, head, or finger.'

CoM. Ex .: kim lobhena vil° [unidentified stanza; quoted also at Kāvya- pradīpa 7, p. 235]; kah samucitā° [unidentified stanza]. NOTES. In most of the treatises this is called vitarka. SD. follows DR., however, in using the designation tarka. H Bh. 7, prose and v. 90; SD. 202; AP. 338. 33 b; Sarasv. 5. 187 (ed. B. 5. 148*); Hem. Kāvyān. 2, p. 97; Rasatar. 5, p. 54; Pratāpar. 4. 52; Kāvyapradīpa 4, p. 105; Rasagang. p. 91; Sāhityasāra 4 171. Cf. Regnaud, p. 345.

37 (P. 29b; H. 27b).

lajjādyair vikriyāguptāv avahitthā 'ngavikriyā.

'Dissimulation (avahittha) is an alteration of the body, springing from shame and the like [and expressed] in conceal- ment of that alteration.'

CoM. Ex .: Kumārasambhava 6. 84. NOTES. || Bh. 7, prose and v. 78; SD. 186; AP. 338. 32 b; Sarasv. 5. 205 (ed. B. 5. 152) ; Hem. Kāvyān. 2, p. 90; Rasatar. 5, p. 54; Pratāpar. 4. 45; Kāvyapradīpa 4, p. 103; Rasagang. p. 89; Sāhityasāra 4. 164. Cf. Regnaud, p. 342.

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38 (P. 29c; H. 27c). vyādhayaḥ samnipātādyās teșām anyatra vistaraḥ. 'Sicknesses (vyadhi) are physical derangement and the like. Detailed treatment of these [must be looked for] elsewhere.' CoM. Ex .: Amaru 78. NOTES. || Bh. 7, prose and v. 81; SD. 192; AP. 338. 33 b; Hem. Kāvyān. 2, p. 89; Rasatar. 5, p. 54; Pratāpar. 4. 48; Kāvyapradīpa 4, p. 104; Rasa- gańg. p. 85-86; Sāhityasāra 4. 167. Cf. Regnaud, p. 343.

39 (P. 30; H. 28). aprekșākāritonmādaḥ samnipātagrahādibhiḥ asminn avasthā ruditagītahāsāsitādayaḥ. '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 .: Vikramorvaśi 4, p. 91 [the stanza is quoted also at Kāvya- pradīpa 7, p. 217]. NOTES. avastha H, V, P; asthana° Hall p. 39 .- The term graha is an interesting indication of the prevalent belief in astrology. Cf. 4. 31. Il Bh. 7, prose and v. 82, 83; SD. 188; AP. 338. 34 a; Sarasv. 5. 232 (ed. B. 5. 159); Hem. Kāvyān. 2, p. 94; Rasatar. 5, p. 54; Pratāpar. 4. 49; Kāvyapradīpa 4, p. 104; Rasagang. p. 90; Sāhityasāra 4. 168. Cf. Regnaud, p. 343-344.

40 (P. 31; H. 29). prārabdhakāryāsiddhyāder vişādaḥ sattvasamksayah niḥśvāsocchvāsahrttāpasahāyānvesaņādikṛt. 'Despair (visada) 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 .: Mahāvīra. I, p. 28-29. NOTES. I| Bh. 7, prose and v. 67, 68; SD. 197; AP. 338. 30 a; Sarasv. 5. 219 (ed. B. 5. 156*) ; Hem. Kāvyān. 2, p. 88; Rasatar. 5, p. 53; Pratāpar.

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4. 38; Kāvyapradīpa 4, p. 102-103; Rasagang. p. 92; Sāhityasāra 4. 157. Cf. Regnaud, p. 338-339.

41 (P. 32; H. 30). kālākşamatvam autsukyam ramyecchāratisambhramaiḥ tatrocchvāsatvarāśvāsahrttāpasvedavibhramāḥ. .

'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 .: Kumārasambhava 7. 22; 6. 95. NOTES. °tvardsvāsa° Hall p. 39; °tvanihśvāsa° H, V, P. I have re- jected the reading of the previous editions in favor of the variant recorded by Hall, which is clearly preferable. The suffix -tva in ucchvasatva- nihśvasa- is awkward and unusual, even for a verse-filler, and seems to me an indication of some corruption. The reading adopted (ucchvāsa- tvard-śvasa-) is found in the quotation of this section in the Kāvyapradīpa (4, p. 103) and is supported also by the statements of SD., Hem. Kāvyān., and Rasagang., which include tvard among the effects of autsukya (see the references below). The use of the simple word śvāsa for nihśvāsa is found also at DR. 4. 27 and can doubtless be paralleled elsewhere. H Bh. 7, prose and v. 69; SD. 187; AP. 338. 30b; Hem. Kāvyān. 2, p. 90; Rasatar. 5, p. 53; Pratāpar. 4. 39; Kāvyapradīpa 4, p. 103; Rasagang. p. 92-93; Sāhityasāra 4. 158. Cf. Regnaud, p. 339.

42 (P. 33; H. 31). mātsaryadveșarāgādeś cāpalam tv anavasthitiḥ tatra bhartsanapārușyasvacchandācaraņādayaḥ. 'Inconstancy (cāpala) is fickleness [arising] from jeal- ousy, hatred, passion, and the like; in it [there occur] threats, harsh words, wilfulness (svacchandācarana), and so on.' CoM. Ex .: Subhāșitāvali 735 = Spr. 378, stanza by the poetess Vikațanitambā [quoted also at SD. 199]; vinikaşaņa° [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

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I24 BOOK FOUR [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. I[ Bh. 7, prose and v. 59; SD. 199; AP. 338. 27 b; Sarasv. 5. 193 (ed. B. 5. 149) ; Hem. Kāvyān. 2, p. 91; Rasatar. 5, p. 53; Pratāpar. 4. 33; Kāvyapradīpa 4, p. 102; Rasagang. p. 96-97; Sāhityasāra 4. 152. Cf. Regnaud, p. 328, 335.

THE PERMANENT STATES

43 (P. 34; H. 32). viruddhair aviruddhair vā bhāvair vicchidyate na yaḥ ātmabhāvam nayaty anyān sa sthāyī lavaņākaraḥ. 'A Permanent State (sthāyin, sc. bhäva), 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. Lacôte, Essai sur Gunādhya et la Brhatkatha, Paris, 1908, p. 17, 83]; Mālatīm. 5, p. 126-127 [quoted also at DR. 4. 24]; annahund° [an Apabhramśa stanza; cf. Pischel, Hemacandra's Grammatik der Prākritsprachen, I. viii, Halle, 1877]; Dhvanyāloka 3. 24, com., p. 173; Bhartrhari, Śrngāraś. 13= Spr. 4811; iyam sā lolā° [unidentified stanza]; Mālatīm. 5. 18, p. 132= Sārng. 4076; ekam dhyānanimil° [unidentified stanza, quoted also at SD. 601]; Subhāșitāvali 1916= Sārng. 3596 [stanza by Candraka]; Dhvanyāloka 2. 25, com., p. 96. NOTES. I| Bh. 7, prose before v. 8; SD. 205; Sarasv. 5. 19; Rasatar. I, p. 44; Alamkāraśekhara 20. 32; Kāvyapradīpa 4, p. 73-74; Rasagang. p. 30-31. Cf. Regnaud, p. 319-320.

44 (P. 35; H. 33). ratyutsāhajugupsāh krodho hāsah smayo bhayam śokaḥ śamam api ke cit prāhuḥ pustir nātyesu naitasya. '[The Permanent States are]: Love (rati), Energy (utsāha), Disgust (jugupsa), Anger (krodha), Mirth (hāsa), Astonish- ment (smaya=vismaya), Fear (bhaya), and Sorrow (śoka). Some [authorities] add Tranquillity (śama), [but] there is no development of it in the drama.'

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CoM. [For an abstract of the com. on this section see Regnaud, p. 313. In its discussion the com. quotes:] Rudr. Kāvyāl. 12. 4 NOTES. On sama 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: āryā. Il Bh. 6. 17; 7. 8-26; SD. 206; Rudr. Srng. I. 10; AP. 338. 13-15; Sarasv. 5. 14; Kāvyaprakāśa 30; Hem. Kāvyān. 2, p. 83; Vāgbhațāl. 5. 4; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 7, p. 59-61; Pratāpar. 4. I, p. 221; Alamkāraśe- khara 20. 31; Kāvyapradīpa 4. 7; Rasagang. p. 29, 30; Sāhityasāra 4 49, 56, 57; Sāhityakaumudī 4 7; Bhāşābhūșaņa 38. Cf. Regnaud, p. 313, 320.

45 (P. 36; H. 34). nirvedādiratād rūpyād asthāyī svadate katham vairasyāyaiva tatpoșas tenāștau sthāyino matāḥ.

'How can an impermanent State (asthāyin, sc. bhāva) produce pleasure from a representation devoted to [the thirty-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. 'Impermanence [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:] Kumārasambhava 3. 68; Hāla 175 [quoted also at Kāvyapradīpa 5, p. 194]; Dhvanyāloka 2. 30, com., p. 110 [tr. Jacobi (2. 31), ZDMG. 56 (1902), p. 769; cf. Jacob, JRAS. 1897, p. 290]= Subhāșitāvali 2031; apratistham avifran° [unidentified stanza]; yatrarthah sab°, pradhane 'nyatra vak° [unidentified stanzas]; upodhardgena [possibly the first word of the stanza found at Skm. I. 412 (ZDMG. 36. 367) = Spr. 1311]. 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 confused with the word nirveda used in some treatises as an equivalent of sama; see the notes on the preceding section.

46 (P. 37; H. 35). vācyā prakaraņādibhyo buddhisthā vā yathā kriyā vākyārthaḥ kārakair yuktā sthāyī bhāvas tathetaraiḥ.

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'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 (kāraka), is the essence of a sentence, so a Permanent State (sthāyin bhāva), [ 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 Kāvyanirņaya; 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 Bhāratīyanātyasastra (7. 8), which are quoted by Keśavamiśra in the Alamkāraśekhara (20, p. 76) : yathā narānām nrpatih sişyāņam ca yatha guruh evam hi sarvabhāvānām bhāvah sthāyī mahān iha.

47 (P. 38, 39; H. 36, 37). rasaḥ sa eva svādyatvād rasikasyaiva vartanāt nānukāryasya vrttatvāt kāvyasyātatparatvataḥ drașțuḥ pratītir vrīdersyārāgadvesaprasangata laukikasya svaramaņīsamyuktasyeva darśanāt. 'This very [Permanent State becomes] Sentiment (rasa) from the spectator's (rasika) own capacity for being pleased and his 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 (ramanī).' NOTES. For a statement of the views of some of the older Hindu rhetoricians regarding the production and perception of rasa see Kāvya- prakāśa 27-28 (cf. Regnaud, p. 271-273). - On the term rasika see DR. 4. I, com.

48 (P. 40; H. 38). dhīrodāttādyavasthānām Rāmādiḥ pratipādakaḥ vibhāvayati ratyādīn svadante rasikasya te.

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'[The Hero], like Räma and others, illustrating [one of] the kinds [known as] self-controlled and exalted (dhīrodātta), and so on, displays [the Permanent States], Love (rati) and the like, and these give pleasure to the spectator (rasika).' NOTES. On the term rasika see DR. 4. I, com.

49 (P. 41 a; H. 39 a). tā eva ca parityaktaviśeșā rasahetavaḥ. 'The Heroines, on the other hand, are productive of Senti- ment without regard to their personal characteristics.'

50 (P. 41 b, 42a; H. 39b, c). krīdatām mrņmayair yadvad bālānām dviradādibhiḥ svotsāhaḥ svadate tadvac chrotīņām Arjunādibhiḥ. '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. Kāvyaprakāśa 29]. NOTES. Cf. Regnaud, p. 270.

51 (P. 42b; H. 40a). kāvyārthabhāvanāsvādo nartakasya na vāryate. ' Pleasure (āsvāda) on the part of an actor, through his realiz- ing the meaning of the work [he is presenting], is not precluded. NOTES. I SD. 50.

FOURFOLD CHARACTER OF THE SENTIMENTS 52 (P. 43-45 a; H. 40 b-42). svādaḥ kāvyārthasambhedād ātmānandasamudbhavaḥ vikāsavistaraksobhaviksepaiḥ sa caturvidhaḥ śrngāravīrabībhatsaraudreșu manasaḥ kramāt

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hāsyādbhutabhayotkarșakaruņānām ta eva hi atas tajjanyatā teșām ata evāvadhāraņam. 'Charm (svada) is the arising of delight to one's self from contact with the theme of a work. It is of four kinds: cheerful- ness, exaltation, agitation, and perturbation of mind, in the Erotic (śrngara), Heroic (vira), Odious (bībhatsa), and Furious (raudra) Sentiments respectively. [And] these same [kinds of Charm are produced in the case] of the Comic (hāsya), Marvel- ous (adbhuta), Terrible (bhayotkarsa=bhayānaka), 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 (avadhārana) [of the number of Sentiments (?) ].' COM. [In the course of its discussion the com. quotes:] Bh. 6. 39, 40 a. NOTES. vikdsa° Dhanika's com. on this section; vikdsa° 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 accordingly adopted it in place of the erroneous vikdsa .- 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 signification, I have not felt justified in adopting that rendering here .- The compound bhayotkarsa is here used, because of metrical requirements, as a substitute for the regular term bhayānaka. A similar substitution occurs in the following 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 individually. 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. Kāvyāl. and Sarasv., which recognize more than the usual eight or nine): Bh. 6. 15; SD. 209; Rudr. Śrńg. I. 9; Rudr. Kāvyāl. 12. 3; Sarasv. 5. 251 a, b (ed. B. 5. 165) ; Kāvyaprakāśa 29; Hem. Kāvyān. 2, p. 67; Vāgbhațāl. 5. 3; Vāgbh. Kāvyān. 5, p. 53; Pratāpar. 4. I, p. 221; Alamkāraśekhara 20. I; Kāvya- pradīpa 4. 6; Rasagang. p. 29; Rasaratn. 5; Sāhityasāra 4. 47; Sāhitya- kaumudī 4 6; Bhāşābhūșaņa 37. H Bh. 6. 39-41; Rudr. Srng. 3. 36; AP. 338. 7 b-9a. Cf. Regnaud, p. 271.

53 (P. 45b; H. 43a). śamaprakarso nirvācyo muditādes tadātmatā.

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'The Quietistic Sentiment (samaprakarsa = śānta-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 śanta-rasa, quoted without indication of source]. NOTES. The compound sama-prakarsa is here used merely as an equivalent for śanta-rasa, which is the term regularly employed; cf. the use of bhayotkarsa for bhayanaka in the preceding section (4. 52) .- This brief definition is the only mention of the Quietistic Sentiment (śanta-rasa) in the present work. As stated in DR. 4 44 b, the Permanent State sama, upon which it is based, does not figure prominently in dramatic literature, and our author consequently excludes both sama and śanta from detailed consideration. Il SD. 238; Rudr. Śṛńg. 3. 31, 33; Rudr. Kāvyāl. 15. 15, 16; Kāvyaprakāśa 35; Hem. Kāvyān. 2, p. 80; Vāgbhațāl. 5. 32; Vāgbh. Kāvyān. 5, p. 57; Rasatar. 7, p. 61; Candrāloka 6. 13; Alamkāraśekhara 20. 27, 28; Kāvyapradīpa 4. 12 a; Rasagang. p. 33; Rasaratn. 99; Sāhityasāra 4 128; Sāhityakaumudī 4 12 a. Cf. Regnaud, p. 313, 315.

SENTIMENT DEFINED 54 (P. 46, 47 a; H. 43 b, c, 44 a). padārthair indunirvedaromāñcādisvarūpakaiḥ kāvyād vibhāvasamcāryanubhāvaprakhyatām gataiḥ bhāvitaḥ svadate sthāyī rasah sa parikīrtitaḥ. '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 (samcārin= vyabhicārin), and Consequents.' NOTES. See also DR. 4. I .- For a brief summary of the rasa-theory consult Zachariae, ZDMG. 56 (1902), p. 394-396; see also Grierson, The Satsaiya of Bihari, Calcutta, 1896, p. 43-48, where the material is con- veniently tabulated N Bh. 6, prose after v. 31; SD. 33 (SD. tr. 32); Kāvyaprakāśa 27, 28; Hem. Kāvyān. 2, p. 56; Vāgbhațāl. 5. 2; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 6, p. 56; Canđrāloka 6. 3; Pratāpar. 4. I, p. 219; Alaņkāraśekhara 20, p. 69; Kāvyapradīpa 4. 4, 5; Rasagang. p. 21-22; Rasaratn. 3; Sāhityasāra 4. 58 a; Sāhityakaumudī 4. 4, 5. Cf. Regnaud, p. 267-269. IO

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55 (P.47b; H. 44b). lakşaņaikyam vibhāvaikyād abhedād rasabhāvayoḥ. '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. 45). ramyadeśakalākālaveșabhogādisevanaiḥ pramodātmā ratiḥ saiva yūnor anyonyaraktayoḥ prahrsyamāņā śrngāro madhurāngaviceșțitaiḥ. '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 (śrngara).' CoM. Ex .: Uttararāma. I. 26, p. 26 (place as a Determinant); hastair antarnihita° [unidentified stanza] (an art as a Determinant); Nāgān. I. 14, p. 10 [see Boyd's translation, London, 1872, p. 12, note] (an art as a Determinant); Kumārasambhava 3. 26, 36 (occasion as a Determinant) ; Kumārasambhava 3. 53 (dress as a Determinant); cakşur luptamaşī° [unidentified stanza] (pleasure as a Determinant); Mālatīm. I. 39, p. 46 [quoted also at Kāvyapradīpa 7, p. 277] (Love essentially delight) ; Mālav. 2. 3, p. 27= Spr. 2823 (youth as a Determinant); Mālatīm. I. 18, p. 17 [quoted also at Kāvyapradīpa 4, p. 148] (two young persons as Determinants); Mālatīm. I. 32, p. 35 [quoted also at DR. I. 46] (mutual passion) ; Mālatīm. I. 30, p. 32 (tender gestures). NOTES. With regard to the varieties of the Erotic Sentiment and their subdivisions see the notes on 4. 58 and 4 65. N Bh. 6, prose after v. 45; SD. 210a-d; Rudr. Kavyāl. 12. 5; AP. 341. 7 a; Hem. Kāvyān. 2, p. 68; Vāgbhațāl. 5. 5a; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 6, p. 57; Rasamañjarī, p. 233; Candrāloka 6. 4, 5; Kāvyapradīpa 4, p. 87; Rasagang. p. 33; Rasaratn. 6a; Sāhityasāra 4. 68, 69 a. Cf. Schmidt, p. 96-120 (2d ed., p. 83-99); Regnaud, p. 301-302.

57 (P. 49; H. 46). ye sattvajāḥ sthāyina eva cāșțau trimśat trayo ye vyabhicāriņaś ca

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ekonapañcāśad amī hi bhāvā yuktyā nibaddhā paripoșayanti ālasyam augryam maraņam jugupsā tasyāśrayādvaitaviruddham iștam. '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=ugratā), Death (marana), and Disgust (jugupsa), are each declared [to be] prohibited because of the unitary basis of it [i. e. of the Erotic Sentiment].' NOTES. All the States here referred to are found in connection with the Erotic Sentiment in one or another of the various forms described in the following sections. This is explained in greater detail at Rasatar. 5, p. 55. -Meter: indravajra (6 lines) Il Bh. 6, prose after v. 45; SD. 210 e-h; Rudr. Srng. 3. 42, 43; AP. 341. 7 b, 8; Hem. Kāvyān. 2, p. 68; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 5, p. 55; Candrāloka 6. 4, 5; Pratāpar. 4 53, p. 261; Rasagang. p. 33.

VARIETIES OF THE EROTIC SENTIMENT

58 (P. 50a; H. 47a). ayogo viprayogaś ca sambhogaś ceti sa tridhā. '[The Erotic Sentiment] is of three kinds: Privation (ayoga), Separation (viprayoga), and Union (sambhoga).' NOTES. All 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, vipralambha and sambhoga (Vāgbhațāl. has viprayoga for the former; Rasagang. and Vāgbhatal. have samyoga for the latter). DR., on 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. N Bh. 6, prose after v. 45; SD. 211; Dhvanyāloka, 2. 13, com., p. 83 (tr. Jacobi, ZDMG. 56, p. 607) ; Rudr. Srng. I. 21; Rudr. Kāvyāl. 12. 5, 6; AP. 34I. 4 a; Sarasv. 5. 10a; Kāvyaprakāśa 29, com., p. 117; Hem. Kāvyān. 2, p. 68; Vāgbhațāl. 5. 5 b; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 6, p. 57; Rasa- mañjarī, p. 233; Candrāloka 6. 5 b; Pratāpar. 4. 79, p. 277; Alamkāraśekhara 20. 2 a; Kāvyapradīpa 4, p. 87; Rasagang. p. 34; Rasaratn. 6b; Sāhitya-

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sāra 4. 69 b; Sāhityakaumudī 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. 47 b, c). tatrāyogo 'nurāge 'pi navayor ekacittayoḥ pāratantryeņa daivād vā viprakarșād asamgamah. '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). daśāvasthaḥ sa tatrādāv abhilāso 'tha cintanam smrtir guņakathodvegapralāponmādasamjvarāḥ jadatā maraņam ceti duravastham yathottaram. 'It has ten stages. At first [there occurs] in it Longing (abhilāsa), then Anxiety (cintana), Recollection (smrti), Enumeration of [the loved one's] Merits (gunakathā), Dis- tress (udvega), Raving (pralāpa), Insanity (unmāda), Fever (samjvara), Stupor (jadatā), and Death (marana); those are the unfortunate stages in due order.' NOTES. Pratäpar. 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

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Into the madness wherein now he raves And all we mourn for.' Il Bh. 6, prose after v. 45; 22. 154-156; SD. 214 e, f; Rudr. Srng. 2. 6-8; Rudr. Kāvyāl. 14 4, 5; Sarasv. 5. 99, 100; Vāgbh. Kāvyān. 5, p. 64; Rasatar. 5, p. 55; Rasamañjarī, p. 236; Pratāpar. 4. 69, p. 271; Rasaratn. 85-87 a; Bhāşābhūşaņa 33-36; Kāmasūtra, p. 256; Kandarpacūdāmaņi, Ananga- ranga, and Smaradīpikā, cited by Schmidt, p. 125; Ratirahasya I. 37, 38 (ZDMG. 57, p. 714); com. on Hāla, quoting from a 'Kāmaśāstra' (Weber, Über das Saptaçatakam 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); Vetālapañcavimśatikā 16 (ed. Uhle, Leipzig, 1881, p. 45, 1. 7-15); Dinālāpanikā-śukasaptati 16. 55 (ZDMG. 45, p. 655; tr. p. 677, top); Halāyudha's Purāņasarvasva, cited by Zachariae, BB. 4 (1878), p. 373-374; Haihayendracarita 2. 29-100 (ed. Schtscherbatskoi, St. Petersburg, 1900 [Mémoires de l'académie impériale des sciences, 8. série, classe hist .- philol., vol. 4, pt. 9], p. 25-36; tr. p. 86- 97); Agadadatta 42-45 a (Jacobi, Ausgewahlte Ersählungen in Maha- rāshțrt, Leipzig, 1886, p. 71, 1. I-7; tr. Meyer, London, 1909, p. 243). Cf. Schmidt, p. 124-132 (2d ed., p. 10I-107) ; Regnaud, p. 304; Zachariae, BB. 4 (1878), p. 373; Weber, Indische Studien 15 (1878), p. 338, note 4; Pischel, Rudrata's Crngāratilaka, Kiel, 1886, p. I01 (note on 2. 6); Hall, p. 34, note; Pavolini, 'Kālidāsa e gli erotologi indiani,' Studi italiani di filologia indo-iranica 1 (1897), app. I, p. 14-16. See p. 150.

61 (P. 53, 54; H. 49, 50). abhilāşaḥ sprhā tatra kānte sarvāngasundare drste śrute vā tatrāpi vismayānandasādhvasāḥ sākșāt pratikrtisvapnacchāyāmāyāsu darśanam śrutir vyājāt sakhīgītamāgadhādiguņastuteh. 'Of these [ten stages] Longing (abhilāsa) is a yearning when one has seen or heard of a beloved fair 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] through 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 .: Sakuntalā I. 19, p. 33 = Spr. 745 (Longing) ; stanāv ālokya tanv° [unidentified ştanza] (surprise); Viddhaśālabhañjikā I. 31 [with the lines transposed] (joy); Kumārasambhava 5. 85=Spr. 2470 (perturba- tion) Kumārasambhava 8. 2 [quoted also at DR. 2. 26] (perturbation).

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134 BOOK FOUR [4.61-

NOTES. kante H, V, P; kamye Hall p. 39 .- Pratapar. (4 80) uses the term abhilasa as designation for one of the four kinds of vipralambha enumerated in that work. N Bh. 22. 157, 158; SD. 214 c, d, g; Rudr. Śrng. I. 92; 2. 9, 10; Rudr. Kāvyāl. 12. 31; Rasamañjarī, p. 236, 245. Cf. Schmidt, p. 276-278 (2d ed., p. 201-203).

62 (P. 55a; H. 5Ia). sānubhāvavibhāvās tu cintādyāḥ pūrvadarśitāḥ. 'Anxiety (cinta) and the other [stages], together with their Consequents and Determinants, have been previously explained.'

63 (P. 55b, 56a; H. 51 b, c). daśāvasthatvam ācāryaiḥ prāyo vrttyā nidarśitam mahākaviprabandhesu drśyate tadanantatā. '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. °prabandheşu H, V, P; prayogesu 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. 56b, 57a; H. 52). drste śrute 'bhilāşāc ca kim nautsukyam prajāyate aprāptau kiņ na nirvedo glāniḥ kim nāticintanāt. '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 Kāmasūtra.

SEPARATION AND ITS VARIETIES 65 (P. 57 b, 58a; H. 53). viprayogas tu viśleso rūdhavisrambhayor dvidhā mānapravāsabhedena māno 'pi praņayersyayoh.

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'Separation (viprayoga) is the sundering of two persons 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 the other treatises differ from DR. in recognizing four varieties of vipralambha, usually named abhilasa (pūrvānurāga), māna (irsya), pravasa, 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 rhetorical 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 concerning māna and its two forms. N Bh. 6, prose after v. 45; SD. 212, 213, 218a; Dhvanyāloka, 2. 13, com., p. 83 (tr. Jacobi, ZDMG. 56, p. 607); Rudr. Srng. I. 22 a, 24; 2. I; Rudr. Kāvyāl. 14. I; AP. 34I. 5; Sarasv. 5. 45, 46 a, 48 b; 5. 365 (ed. B. p. 310); Kāvyaprakāśa 29, com., p. 120; Hem. Kāvyān. 2, p. 71, 72; Vāgbhațāl. 5. 17, 19 a; Vāgbh. Kāvyān. 5, p. 54; Rasatar. 6, p. 59; Pratāpar. 4. 80; Alamkāraśekhara 20. 10, II, p. 71; Kāvyapradīpa 4, p. 88; Rasagang. p. 34, 35; Rasaratn. 55, 57, 29 a; Sāhityakaumudī 4, p. 32, 33. Cf. Regnaud, p. 303; Schmidt, p. 96-120 (2d ed., p. 83-99) ; Pischel, Rudrata's Çrigāra- tilaka, Kiel, 1886, p. IOI (note on 2. I).

66 (P. 58b; H. 54a). tatra praņayamānaḥ syāt kopāvasitayor dvayoḥ. '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 .: Uttararāma. 3. 37, p. 84 (Resentment on the part of the Hero); praņayakupitām drst°, stanza by Vākpatirājadeva (= Muñja) [quoted also at DR. 4 67 and in the com. on Hemacandra's Anekārtha- samgraha 3. 483 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 133, foot) ] (Resentment on the part of the Heroine); Hāla 27 (Re- sentment on the part of both). [Cf. Hem. Kāvyān. 2, p. 72-73, where these same examples are quoted.] NOTES. kopavasitayor H, V, P; kopavesitayor Hall p. 39.

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Il SD. 218b, c; Rasaratn. 29 b; Sāhityakaumudī, p. 33. Cf. Regnaud, p. 305; Schmidt, p. 96-120 (2d ed., p. 83-99).

67 (P. 59, 60; H. 54 b, c, 55). strīņām īrşyākrto māna kopo 'nyāsangini priye śrute vā 'numite drsțe śrutis tatra sakhīmukhāt utsvapnāyitabhogānkagotraskhalanakalpitaḥ tridhā "numāniko drstaḥ sāksād indriyagocarah. '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 another. 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 of intercourse [with another], or from the inadvertent mention of [another woman's] name. If it is seen, it is personally witnessed. COM. Ex .: subhru tvam navanita°, stanza by Dhanika (infidelity heard of from a friend); nirmagnena maydmbh°, stanza by Rudra (infidelity inferred from words uttered in a dream); Māgha II. 34= Spr. 3413 [quoted also at DR. 2. 40 and SD. 219; Böhtlingk did not record in Spr. the ultimate source of this stanza] (infidelity inferred from bodily disfigure- ment) ; Hāla 967 (infidelity inferred from mention of another's name); praņayakupitām drst°, stanza by Muñja (= Vākpatirāja) [quoted also at DR. 4 66 and in the com. on Hemacandra's Anekärthasamgraha 3. 483 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 133, foot) ] (in- fidelity personally witnessed). NOTES. Line I is quoted in Asādhara's com. on Appayyadīkșita's Kuvalayānandakārikās 41 (tr. Schmidt, Berlin, 1907, p. 39). N SD. 219; Rudr. Śrng. 2. 44; Rudr. Kāvyāl. 14 15, 17; Pratāpar. 4 81; Alamkāraśekhara 20. 13; Rasaratn. 30, 31 a; Sāhityakaumudī, p. 33. Cf. Regnaud, p. 305; Schmidt, p. 96-120 (2d ed., p. 83-99).

68 (P. 61; H. 56). yathottaram guruh șadbhir upāyais tam upācaret sāmnā bhedena dānena natyupeksārasāntaraiḥ. 'The loved one (guru) may remedy this [resentment] by six expedients [employed] in proper succession: Conciliation (saman),

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Dissension (bheda), Gift-giving (dana), Humility (nati), Indif- ference (upeksā), and Diversion (rasāntara).' NOTES. The term rasantara signifies '[substitution of] another emo- tion' and consequently indicates the diversion from resentment effected by such substitution. I| Bh. 23. 62; SD. 220 a, b; Rudr. Srng. 2. 62, 63; Rudr. Kāvyāl. 14 27; Rasaratn. 31 b, 32 a.

69 (P. 62-64a; H. 57, 58). tatra priyavacaḥ sāma bhedas tatsakhyupārjanam dānam vyājena bhūşādeh pādayoh patanam natiḥ sāmādau tu parikșīņe syād upeksā 'vadhīraņam rabhasatrāsaharsādeḥ kopabhramśo rasāntaram kopaceștāś ca nārīņām prāg eva pratipāditāḥ. '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 feet. 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) ; Śrńgāratilaka [attributed to Kālidāsa] 3= Spr. 1108 [this example is enclosed in brackets in H] (Conciliation); krte 'py djnd°, stanza by Dhanika (Dis- sension) ; Māgha 7. 55 (Gift-giving); Hāla 188 (Humility); kim gatena na hi yukt° [cf. Kirātārjunīya 9. 40 a] (Indifference); abhivyaktahkaḥ 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. Il Bh. 23. 63-65 a, 68; SD. 220c-f; Rudr. Srng. 2. 64-75; Rudr. Kāvyāl. 14 28-31; Rasaratn. 32 b-34.

70 (P. 64b, 65 a; H. 59). kāryataḥ sambhramāc chāpāt pravāso bhinnadeśatā dvayos tatrāśruniḥśvāsakārśyalambālakāditā.

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'[The Separation due to] Absence (pravāsa) 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 proşitapriyā or proşitabhartrkā. Cf. DR. 2. 43. ll SD. 221; Rudr. Srng. 2. 83; Rudr. Kāvyāl. 14 33; Sarasv. 5. 49; Hem. Kāvyān. 2, p. 73; Vāgbhațāl. 5. 19 b; Vāgbh. Kāvyān. 5, p. 54; Pratāpar. 4 83; Alamkāraśekhara 20. 14 a; Kāvyapradīpa 4, p. 88; Sāhityakaumudī 4, p. 34 Cf. Regnaud, p. 305-306; Schmidt, p. 96-120 (2d ed., p. 83-99).

71 (P. 65b; H. 60a). sa ca bhāvī bhavan bhūtas tridhā "dyo buddhipūrvakah. '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 reference 4 29 in Simon's ed. of Amaru, p. 62, is a misprint for 4. 59] (the person is departing); Amaru 92= Spr. 2965 (the person is departing); Meghadūta 2. 23 (the person has gone). NOTES. W SD. 223; Sāhityakaumudī 4, p. 34 Cf. Schmidt, p. 96-120 (2d ed., p. 83-99).

72 (P. 66a; H. 60 b). dvitīyaḥ sahasotpanno divyamānușaviplavāt. 'The second [variety of Absence, that due to confusion], comes about suddenly, through disaster caused by gods or mortals.' COM. As in the Vikramorvaśī and the Mālatīmādhava.

73 (P.66b; H. 60c). svarūpānyatvakaraņāc chāpajaḥ samnidhāv 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 Kādambarī. NOTES. || Kāvyapradīpa 4, p. 88.

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74 (P. 67; H. 61). mrte tv ekatra yatrānyah pralapec choka eva saḥ vyāśrayatvān na śrngāraḥ pratyāpanne tu netaraḥ. 'When, one being dead, the other laments-that [is called] Sorrow. [Under those circumstances] 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 Kādambarī. NOTES. vyāsrayatvan H, V, P; nirdśrayan Hall p. 39 (as elsewhere in his list of various readings, Hall here disregards the principle of euphonic combination). -On the use of the locative adverb ekatra as a member of the absolute phrase mrte ekatra see Whitney, Sanskrit Grammar, § 1099. The other treatises that mention the contingency of separation by death (see the citations below) recognize a special variety of vipralambha named karuna, no mention of which is made in DR. Being a subdivision of śrngara, this must not be confused with the rasa known as karuna (cf. Rudr. Kāvyāl. 14. I, com .: karuna-vipralambhas tu śrngara eva). N SD. 224; Rudr. Srng. 2. 93; Rudr. Kāvyāl. 14. 34; Sarasv. 5. 372 (ed. B. p. 311); Vāgbhațāl. 5. 20; Rasatar. I, p. 44; Alamkāraśekhara 20. 14 b, c; Kāvyapradīpa 4, p. 88; Rasaratn. 57; cf. Rasagang. p. 32. Cf. Regnaud, p. 304, note I; 306; Schmidt, p. 96-120 (2d ed., p. 83-99).

75 (P.68; H. 62).

praņayāyogayor utkā pravāse proșitapriyā kalahāntariterșyāyām vipralabdhā ca khaņditā. '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" (utkd=virahotkanthita) ; in [Separation due to] Absence, she is "one whose beloved is away" (prosi- tapriyā); in [Separation due to Resentment arising from] jeal- ousy, she is " one that is separated by a quarrel" (kalahāntaritā), "one that is deceived" (vipralabdhā), and "one that is enraged" (khanditā).'

NOTES. For explanation of the special designations utkd, prositapriya, etc., see DR. 2. 39-43.

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140 BOOK FOUR [4.76-

UNION AND ITS CHARACTERISTICS 76 (P. 69; H. 63). anukūlau nişevete yatrānyonyam vilāsinau darśanasparśanādīni sa sambhogo mudānvitaḥ. 'Union (sambhoga) 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 .: Uttararāma. I. 27, p. 27; I. 35, p. 33 [the last line of this stanza differs from the printed texts; quoted also at DR. 4 32]; lavanyāmrta°, stanza by Dhanika. NOTES. The designation sambhoga is found in all of the treatises ex- cept Rasagang. and Vagbhatal., which substitute the term samyoga. Il Bh. 6, prose after v. 45; SD. 225; Dhvanyāloka, p. 83; Rudr. Srng. I. 22 a, 23, 164; Rudr. Kāvyāl. 13. I; AP. 341. 6; Sarasv. 5. 51, 53 b; 5. 377 (ed. B. p. 312) ; Hem. Kāvyān. 2, p. 70; Vāgbh. Kāvyān. 5, p. 53; Rasatar. 6, p. 57; Pratāpar. 4. 79; Alamkāraśekhara 20, p. 69; Kāvyapradīpa 4, p. 88; Rasagang. p. 34; Sāhityakaumudī 4, p. 31. Cf. Regnaud, p. 302; Schmidt, p. 96-120 (2d ed., p. 83-99).

77 (P. 70; H. 64). ceșțās tatra pravartante līlādyā daśa yoșitām dākşiņyamārdavapremņām anurūpāh priyam prati. 'In this [state of Union] there occur the ten actions of women - Sportiveness (lilā) 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. 49, 60-69. Il Bh. 6, prose after v. 45; Rudr. Kāvyāl. 13. 2.

78 (P. 71; H. 65). ramayec cāțukrt kāntaņ kalākrīdādibhiś ca tām na grāmyam ācaret kiņ cin narmabhramśakaram 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. I. 21, p. 18.

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THE HEROIC SENTIMENT 79 (P. 72; H. 66). vīraḥ pratāpavinayādhyavasāyasattva- mohāvişādanayavismayavikramādyaiḥ utsāhabhūņ sa ca dayāraņadānayogāt tredhā kilātra matigarvadhrtipraharșāḥ. 'The Heroic Sentiment (vira) [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 (utsāha). 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. Jīmūtavāhana in the Nāgananda is an instance of a benevolent hero; Rāma in the Mahāvīracarita, of a warlike hero; Paraśurāma, Vali, and others [in dramas based on the Rama legend] are liberal heroes, as can be seen from Mahāvira. 2. 35 c, p. 75; kharvagranthivimukta° [un- identified stanza]; stanza by Dhanika= Sārng. 278. NOTES. The word praharsa in line 4 is used as a metrical substitute for the regular term harsa (see 4 16). - Meter : vasantatilakā. Il Bh. 6, prose and v. 68, 69; SD. 234; Rudr. Śrng. 3. 14, 15, 19, 47, 48 a; Rudr. Kāvyāl. 15. 1, 2; AP. 341. 14, 15 a; Sarasv. 5, prose after v. 290 (ed. B. p. 299-300) ; Hem. Kāvyān. 2, p. 77; Vāgbhațāl. 5. 21; Vāgbh. Kāvyān. 5, p. 56; Rasatar. 7, p. 60; 5, p. 55; Candrāloka 6. 9; Pratāpar. 4 53, p. 261; Alamkāraśekhara 20. 21; Rasagang. p. 37; Rasaratn. 89; Sāhityasāra 4. 98, 99; Sāhityakaumudī 4, p. 37. Cf. Regnaud, p. 309-310.

THE ODIOUS SENTIMENT 80 (P. 73; H. 67). bībhatsaḥ krmipūtigandhivamathuprāyair jugupsaikabhūr udvegī rudhirāntrakīkasavasāmāmsādibhiḥ kșobhaņaḥ vairāgyāj jaghanastanādisu ghrņāśuddho 'nubhāvair vṛto nāsāvaktravikūņanādibhir ihāvegārtiśańkādayaḥ. 'The Odious Sentiment (bibhatsa) has [the Permanent State] Disgust (jugupsā) as its sole basis; it causes distress (udvegin) chiefly by means of worms, stinking matter, and

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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 .: Mālatīm. 5. 16, p. 131 = Sārng. 4075 [quoted also at Kāvya- pradīpa 4, p. 97] (distress) ; Mahāvīra. I. 35, p. 25 (horror) ; lālām vaktrā° [unidentified stanza] (aversion). NOTES. ghrnasuddho H, V, P; ghrnayukto Hall p. 39. -For metrical reasons the word drti is used instead of the technical term vyddhi (see 4. 38). - Meter: śārdūlavikrīdita. Il Bh. 6, prose and v. 74, 75; SD. 236; Rudr. Srng. 3. 25, 27, 49; Rudr. Kāvyāl. 15. 5, 6; AP. 341. 16, 17 a; Hem. Kāvyān. 2, p. 79; Vāgbhațāl. 5. 31; Vāgbh. Kāvyān. 5, p. 56-57; Rasatar. 7, p. 60; 5, p. 55; Candrāloka 6. II; Pratāpar. 4 53, p. 261; Alamkāraśekhara 20. 24; Rasaratn. 98; Sāhityasāra 4 125 a. Cf. Regnaud, p. 311-312.

THE FURIOUS SENTIMENT 81 (P. 74; H. 68). krodho matsaravairivaikrtamayai poso 'sya raudro 'nujaḥ kșobhaḥ svādharadamśakampabhrukuțisvedāsyarāgair yutaḥ śastrollāsavikatthanāmsadharaņīghātapratijñāgrahair atrāmarșamadau smrtiś capalatāsūyaugryavegādayah. '[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 (raudra), 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 .: Mahāvīra. 3. 44, p. 121 (Anger caused by indignation);

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Veņī. I. 8, p. II [quoted also at DR. 3. 10] (Anger caused by aversion to an enemy). This is to be seen in general also in the Mahāviracarita, Veņī- samhāra, and other plays. NOTES. The word vega, in line 4, is used for dvega on account of the meter. On bhrukuți see Bh. 8. 120, where it is defined. - Meter: śārdūla- vikrīdita. Il Bh. 6, prose and v. 64-67; SD. 232, 233; Rudr. Srng. 3. II, 13, 46; Rudr. Kāvyāl. 15. 13, 14; AP. 341. 13; Hem. Kāvyān. 2, p. 76; Vāgbhațāl, 5. 29, 30; Vāgbh. Kāvyān. 5, p. 55; Rasatar. 7, p. 60; 5, p. 55; Candrāloka 6. 8; Pratāpar. 4- 53, p. 261; Alamkāraśekhara 20. 19, 20; Rasagańg. p. 33; Rasaratn. 96, 97; Sāhityasāra 4 96. Cf. Regnaud, p. 309.

THE COMIC SENTIMENT

82 (P. 75; H. 69). vikrtākrtivāgveșair ātmano 'tha parasya vā hāsaḥ syāt pariposo 'sya hāsyas 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 .: jatam me parus° [unidentified] stanza spoken by Rāvaņa (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. ll Bh. 6, prose and v. 49, 50, 61; SD. 228 a-e; Rudr. Srng. 3. I; Rudr. Kāvyāl. 15. 1I; Hem. Kāvyān. 2, p. 74; Vāgbhațāl. 5. 23; Vāgbh. Kāvyān. 5, p. 55; Rasatar. 7, p. 59; Candrāloka 6. 6; Alamkāraśekhara 20. 16; Rasagang. p. 43; Rasaratn. 91; Sāhityasāra 4. 78. Cf. Regnaud, p. 306-308.

83 (P. 76, 77; H. 70, 71). smitam iha vikāsinayanam kim cil lakşyadvijam tu hasitam syāt madhurasvaram vihasitam saśirahkampam idam upahasitam

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144 BOOK FOUR [4.83-

apahasitam sāsrākşam vikşiptāngam bhavaty atīhasitam dve dve hasite caișām jyesthe madhye 'dhame kramaśaḥ. 'In this connection a Gentle Smile (smita) is opening the eyes wide; a Smile (hasita) is showing the teeth to some ex- tent; Laughing (vihasita) is making a soft sound; Laughter (upahasita) is the same, accompanied by shaking of the head; Uproarious Laughter (apahasita) is [laughter] accompanied by tears; and Convulsive Laughter (atthasita=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 vihasita and upahasita by middling characters, and apahasita and atihasita by the lower characters. NOTES. atihasitam H, V, P; atthasitam correction suggested by Dr. Louis H. Gray to remedy the metrical defect in this line. See Addenda, p. 150. - Meter: āryā (two stanzas). Il Bh. 6. 52-60; SD. 228 g-1; Rudr. Śrng. 3. 2, 4; Rudr. Kāvyāl. 15. 12; AP. 341. 9 b, 10, II a; Hem. Kāvyān. 2, p. 74, 75; Vāgbhațāl. 5. 24; Vāgbh. Kāvyān. 5, p. 55; Rasatar. 7, p. 59-60; Alamkāraśekhara 20. 17; Rasagang. p. 44; Sāhityasāra 4- 79 b. Cf. Regnaud, p. 307.

84 (P. 78a; H. 72a). nidrālasyaśramaglānimūrchāś ca sahacāriņah.

'The Transitory States [occurring in connection with the Comic Sentiment] are Sleeping, Indolence, Weariness, Weakness, and Stupor.' NOTES. The word murchd seems to be used here to represent the word jadatd, and I have so translated it. The word sahacarinah, ' concomitants,' furthermore, is merely a substitute for vyabhicarinah, 'Transitory States.' Il Bh. 6, prose after v. 48; SD. 228 f; Rudr. Śrng. 3. 44; Vāgbh. Kāvyān. 5, p. 55; Rasatar. 5, p. 55; Pratāpar. 4 53, p. 261. Cf. Regnaud, p. 307.

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-4. 86 ] BOOK FOUR 145

THE MARVELOUS SENTIMENT 85 (P. 78 b, 79; H. 72 b, 73). atilokaiḥ padārthaiḥ syād vismayātmā raso 'dbhutaḥ karmāsya sādhuvādāśruvepathusvedagadgadāḥ harșāvegadhrtiprāyā bhavanti vyabhicāriņah. '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 [occurring in connection with it] are generally Joy, Agitation, and Contentment.' CoM. Ex .: Mahāvīra. I. 54, p. 38. NOTES. °vepathu° H, V, P; °vamathu° Hall p. 39. - With vismayatma compare sokatmā in 4. 87 and the compounds of -bhu in 4 79 and 4. 80. The brevity of Dhanamjaya's definitions of the Sentiments necessitates this compendious method of naming the corresponding Permanent States. Il Bh. 6, prose and v. 76, 77; SD. 237; Rudr. Śrng. 3. 28, 30, 50; Rudr. Kāvyāl. 15. 9, 10; Hem. Kāvyān. 2, p. 79; Vāgbhațāl. 5. 25, 26; Vāgbh. Kāvyān. 5, p. 57; Rasatar. 7, p. 60; 5, p. 55; Candrāloka 6. 12; Pratāpar. 4. 53, p. 261; Alamkāraśekhara 20. 25, 26; Rasaratn. 92, 93; Sāhityasāra 4 126. Cf. Regnaud, p. 312-313.

THE TERRIBLE SENTIMENT 86 (P. 80; H. 74). vikrtasvarasattvāder bhayabhāvo bhayānakaḥ sarvāngavepathusvedasoşavaicittyalakșaņaḥ dainyasambhramasammohatrāsādis tatsahodaraḥ. '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, and fainting [as Consequents]; its associated [Transitory States] are Depression, Agitation, Distraction, Fright, and the like.'

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146 BOOK FOUR [4.86-

CoM. Ex .: sastram etat samut° [unidentified stanza]; Ratn. 2. 3, p. 29 [quoted also at DR. 2. 92]; svagehat panth° [unidentified stanza]. NOTES. °vaicittya° H, V, P; °vaivarnya° Hall p. 39 .- The word sam- bhrama is apparently used for the special term dvega, and the compound sammoha for the simple moha; see 4 32, 35. Il Bh. 6, prose and v. 70-73; SD. 235; Rudr. Srng. 3. 20, 24 48 b; Rudr. Kāvyāl. 15. 7, 8; AP. 341. 15 b; Hem. Kāvyān. 2, p. 78; Vāgbhațāl. 5. 27, 28; Vāgbh. Kāvyān. 5, p. 56; Rasatar. 7, p. 60; 5, p. 55; Candrāloka 6. 10; Pratāpar. 4. 53, p. 261; Alamkāraśekhara 20. 22, 23; Rasaratn. 94, 95; Sāhityasāra 4. 123. Cf. Regnaud, p. 3I1.

THE PATHETIC SENTIMENT 87 (P. 81, 82; H. 75, 76). isțanāśād anistāpteḥ śokātmā karuņo 'nu tam niḥśvāsocchvāsaruditastambhapralapitādaya svāpāpasmāradainyādhimaraņālasyasambhramāḥ vişāda jadatonmādacintādyā vyabhicāriņaḥ. 'The Pathetic Sentiment (karuna), with [the Perma- nent State] Sorrow (śoka) 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, paralysis, 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 .: Kumārasambhava 4. 3 (loss of something cherished); the imprisonment of Sāgarikā in the Ratnāvali (attainment of something undesired). NOTES. anistapteh Hall p. 39; anistaptau H, V, P. I have adopted the variant given by Hall, in order to avoid the harsh contrast of ablative and locative in parallel expressions .- The word svapa is used as a sub- stitute for nidrd (see 4 28); in this case there is no metrical reason for the change of term. The word adhi, which really signifies 'anxiety, mental disturbance,' is here apparently a representative of the term vyādhi, 'Sick- ness' (see 4. 38). As in the preceding section, the regular term dvega is replaced by the synonymous designation sambhrama. Il Bh. 6, prose and v. 62, 63; SD. 230, 231; Rudr. Śrng. 3. 8, 10, 45; Rudr. Kāvyāl. 15. 3, 4; AP. 34I. 1I b, 12; Hem. Kāvyān. 2, p. 76; Vāg- bhațāl. 5. 22; Vāgbh. Kāvyān. 5, p. 55; Rasatar. 7, p. 60; 5, p. 55; Candrā-

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-4. 89 ] BOOK FOUR 147

loka 6. 7; Pratāpar. 4. 53, p. 261; Alamkāraśekhara 20. 18; Rasagang. p. 33; Rasaratn. 90; Sāhityasāra 4. 92, 93. Cf. Regnaud, p. 308.

VARIOUS MATTERS OMITTED IN THIS WORK

88 (P. 83; H. 77). prītibhaktyādayo bhāvā mrgayāksādayo rasāḥ harșotsāhādișu spastam antarbhāvān na kīrtitāḥ. 'The States of Friendship (priti), Devotion (bhakti), and the like, [as well as] the Sentiments of Hunting (mrgaya), Gambling (aksa), and the like, are not enumerated [in this work] because they are clearly included in Joy (harsa), Energy (utsāha), and the rest.'

NOTES. Cf. SD. 241; Rudr. Kāvyāl. 15. 17-19; Sarasv. 5. 252 (ed. B. 5. 167); Rasatar. 6, p. 56; Rasagang. p. 45-46; Rasaratn. 5, com .; Sāhityasāra 4. 134.

89 (P. 84; H. 78). șațtriņśad bhūsaņādīni sāmādīny ekavimśatiḥ lakşmasaņdhyantarāngāni sālamkāreșu teșu ca. 'The thirty-six [subdivisions] beginning with Ornament (bhū- sana), and the twenty-one [subdivisions] beginning with Concilia- tion (saman)-which are subdivisions [respectively] of the Char- acteristic Features (lakşman=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 (alamkāra).'

CoM. Bh. 19. 53 b; Bh. 16. Ia (= 17. Ia, ed. Regnaud, Annales du Musée Guimet, vol. I, Paris, 1880, p. 88). NOTES. lakşyasamdhyantarāngāni H, V, P; lakşmasamdhyantarākhyāni Hall p. 39. I adopt Hall's variant reading of the first word, as laksya° is probably merely a copyist's error for laksma°, due to the similarity of y and m in the Nagari character. The word laksman is here equivalent to laksana, which is the usual designation of the subdivisions referred to. - Cf. Lévi, p. 95, 104.

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148 BOOK FOUR [4.90-

CONCLUSION OF THE FOURTH BOOK 90 (P. 85; H. 79). ramyam jugupsitam udāram athāpi nīcam ugram prasādi gahanam vikrtam ca vastu yad vā "pya vastu kavibhāvakabhāvyamānam tan nāsti yan na rasabhāvam upaiti loke. '[Whether one take] a subject that is delightful or disgusting, exalted or lowly, cruel or kindly, obscure [as in the original story] or adapted [to be more intelligible], 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). Vişņoḥ sutenāpi Dhanamjayena . vidvanmanorāganibandhahetuḥ āvișkrtam Muñjamahīśagoșthī- vaidagdhyabhājā Daśarūpam etat. 'This Dasarūpa, [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 from discourse with the sovereign lord Muñja.' NOTES. °bhaja H, V, P; ° bhavad Hall p. 39. - Meter: indravajra.

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APPENDIX

CLASSIFICATION OF THE SIXTEEN TYPES OF HEROINE

The following diagram shows Dhanamjaya's classification of the types of Heroine, the numbers indicating the sixteen varieties. See DR. 2. 24-35.

Heroine

own wife or beloved another's courtezan (16) maiden married woman (14) (15)

inexperienced (1) partly experienced experienced

self-controlled partly self-controlled lacking in self-control

older younger older younger older younger (2) (3) (4) (5) (6) (7)

self-controlled partly self-controlled lacking in self-control T

older younger older younger older (8) (9) younger (10) (11) (12) (13)

149

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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 of the plot. According to the commentary, however, the 'inevitable' consists of religious duties: avaśyakam tu devapitrkaryādyavaśyam eva kvacit kuryāt. Dhanika's in- terpretation may be authoritative, but I am inclined to think that he is reading a technical meaning into a perfectly simple statement.

4. 24, p. 116. Dr. Charles J. Ogden suggests, in view of the phrase svasthyåbhyåsasamuttha ... smrtir at Bh. 7. 54, that Dhanamjaya may have written °arthabhydsinyam. 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 bhdsint as 'mental impression,' but this signification seems quite natural, as the root bhas, 'to shine,' has also the figurative meaning 'to imagine, conceive of.'

5. 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 prapnoti 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 cittāsangah tato 'tha samkalpah nidrāchedas tanutā vişayanivrttis trapānāsas tan mādo 'pi ca mūrcha mrtir etāh smaradaśādaśaiva 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 u-u or VUUU, whereas the addition of ca would give UU -. (Cf. Weber, Indische Studien, 8. 291.) At the suggestion of Dr. Louis H. Gray (letter of July 12, 1912) I have adopted the correction atīhasitam. The form atī- exists as a parallel to afi- in atīcāra, attreka, attvada, atisāra. This prefix is probably a loc. sg. of *at -; on the variation between i and i in the loc. sg. see Lanman, 'Noun-inflection in the Veda,' JAOS. 10 (1880), p. 426, and Wackernagel, Altindische Grammatik, 2. I. 132 (Göttingen, 1905). 150

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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-faced type. The English equivalents adopted in this volume for the native technical terms are distinguished by the use of initial capital letters. A abhisamdhitā=kalahāntarita, 56, 139 akşa, Gambling, 147 abhisārikd, type of heroine, 57 anka, Act, 36, 90, 91, 93-94 abhūtdharana, Mis-statement, 20 anka = utsrstikānka, 4, 104 amarșa, Indignation, 11O, 115, 142 ankamukha = ankāsya, 34, 35 amba, form of address, 77 ankdvatdra, Continuation-scene, 34, ayoga, Privation, 131, 132-134, 139 36 arthaprakrti, Element of the Plot, ankasya, Anticipatory Scene, 34, 35 arthavrtti, Style of Procedure, 67, 9, II ajjukā, form of address, 77 atihasita, Convulsive Laughter, 144 arthopakşepaka, Intermediate Scene, 73,74 adbhuta, Marvelous Sentiment, 74, 92, 128, 145 33, 36 adhama, adhamā, 58, 67, 75 alasatd = ālasya, 110, 120, 131, 144, adhibala, Outvying, 84, 86 146 adhibala, Outwitting, 20, 22, 23 avapāta (na), Tumultuous Disturb- adhīrā, heroine lacking in self-con- ance, 72, 73 trol, 50, 51 avamarśa, Pause, 1I, 24, I0I, 102 anukūla, 'faithful' hero, 44 avalagita, Continuance, 82, 84, 85 anubhava, Consequent, 59, 92, 106, avastha, Stage of the Action, 9, II 107, 108, 129 avasyandita, Re-interpretation, 84, anumd (na), Deduction, 20, 22 87 anusamdhi, Sub-juncture, 90 avahittha, Dissimulation, 110, 121 anyadīyā, anyastrī = anyā (q. v.) aśru, Weeping, 108 anya, [a woman who is] another's, asatpralapa, Incoherent Chatter, 84, as heroine, 48, 52 87 apavāda, Censure, 25 asūyā, Envy, 110, 115, 142 apavarita, Confidence, 37-38 apasmāra, Epilepsy, 110, 118-119, 146 akāsabhāita, Conversation with Im- apahasita, Uproarious Laughter, 144 aginary Persons, 38, 98 abhibala (SD.), misprint for adhi- ākșipta, ākșepa, Revelation, 20, 23- bala, 22 24 abhilasa, Longing, 132, 133, 134 adhyā = pragalbhā, 49, 50, 51, 97 abhilāsa, variety of vipralambha, ātmagata = svagata, 37 135 adāna, Summary, 25, 28 151

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152 INDEX OF SANSKRIT TECHNICAL TERMS

ādhikārika, Principal Subject, 6, 89 udvega, Dismay, 20, 23 ananda, Bliss, 29, 30 udvega, Distress, 132 ābhāşaņa = bhāsaņa, 29, 31 unmāda, Insanity, 110, 122, 132, 146 dmukha, Introduction, 81, 82, 88, upakşipta = ākşepa, 20, 23-24 102 upaksepa, Suggestion, 12 dyuşmant, form of address, 76 upagühana, Unforeseen Circum- arabhațt, Horrific Style, 71, 72 stance, 29, 31 drambha, Beginning, 9, 10, 12 upanydsa, Intimation 16, 19 arya, form of address, 76 upasamhāra = kāvyasamhāra, 29, 32 dlambana-vibhava, Fundamental De- upasamhrti = nirvahaņa, 1I, 28, 92, terminant, 107 98 alasya, Indolence, 110, 120, 131, 144, upasthita (Bh.), error for upakşipta, 146 24 dvega, Agitation, 110, 120, 142, 145, upahasita, Laughter, 144 146 upeksā, Indifference, 137 āveśa (AP.) = vega (q. v.) āsīnapāțhya, form of lāsya, 99 AU augrya = ugratd, 110, 114, 131, 142 autsukya, Impatience, 110, 123, 134 trsyā, jealousy, 135, 136, 139 audārya, Dignity, 59, 62 Irsyā, variety of vipralambha, 135 audārya, Magnanimity, 46, 48 irşyā = asūyā, 110, 115, 142 thamrga, form of drama, 4, 104-105 K

U kathodghata, Opening of the Story,

uktapratyukta, form of lāsya, 99 82, 83

ugratd, Cruelty, 110, 114, 131, 142 kaniştha, younger heroine, 52

utkanthitd=virahotkanthitd, 55, 139 karana, Activity, 12, 15

utkd = virahotkanthita, 55, 139 karuņa, Pathetic Sentiment, 74, 104, 128, 146 uttama, 58 uttamottamaka, form of lāsya, 99 karuna, variety of vipralambha, 135,

utthapaka, Challenge, 70, 71 139

utsāha, Energy, 124, 14I kalahantaritd, type of heroine, 56, 139 utsuka = autsukya, 110, 123, 134 kānti, Loveliness, 59, 61 utsrstikānka, form of drama, 4, 104 kārya, Dénouement, 8, 9, 31 udātta, 'exalted' hero, 40, 41, 42, 89, 102 kāvyasamhāra, Termination, 29, 32 kilakincita, Hysterical Mood, 59, 63 udāharaņa, udāhrti, Exaggeration, kuttamita, Pretended Anger, 59, 64 20, 21 kutūhala (Pratāpar.), quality of the udghatya (ka), Abrupt Dialogue, 82, 84 heroine, 59 kupitā = kalahāntaritā, 56, 139 uddipana-vibhava, Excitant Deter- kulastrī (Bh.), type of heroine, 48 minant, 107 krti, Confirmation, 29, 31 uddhata, 'vehement' hero, 40, 42, kaiśikt, Gay Style, 67, 68, 98, 102, 45, IOI, 105 udbheda, Disclosure, 12, 14 103 krama, Progress, 20, 21-22

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INDEX OF SANSKRIT TECHNICAL TERMS 153

krodha, Anger, 124, 142 kşipti = ākșepa, 20, 23-24 jādya = jadatā (q. v.)

kşipra (Bh.), error for ākşipta, 24 jugupsā, Disgust, 124, 131, 141 jyestha ( = uttama), 67 jyestha, older heroine, 52 KH khanditd, type of heroine, 55, 139 D kheda (SD.), Lassitude, 26 dima, form of drama, 4, 100-101

G T gaņikā, courtezan, 48, 53, 75, 77, 95 tarka, Deliberation, 110, 121 ganda, Abrupt Remark, 84, 87 tandava, wild dance, 2, 5 garbha, Development, 11, 20, 24, I01 tata, form of address, 76 garva, Arrogance, 110, 115, 14I gāmbhīrya, Poise, 46, 47 tāpana (SD.), Torment, 17 tejas, Sense of Honor, 46, 47 guņakathā, Enumeration of Merits, toțaka, Quarrel, 20, 23 I32 trasa, Fright, 110, 114, 145 geyapada, form of lasya, 99 grathana, Hint, 29, 30 trigata, Triple Explanation, 84, 85 trigūdha, form of lāsya, 99 glāni, Weakness, 110, III, 134, 144 tripatākā, gesture with the hand, 37 trivarga, three objects of existence, GH 8, 95 ghațika, period of time, 102 trotaka = toțaka, 20, 23

C D cakita (Pratāpar.), quality of the dakșiņa, 'clever' hero, 42, 43, 44 heroine, 59 dāna, Gift-giving, 137 capala (tă) = capala, 110, 123, 142 divyd (Bh.), type of heroine, 48 calana (Pratāpar.) = chalana, 25, 27 dipti, Radiance, 59, 61 capala, Inconstancy, 1IO, 123, 142 deva, form of address, 77 cintana, cinta, Anxiety, 110, 114, 132, desin, 'popular style,' 5 134, 146 dainya, Depression, 110, 113, 145, cūlikā, Intimation-scene, 34, 35 146 cețt, servant, 77 dyuti, Rebuke, 25, 26 dyuti = narmadyuti, 16, 17 CH drava, Contempt, 25, 26 chala, Deception, 84, 86 dvigūdha, form of lāsya, 99 chalana, Humiliation, 25, 27 chadana (SD.) = chalana (q. v.) DH dhira, self-controlled hero, 41 J jadata, Stupor, 110, 113, 132, 144, dhtralalita, 'light-hearted' hero, 40, 41, 66, 96 146 dhīraśanta, 'calm' hero, 40, 41, 42, janānta, janāntika, Personal Ad- 95 dress, 37 javanikā = yavanikā, 35 dhird, self-controlled heroine, 50, 5I

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154 INDEX OF SANSKRIT TECHNICAL TERMS

dhirādhīrā ( = madhyā), partly self- nirveda, Discouragement, 11O, I29, controlled heroine, 50, 51 I34 dhtrodātta, 'exalted' hero, 40, 41, nirveda = śama, 124, 125 42, 89, 102 dhīroddhata, 'vehement' hero, 40, nrtta, Dancing, 5 nrtya, Pantomime, 5 42, 45, IOI, 105 dhrti, Contentment, 110, 112, 141, nrpapatnt (Bh.), type of heroine, 48

145 netr = nāyaka (q. v.)

dhrsta, 'shameless' hero, 42, 43, 44 dhairya, Self-control, 59, 62 P

dhairya, error for sthairya, 46 patākā, Episode, 7, 9, 20, 44, 90 patākāsthānaka, Episode-indication, N 7,94 nata ( = nartaka), actor, 79, 127 paraktyā = anyā, 48, 52 națt, actress, 76, 82 parikara, parikriyā, Enlargement, 12, nati, Humility, 137 13 nartaka ( = nața), actor, 79, 127 parinydsa, Establishment, 12, 13 narmagarbha, Development of Af- paripārśvika (SD.) = mārşa, 76, 82 fection, 68, 69 paribhāva (nă), Surprise, 12, 14 narmadyuti, Amusement, 16, 17 paribhāşaņa, paribhāşā, Conversa- narman, Joke, 16, 17 tion, 29, 30 narman, Pleasantry, 68 parivartaka, Change of Action, 70, narmaspuñja, °sphaja, °sphija, 71 ·sphinja, variants of narmasphūrja parisarpa, Pursuit, 16 narmasphūrja, Outburst of Affec- paryupāsana, paryupāsti, Courtesy, tion, 68, 69 16, 18 narmasphota, Disclosure of Affec- patra, character, 80 tion, 68, 69 pithamarda, Attendant, 44 nāțaka, typical form of drama, 4, 79, puspa, Gallantry, 16, 18 94 puşpagandikā, form of lāsya, 99 nāțikā, form of drama, 95-98 pūrvabhāva, Anticipation, 29, 31 nātya, Drama, 3 pūrvaranga, Preliminaries, 79, 85, năndī, benediction, 80 86 nāyaka, Hero, 40-44, 89, 94-95, 96, pürvavākya (SD.), 32 97, 100, I01, 102, 104, 105, 127 pūrvānurāga, variety of vipralam- nāyikā, Heroine, 48-58, 127, 149 bha, 135 nālikā, Enigma, 84, 87 prakarana, form of drama, 4, 94- nālikā, period of time, 102, 103 95, 96 nidrā, Sleeping, 110, 117, 144, 146 prakaraņikā, 96 nidhana (Rasatar.) = maraņa, 110, prakari, Episodical Incident, 7, 9, 90 116, 131, 132, 146 prakāśa, Aloud, 37 niyatapti, Certainty of Success, 9, pragana (na) (Bh.) = pragamana, I0 16, 18 nirodha (na), Frustration, 16, 18 pragamana, pragayana, Response, nirņaya, Narration, 29, 30 16, 18 nirvahana, Conclusion, II, 28, 92, 98 pragalbhată, Courage, 59, 62

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INDEX OF SANSKRIT TECHNICAL TERMS I55

pragalbha, 'experienced' heroine, PH

49, 50, 51, 97 phalayoga, phalagama, Attainment pracchedaka, form of lāsya, 99 of the Result, 9, 10 pranaya, fondness, 135, 139 pratināyaka, Opponent of the Hero, B 45, 105 bindu, Expansion, 8, 9, 15, 91, 94, pratināyikā (Hem. Kāvyān.), 45 bibboka, Affected Indifference, 59, 103 pratimukha, Progression, 1I, 15 pratişeda (SD.), Obstruction, 28 64 prathamakalpa, 38 btja, Germ, 8, 9, 12, 13, 14, 15, 20, prapañca, Compliment, 84, 85 24, 28, 80, 94 prabodha = vibodha, 110, 118 bībhatsa, Odious Sentiment, 74, 128, prayatna, Effort, 9, 10, 15 141-142 prayogātišaya, Particular Presenta- BH tion, 82, 83-84 bhakti, Devotion, 147 prarocand, Foresight, 25, 27 bhagavant, form of address, 76 prarocana, Laudation, 81 bhatta, form of address, 77 pralaya, Fainting, 108 bhaya, Fear, 124, 145 pralapa, Raving, 132 bhayānaka, Terrible Sentiment, 74, pravatsyatpatika, type of heroine, 128, 145 57 bhayotkarşa, used for bhayānaka, pravartaka = pravrttaka, 82, 83 I28

pravāsa, Absence, 135, 138, 139 bhavatt, form of address, 77 pravrttaka, Entrance of a Character, bhana, Monologue, 4, 38, 98, 103, 82, 83 104 praveśa(ka), Introductory Scene, bhāratt, Eloquent Style, 73, 80, 81, 34, 94, 103 98 praśasti, Benediction, 24, 29, 32 bhava, Feeling, 59, 60 prasanga, Reverence, 25, 26 bhāva, State, 108 prasāda, Graciousness, 29, 30 bhava, form of address, 76 prastāvanā ( = āmukha), Induction, bhaşaņa, bhāșā, Expression of Satis- 81, 82, 88, 102 faction, 29, 31 prahasana, Farce, 4, 53, 54, 81, 82, bhūșana, Ornament, 147 99-100 bheda, Dissension, 137 prāgalbhya = pragalbhatā, 59, 62 bheda, Incitement, 12, 15 prapti, Success, 12, 13 prāptisambhava, prāptyāśā, Prospect M of Success, 9, 10, 20 mati, Assurance, 110, 119, 141 prārthanā (Bh., SD.), Invitation, 24 mada, Intoxication, 110, 117, 142 prāsangika, Incidental Subject, 6, 7 priti, Friendship, 147 madhya, madhyamā, 58, 67

proşitanātha, °priyā, ° preyasī, °bhar- madhyā, 'partly experienced' hero- ine, 49, 50, 51 trka, type of heroine, 57, 139 madhyā, 'partly, self-controlled' her- prosyatpatikā, type of heroine, 57 oine, 50, 51 praudhā = pragalbhā, 49, 50, 51, 97 mantrin, minister, 65, 66

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156 INDEX OF SANSKRIT TECHNICAL TERMS

marana, Death, 11O, 116, 131, 132, lalita, Lightheartedness, 46, 48 146 lalita, Lolling, 59, 65 mahānāțaka, form of drama, 94 lasya, Gentle Dance, 2, 5, 98, 99 mādhurya, Equanimity, 45, 46, 47 tla, Sportiveness, 59, 62, 140 mādhurya, Sweetness, 59, 61 mana, Resentment, 135-137 V

mārişa (SD.) = mārsa, 76, 82 vajra, Thunderbolt, 16, 19 marga, 'high style,' 5 vatsa, form of address, 76 mārga, Indication, 20, 21 varnasamhāra, Combination of the marsa, title of the stage-manager's Castes, 16, 19 assistant, 76, 82 vastu, Subject-matter, 6, 7, 33, 36, mukha, Opening, II, 12, 28, 80, 98 80, 88, 92, 96, 98, 100, I01, 102 mugdha, 'inexperienced' heroine, vastūtthāna, vastūtthapana, Produc-

49, 97 tion of a Matter, 72 mrgaya, Hunting, 147 vākkelt, Repartee, 84, 86 mrdava, Mildness, 84, 88 vāsakasajjā, °sajjikā, °sajjitā, type mottayita, Silent Expression of Af- of heroine, 55 fection, 59, 64 vikrta = vihrta, 59, 65 moha, Distraction, 110, 119, 145 vicalana, Boastfulness, 25, 28 vicchitti, Tastefulness, 59, 63 Y vița, Parasite, 45, 98 yatna = prayatna, 9, 10, 15 vitarka = tarka, 110, 121 yavanikā, curtain, 35 vidūşaka, Jester, 45, 77, 82 yukti, Resolve, 12, 13 vidrava, Tumult, 25 vidrava = sambhrama, 23, 25 R vidhana, Conflict of Feelings, 12, 14

ranga, audience, 80 vidhuta, vidhūta, vidhrta, Unre-

rati, Love, 124, 130 quitedness, 16, 17

rasa, Sentiment, 4, 91, 92, 96, 98, 100, viprayoga, Separation, 131, 135-139

I0I, 102, 103, 104, 106, 126, 127, vipralabdha, type of heroine, 56, 139

128, 129, 148 vipralambha, form of śrńgāra, 131,

rasāntara, Diversion, 137 135

rasika, spectator, 106, 126, 127 vibodha, Awakening, 110, 118

ripu, used for pratināyaka, 45 vibodha, Vigilance, 29

rupa, Show, 3 vibhava, Determinant, 92, 106-107,

rūpa, Supposition, 20, 21 129, 130

rūpaka, Representation, 4 vibhrama, Confusion, 59, 63

romañca, Horripilation, 108, 129 vimarśa, vimarşa = avamarśa, 1I,

raudra, Furious Sentiment, 74, I0I, 24, I01, 102

128, 142 virahotkanthita, type of heroine, 55,

L I39

lakşman (= lakşana), Character- virodha (Pratāpar.) = vibodha, 29

istic Feature, 147 virodha (Bh.), 27

lalita, 'light-hearted' hero, 40, 41, virodha (SD., Pratāpar.), 18 virodhana, Opposition, 25, 27 66, 96 vildsa, Amorousness, 16

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INDEX OF SANSKRIT TECHNICAL TERMS 157

vildsa, Delight, 59, 63 sobha, Beauty of Character, 45, 46 vilasa, Vivacity, 45, 46 śrama, Weariness, 110, 112, 144 vilobhana, Allurement, 12, 13 vivvoka (SD.) = bibboka, 59, 64 S vişāda, Despair, 110, 122, 146 vişkambha (ka), Explanatory Scene, samyoga = sambhoga, 131, 140 samlapaka, Discourse, 70 34, 90, 91 samhātya (SD.) = samghātya, 70, vismaya, Astonishment, 124, 145 vihasita, Laughing, 144 vihrta, Bashfulness, 59, 65 samkşipti(kā), Compression, 72 71

vithi, form of drama, etc., 4, 81, 82, samgraha, Propitiation, 20, 22

84, 100, 103 samghātaka, samghātya (ka), Breach of Alliance, 70, 71 vthyangāni, subdivisions of the vithi, 82, 84-88 samcrin, used for vyabhicarin, 129

vira, Heroic Sentiment, 74, 92, 98, samjvara, Fever, 132 sattvabhdva, Involuntary State, 78, 102, 128, 141 vrtti, Style (of Procedure), 67, 73, 106, 108, 131 samdhi, Junction, 29 74, 100, 102 vepathu, Trembling, 108 samdhi, Juncture, 11, 90, 98, I0I,

vaivarnya, Change of Color, 108 I02, 105

vaisvarya, Change of Voice, 108 samdhyantara, Special Juncture, 147

(cf. vikrta-svara, 145) samaya, Deliverance, 29, 31

vyabhicarin, Transitory State, 92, samavakdra, form of drama, 4, 102- 103 106, 109, IIO, 125, 129, 131 samādhāna, Settling, 12, 14 vyavasāya, Assertion, 25, 27 vyādhi, Sickness, 110, 122, 142, 146 sampheta, Altercation, 25

vyāyoga, Military Spectacle, 4, 101 sampheta, Conflict, 72

vyāhara, Humorous Speech, 84, 88 sambhoga, Union, 131, 140

vyāhāra (Bh.), 26 sambhrama, Consternation, 20, 23

vrīdā, Shame, 110, 118 sättvatt, Grandiose Style, 70 sāttvika (bhava), Involuntary State, Ś 78, 106, 108, 131

sakti, Placation, 25, 26 sādharanastri, courtezan, as heroine,

śanka, Apprehension, 11O, III, 142 48, 53

satha, 'deceitful' hero, 42, 43, 44 sdman, Conciliation, 136, 137, 147

śama, Alleviation, 16, 17 sugrhttabhidha, form of address, 76 śama, Tranquillity, 124, 129 supta, supti, sușupta, Dreaming, 110, samaprakarşa, used for śāntarasa, 117

I29 sütradhāra, Stage-manager, 76, 79, śānta, 'calm' hero, 40, 41, 42, 95 82, 83, 84, 88 anta (rasa), Quietistic Sentiment, sütrabhrt, used for sūtradhāra, 76, I29 88 śrngara, Erotic Sentiment, 74, 92, sūtrin, used for sūtradhara, 76, 83 96, 98, 103, 128, 130-140 saindhava, form of lāsya, 99 śoka, Sorrow, 124, 139, 146 stambha, Paralysis, 108, 120 sobha, Beauty, 59, 61 sthāpaka, Introducer, 79, 80

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158 INDEX OF SANSKRIT TECHNICAL TERMS

sthayin, Permanent State, 92, 106, svdmin, form of address, 77 109, 124-127, 129, 131 svlyđ = svd, 48, 49, 95 sthitapāthya, form of lasya, 99 sveda, Sweating, 108 sthairya, Firmness, 46, 47 smaya = vismaya, 124, 145 H smita, Gentle Smile, 144 hañje, form of address, 77 smrti, Recollection, 110, 116, 132, harsa, Joy, 110, 113, 141, 145 142 hald, form of address, 77 svakīyā = svā, 48, 49, 95 hasita, Smile, 144 svagata, Aside, 37 hasita (Pratāpar.), quality of the svapna = supta, 110, 117 heroine, 59 svā, [the hero's] own wife, as hero- hāva, Emotion, 59, 60 ine, 48, 49, 95 hasa, Mirth, 124, 143 svāda, Charm, 128 hasya, Comic Sentiment, 74, 100, svādhinapatika, °bhartrka, type of 128, 143-144 (cf. 68) heroine, 54 helā, Passion, 59, 60

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GENERAL INDEX

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-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.

A Amitagati, Jain author, a contem- Abhinavagupta, interpretation of porary of Dhanamjaya, xxvi varnasamhāra by, 19 Amoghavarşa, epithet of King Abrupt Dialogue, udghātyaka, 82, Muñja, xxi 84 Amorousness, vilasa, 16 Abrupt Remark, ganda, 84, 87 Amusement, (narma) dyuti, 16, 17 Absence, pravāsa, 135, 138, 139 Anargharaghava, quoted in DR. Act, anka, 35, 36, 90, 91, 93-94 com., xxxvi Activity, karana, 12, 15 Anger, krodha, 124, 142 actor, nața, nartaka, 79, 127 anger, manifestations of, on the actress, natt, 76, 82 part of heroines, 49, 50, 51 acts, number of, in the various Anticipation, pürvabhāva, 29, 31 kinds of drama, 94, 96, 98, I0I. Anticipatory Scene, ankāsya, 34, 35 102, 105 Anxiety, cintā, 110, 114, 132, 134, adaptation of a plot, 89 146 address, prescribed modes of, 76, Apprehension, śankd, 110, III, 142 77 Arjuna, as a character, 127 adverb, as member of locative ab- Arjunavarman, Paramāra ruler and solute phrase, 139 author, quotes a stanza by adverbs, numeral, adjectival use of, Muñja, xxiii xxxii Arrogance, garva, 110, 115, I41 Affected Indifference, bibboka, 59. asamgati, rhetorical fault, 87 64 Aside, svagata, 37 Agitation, dvega, 110, 120, 142, 145. Assertion, vyavasāya, 25, 27 146 Assurance, mati, 110, 119, 14I Alleviation, sama, 16, 17 Astonishment, vismaya, 124, 145 Allurement, vilobhana, 12, 13 astrology, indications of prevalent Aloud, prakāśa, 37 belief in, 118, 122 Altercation, sampheta, 25 Attainment of the Result, phala- Amaruśataka, quoted in DR. com., yoga, 9, 10 xxxvi Attendant, pithamarda, 44 159

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160 GENERAL INDEX

audience, ranga, 80 Breach of Alliance, samghātya, 70, Awakening, vibodha, 1IO, 118 71 Brhatkatha, mentioned in DR. com .. B xxxvi, 39, 124 Balirāja, Cāhamāna chief, defeated mentioned in DR., 38 Muñja, xxii, n. 4 Brhatkathamanjari, lines from the, Ballāla, see Bhojaprabandha interpolated in DR. com., Bāņa Bhatța, the Mahāśvetāvarņa- xxxiii, 39 nāvasara of, mentioned in DR. com., xxxvii C Bashfulness, vihrta, 59, 65 ca, peculiar position of the word, Beauty, sobhā, 59, 61 74 Beauty of Character, śobhd, 45, 46 'calm' hero, śānta, 40, 41, 42, 95 Beginning, drambha, 9, 10, 12 Censure, apavāda, 25 Benediction, praśasti, 24, 29, 32 Certainty of Success, niyatapti, 9, benediction (nandt), 80 10 Bharata, I, 2, 78 Chalitarama, drama, quoted in DR. Bharatīyanatyasastra, relation of com., xxxvii DR. to the, xxvii, xxviii Challenge, utthāpaka, 70, 71 quoted in DR. com., xxxvii Change of Action, parivartaka, 70, four books of the, published by 7I Hall, xl Change of Color, vaivarnya, 108 inaccuracy of Hall's text of the, Change of Voice, vaisvarya, 108 xl, 24, 104 character, pātra, 80 Bhartrhari, a stanza by Muñja in- Characteristic Feature, lakşman, cluded in the Centuries of. 147 xxiii Charm, svāda, 128 the Centuries of, quoted in DR. 'clever' hero, dakşiņa, 42, 43, 44 com., xxxvi Combination of the Castes, varna- a treatise by, quoted in DR. com. samhāra, 16, 19 xxxvii Comic Sentiment, hasya, 74, 100, Bhojadeva, reputed author of Sarasv., xxiii, n. 2 128, 143-144 (cf. 68) Compliment, prapañca, 84, 85 Bhojaprabandha, legendary account Compression, samkșipti, 72 of Muñja in the, xxii, n. 4 Conciliation, saman, 136, 137, 147 verses attributed to Muñja in the, Conclusion, nirvahaņa, II, 28, 92, xxiii, n. 3 98 inclusion of an older stanza in Confidence, apavarita, 37-38 the, xliv, 113 Confirmation, krti, 29, 31 Bliss, dnanda, 29, 30 Conflict, sampheta, 72 Boastfulness, vicalana, 25, 28 Conflict of Feelings, vidhana, 12, Böhtlingk, Otto, marginal annota- 14 tions of, in his copy of DR .. Confusion, vibhrama, 59, 63 xliv Consequent, anubhāva, 59, 92, 106, Brahma, as creator of dramatic sci- 107, 108, 129 ence, 2 Consternation, sambhrama, 20, 23

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GENERAL INDEX 161

contemporaries of Dhanamjaya, quotations in the, xxxv-xxxix, xxiv-xxvi xliii-xliv Contempt, drava, 25, 26 Death, marana, 110, 116, 131, 132, Contentment, dhrti, 110, 112, 14I, 146 145 death, usually not to be repre- Continuance, avalagita, 82, 84, 85 Continuation-scene, ankāvatāra, 34 sented, 93, 105 Erotic Sentiment not possible in 36 case of actual, 139 conventional gesture (tripataka). 'deceitful' hero, śatha, 42, 43, 44 37 Deception, chala, 84, 86 Conversation, paribhāsana, 29, 30 Deduction, anumāna, 20, 22 Conversation with Imaginary Per- Deliberation, tarka, 110, 121 sons, ākāšabhāșita, 38, 98 Delight, vilāsa, 59, 63 Convulsive Laughter, atihasita, 144 Deliverance, samaya, 29, 31 copulative compounds, words arbi- Dénouement, kārya, 8, 9, 31 trarily grouped in, xxx Depression, dainya, 110, 113, 145. costumes, to be characteristic of a 146 special region, 74 Despair, vişāda, 110, 122, 146 Courage, pragalbhatā, 59, 62 Courtesy, paryupāsana, 16, 18 Determinant, vibhāva, 92, 106-107, 129, 130 courtezan, ganikā (veyā), 48, 53, Development, garbha, 1I, 20, 24, 75, 77,95 101 Cruelty, ugratd, 1IO, 114, 131, 142 Development of Affection, narma- curse, separation of lovers by a, 138 garbha, 68, 69 curtain, speaking from behind a, 35 Devotion, bhakti, 147 -dhā, adjectival use of adverbs in, D xxxii Dancing, nrtta, 5 Dhanamjaya, time of, xxi Daśarūpa, name of the, xxi, n. I contemporaries of, xxiv-xxvi date of the, xxi stanza by, in Skm., xxiv relation of the, to Bh., xxvii, theory of the identity of, with xxviii Dhanika, xxxiii quotations from the, in Pratāpar .. Dhanamjaya, son of Vasudeva. xxviii xxiv, n. 4 SD. largely dependent on the, Dhanapåla, lexicographer, contem- xxviii porary of Dhanamjaya, xxiv- style of the, xxviii-xxix xxV commentaries on the, xxxii, n. 2 Dhanika, quotes a stanza by Muñja, defends the 'ten stages' of un- xxiii requited love, 134 a contemporary of Dhanamjaya. (See also the table of contents.) xxiv Daśarūpāvaloka, authorship and theory of the identity of, with date of the, xxxii-xxxiv Dhanamjaya, xxxiii character and value of the, often named as author of DR .. xxxV xxxiii 12

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162 GENERAL INDEX

works of, xxxiv Envy, asūyā, 1IO, 115, 142 quotes stanzas of his own in DR. Epilepsy, apasmara, IIO, 118-119, com., xxxvii 146 DR. com. by, see Daśarūpāvaloka Episode, patākā, 7, 9, 20, 44, 90 Dhāra, capital of the Mālava king- Episode-indication, patākāsthānaka, dom, xxiv, xxv 7,94 Dignity, audārya, 59, 62 Episodical Incident, prakart, 7, 9, 90 Disclosure, udbheda, 12, 14 Equanimity, mādhurya, 45, 46, 47 Disclosure of Affection, narma- Erotic Sentiment, śrngara, 74, 92, sphota, 68, 69 96, 98, 103, 128, 130-140 Discouragement, nirveda, 110, 129, Establishment, parinyāsa, 12, 13 I34 etymological explanation of terms, Discourse, samlapaka, 70 xxix Disgust, jugupsā, 124, 131, I4I Exaggeration, udāharaņa, 20, 21 Dismay, udvega, 20, 23 'exalted' hero, udatta, 40, 41, 42, Dissension, bheda, 137 89, 102 Dissimulation, avahitthā, 1IO, 121 Excitant Determinant, uddipana- Distraction, moha, 110, 119, 145 vibhāva, 107 Distress, udvega, 132 Expansion, bindu, 8, 9, 15, 91, 94, Diversion, rasăntara, 137 103 drama, definition of, 2 'experienced' heroine, pragalbhā, varieties of, 4 49, 50, 51, 97 opening of a, 79-80 Explanatory Scene, viskambhaka, dramatic structure, general arrange- 34, 90, 91 ment of, 90, 91 Expression of Satisfaction, bhasana, Dreaming, supta, 1I0, 117 29, 31

E F editions of DR., xxxix-xlv Fainting, pralaya, 108 Effort, (pra) yatna, 9, 10, 15 'faithful' hero, anukūla, 44 Element of the Plot, arthaprakrti, Farce, prahasana, 4, 53, 54, 99-100 9, II Fear, bhaya, 124, 145 Eloquent Style, bharatt, 73, 80, 81, Feeling, bhāva, 59, 60 98 Fever, samjvara, 132 emendations of the text in this Firmness, sthairya, 46, 47 edition, xlii Foresight, prarocand, 25, 27 Emotion, hava, 59, 60 formulas, transitional and intro. Energy, utsāha, 124, 14I ductory, xxviii Enigma, nālikā, 84, 87 Friendship, priti, 147 Enlargement, parikara, 12, 13 Fright, trāsa, 110, 114, 145 Entrance of a Character, pravrt- Frustration, nirodha (na), 16, 18 taka, 82, 83 Fundamental Determinant, dlam- entrance of actors, 83 bana-vibhāva, 107 Enumeration of Merits, gunakathā, Furious Sentiment, raudra, 74, 10I, I32 128, 142

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GENERAL INDEX 163

G various qualities of the, 45-48 Gallantry, puspa, 16, 18 assistants of a royal, 65-66 Gambling, aksa, 147 relation of the, to the principal Ganeśa, invocation of, I subject, 89 Gay Style, kaisikt, 67, 68, 98, 102, of a Prakaraņa, 94-95 103 of a Nāțikā, 96, 97 Gentle Dance, lāsya, 2, 5, 98, 99 of a Dima, 100 Gentle Smile, smita, 144 of a Vyāyoga, I0I Germ, błja, 8, 9, 12, 13, 14, 15, 20, of a Samavakāra, 102 24, 28, 80, 94 of an Utsrstikānka, 104 gesture, conventional (tripatakā), of an Ihämrga, 105 37 as source of pleasure to spec- Gift-giving, dāna, 137 tators, 127 Graciousness, prasāda, 29, 30 Heroic Sentiment, vira, 74, 92, 98, Grandiose Style, sāttvatt, 70 I02, 128, 14I heroine (ndyika), the three main

H types of, 48

Halasaptaśatī, quoted in DR. com., the hero's own wife as, 49-52 actions of the, in anger, 50, 51 xxxvi Halāyudha, lexicographer, praises a maiden or another's wife as, 52

King Muñja, xxii, xxv, n. 7 a courtezan as, 53-54 eight varieties of, according to a contemporary of Dhanamjaya, relations with the hero, 54-57 xxV Hall, Fitzedward, edition of DR. total number of possible varieties

published by, xxxix-xl of, 58

reprints of the DR. text of, xl messengers of the, 58 the twenty natural graces of the, inaccuracy of the text of Bh. 58-65 published by, xl, 24, 104 disregarded samdhi in giving of a Prakaraņa, 95 of a Nāțikā, 97 variant readings, 75, 86 Hanuman-nātaka, quoted in DR. as source of pleasure to spec- .tators, 127 com., xxxvi types of, to be employed in cer- existed in some form prior to tain cases, 139 1Ith century, xxxviii-xxxix table showing the chief types of, harem, assistants of the hero in 149 the, 66 Hint, grathana, 29, 30 hero (nāyaka), characteristics of Horrific Style, arabhatt, 71, 72 the, 40 Horripilation, romdñca, 108, 129 four types of, 40-42 Humiliation, chalana, 25, 27 as lover, 42-44 Humility, nati, 137 number of varieties of, 44 Humorous Speech, vyāhāra, 84, 88 companions of the, 44-45 Hunting, mrgaya, 147 secondary, of the episode, 44 Hysterical Mood, kilakincita, 59, opponent of the, 45 63

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164 GENERAL INDEX

I Joy, harsa, 110, 113, 141, 145 imaginary persons, addressing of, Junction, samdhi, 29 38 Juncture, samdhi, 11, 90, 98, IOI, Impatience, autsukya, 110, 123, 134 102, 105 Incidental Subject, prāsangika, 6, 7 Incitement, bheda, 12, 15 K Incoherent Chatter, asatpralapa, 84 Kādambari, mentioned in DR. com., 87 xxxvi Inconstancy, capala, 110, 123, 142 Kāmasūtra, quoted in DR. com., Indication, mārga, 20, 21 xxxvii Indifference, upeksā, 137 Karpūramañjarī, quoted in DR. Indignation, amansa, 110, 115, 142 com., xxxvi Indolence, ālasya, 110, 120, 131, 144, the sthapaka found in action in 146 the, 80 Induction, prastāvană (= dmukha), proves assignment of female 81, 82, 88, 102 roles to actresses, 82 'inexperienced' heroine, mugdhā, Kāvyālamkāra of Rudrața, quoted 49, 97 in DR. com., xxxvii infidelity of a lover, 136 Kāvyanirņaya, treatise by Dhanika, Insanity, unmāda, 110, 122, 132, 146 xxxiv Interlude, misleading translation of king, manner of addressing a, 77 praveśaka, 35 management of state affairs by Intermediate Scene, arthopaksepaka, a, 65, 66 33, 36 administrative assistants of a, 65 Intimation, upanyāsa, 16, 19 Kirātārjunīya, quoted in DR. com., intimation of unsuitable details, 33 xxxvi Intimation-scene, cūlikā, 34, 35 Kșemendra, author, quotes stanzas Intoxication, mada, 110, 117, 142 by Muñja, xxiii Introducer, sthapaka, 79, 80 Kumarasambhava, quoted in DR. Introduction, amukha (= prastā- com., xxxvi vanā), 81, 82, 88, 102 Introductory Scene, praveśaka, 34, L 94, 103 Invitation, prarthand (Bh., SD.), language, to be characteristic of a special region, 74 24 Involuntary State, sattvabhava, 78, of the various characters, 75 change of, 75 106, 108, 131 iti, peculiar position of the word, Lassitude, kheda (SD.), 26 Laudation, prarocana, 81 77 Laughing, vihasita, 144 J Laughter, upahasita, 144 Jain authors, xxv, xxvi 'light-hearted' hero, lalita, 40, 41, Jester, vidūşaka, 45, 77, 82 66 Jīvānanda Vidyāsāgara, reprint of Lightheartedness, lalita, 46, 48 DR. published by, xl, 46 local characteristics of a play, 75 Joke, narman, 16, 17 Lolling, lalita, 59, 65

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GENERAL INDEX 165

Longing, abhilāsa, 132, 133, 134 Mudrārākșasa, quoted in DR. com., Love, rati, 124, 130 xxxvi love, unrequited, 132-134 Muñja, Paramāra ruler, patron of Loveliness, kānti, 59, 61 Dhanamjaya, xxi, 148 epithets of, xxi, xxiii M a poet, as well as warrior, xxii- Magadhi, use of, by inferior char- xxiv acters, 75 Dhanika an officer at the court Magnanimity, audārya, 46, 48 of, xxxii Mahabharata, mentioned in DR. a land-grant of, xxxiii com., xxxvi Dhanika quotes a stanza by, Mahānāțaka, quoted in DR. com., xxxvii xxxvi Munja, author of the Gaudavaho, existed in some form prior to xxii, n. 5 1Ith century, xxxviii-xxxix Mahāśvetāvarņanāvasara of Bhațța N Bāņa, mentioned in. DR. com., Nāgānanda, quoted in DR. com., xxxvii xxxvi Mahaviracarita, quoted in DR. Narration, nirnaya, 29, 30 com., xxxvi Nātyapradīpa, dramaturgic treatise, Malatimadhava, quoted in DR. xxxix com., xxxvi Navasāhasānkacarita, Vākpatirāja Mālavikagnimitra, quoted in DR. and Sindhurāja praised in the, com., xxxvi xxii, xxvi, n. I Marvelous Sentiment, adbhuta, 74, quoted in DR. com., xxxvi 92, 128, 145 Nilakaņțha (= Siva), 2 Meghaduta, quoted in DR. com., notes, character of the, in this xxxvi volume, xliv-xlv Merutunga, account of Muñja by, xxi, n. 2, xxiii mentions Dhanapala and his Obstruction, pratiseda (SD.), 28 brother, xxiv, n. 7 Odious Sentiment, bibhatsa, 74, 128, messengers of the heroine, 58 141-142 meters of the DR., xxix-xxxii Mildness, mrdava, 84, 88 Opening, mukha, 1I, 12, 28, 80, 98

Military Spectacle, vyāyoga, 4, 10I Opening of the Story, kathodghāta, 82, 83 minister of state (mantrin, amātya), 65, 66, 95 Opponent of the Hero, prati-

Mirth, hasa, 124, 143 nāyaka, 45 Opposition, virodhana, 25, 27 Mis-statement, abhūtāharaņa, 20 Ornament, bhūsana, 147 Monologue, bhāna, 4. 38, 98, 103, Outburst of Affection, narma- 104 sphūrja, 68, 69 Mrcchakațika, quoted in DR. com., Outvying, adhibala, 84, 86 xxxvi Outwitting, adhibala, 20, 22, 23

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166 GENERAL INDEX

P Pratāparudrīya, quotations from Padmagupta, poet, Vākpatirāja and DR. in the, xxviii Sindhurāja praised by, xxii, praticara, word not in the St. xxvi, n. I Petersburg lexicons, 70 a contemporary of Dhanamjaya, prefix, omission or addition of a, xxv-xxvi in technical terms, xxxi Paiśācī, use of, by inferior char- Preliminaries, pūrvaranga, 79, 85, acters, 75 86 Pāņdavānanda, drama, quoted in DR. com., xxxvii Pretended Anger, kuttamita, 59, 64 Principal Subject, ddhikdrika, 6, 89 Pantomime, nrtya, 5 Parab, K. P., edition of DR. pub- Privation, ayoga, 131, 132-134, 139 Priyadarśikā, mentioned in DR. lished by, xli Paralysis, stambha, 108 com., xxxvi

Parasite, vița, 45, 98 Production of a Matter, vastūt-

Parimala, another name of Padma- thapana, 72

gupta (q. v.), xxv Progress, krama, 20, 21-22

Particular Presentation, prayogāti- Progression, pratimukha, 11, 15

saya, 82, 83-84 Propitiation, samgraha, 20, 22

'partly experienced' heroine, madh- Prospect of Success, prāptyāśā, 9,

yā, 49, 50, 51 I0, 20

Pārvatī (Sarvāņī), 2 Prthivivallabha, epithet of King

Passion, held, 59, 60 Muñja, xxi

Pathetic Sentiment, karuna, 74, 104, psychology of enjoyment of the

128, 146 drama, 127

Pause, avamarśa, 1I, 24, I0I, 102 Pursuit, parisarpa, 16

Permanent State, sthāyin, 92, 106, Puşpadūșitaka, drama, mentioned

109, 124-127, 129, 131 in DR. com., xxxvii

Personal Address, janāntika, 37 Placation, śakti, 25, 26 Q

play, opening of a, 79 Quarrel, toțaka, 20, 23 Pleasantry, narman, 68 queen, manner of addressing a, 77 plot, modification of unsuitable the oldest wife in a Nāțikā to features of a, 89 be a, 97 Poise, gāmbhīrya, 46, 47 Quietistic Sentiment, sāntarasa, 129 Prabandhacintāmaņi, account of quotations, from DR., in Pratāpar. Muñja in the, xxi, n. 2, xxiii and SD., xxviii Dhanapāla and his brother men- illustrative, in Dhanika's com- tioned in the, xxiv, n. 7 mentary, xxxv-xxxix, xliii-xliv Prabhāvakacarita, Dhanapāla men- tioned in the, xxiv, n. 7 R Präkrit, used in one form of Radiance, dipti, 59, 61 vişkambhaka, 34 certain characters to speak, 75 Raghuvamśa, quoted in DR. com .. xxxvi

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GENERAL INDEX 167

Rājendrakarņapūra, Muñja men- Sambhu, author, mentions Muñja, tioned in the, xxi, n. 2 xxi, n. 2 Rāma, as hero, 127 Samudramanthana, a drama or a Rāmābhyudaya, drama, mentioned legend, mentioned in DR. com., in DR. com., xxxvii xxxviii Rāmāyaņa, mentioned in DR. com., Sanskrit, one form of viskambhaka xxxvi to be in, 34 mentioned in DR., 38-39 characters that are to speak, 75 rank, grouping of characters ac- generally used in the Eloquent cording to, 67 Style, 81 Rasikasamjīvanī, a stanza by Muñja Sāntisuri, author, mentions Dhana- quoted in the, xxiii pāla, xxiv, n. 7 Ratnāvalī, frequently quoted in DR. Sarasvatī, 2 com., xxxvi Sarasvatīkanțhabharaņa, Munja Raving, pralāpa, 132 mentioned in the, xxiii, n. 2 Rebuke, dyuti, 25, 26 DR. quoted in the, xxxiii, n. 2 Recollection, smrti, 1IO, 116, 132, Särngadharapaddhati, stanzas by 142 Muñja in the, xxiv Re-interpretation, avasyandita, 84, contains three stanzas by Dhan- 87 ika, xxxiv Repartee, vākkelt, 84, 86 Sarvāņī (= Pārvatī), 2 Representation, rūpaka, 4 Saurasenī, use of, by inferior char- Resentment, māna, 135-137 acters, 75 Resolve, yukti, 12, 13 scenes explaining omitted matters. Response, pragamana, 16, 18 33-36

Revelation, ākşepa, 20, 23-24 Self-control, dhairya, 59, 62 Reverence, prasanga, 25, 26 Sense of Honor, tejas, 46, 47

role, female, assigned to an actress, Sentiment, rasa, 4, 91, 92, 96, 98, 100,

82 I0I, 102, 103, 104, 106, 126,

Rudra, a poet, quoted in DR. com., 127, 128, 129, 148 Separation, viprayoga, 131, 135-139 xxxvii Settling, samādhāna, 12, 14 Shakspere, a parallel adduced from, S 132 Saduktikarņāmrta, a stanza at- Shame, vridā, 110, 118 tributed to Dhanamjaya in the, 'shameless' hero, dhrsta, 42, 43, 44 xxiv Show, rūpa, 3 King Muñja mentioned or quoted Sickness, vyādhi, 110, 122, 142, 146 in the, xxiv, n. 3 Silent Expression of Affection, Sāhityadarpaņa, dependence of, on mottāyita, 59, 64 DR., xxviii Siśupālavadha, quoted in DR. com .. refers to DR., 15, 17 xxxvi criticizes DR., 65, 66 Siva (Nilakaņțha), 2, 78 Sakuntalā, quoted in DR. com., Sleeping, nidrā, 110 117, 144, 146 xxxvi Smile, hasita, 144

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168 GENERAL INDEX

Sobhanamuni, Jain author, a con- Sub-juncture, anusamdhi, 90 temporary of Dhanamjaya, Success, prāpti, 12, 13 xxiv, n. 7, XXV suffix, addition or rejection of a, in Sorrow, śoka, 124, 139, 146 technical terms, xxxi Special Juncture, samdhyantara, Suggestion, upaksepa, 12 147 Summary, ādāna, 25, 28 spectator (rasika), 106, 126, 127 Supposition, rūpa, 20, 21 Sportiveness, ltlā, 59, 62, 140 Surprise, paribhavanā, 12, 14 Sridharadāsa, author, quotes a śvasa, used for nihśvasa, 123 stanza by Dhanamjaya, xxiv Sweating, sveda, 108 quotes or mentions King Muñja, Sweetness, mādhurya, 59, 61 xxiv, n. 3 Srivallabha, epithet of King Muñja, T xxi Srňgāratilaka (attributed to Kāli- Tailapa II (Taila), Muñja defeated dāsa), quoted in DR. com., and executed by, xxii xxxvi Tarangadatta, drama, mentioned in stage, actions not permitted on the, DR. com., xxxvii

93 Tastefulness, vicchitti, 59, 63 Stage of the Action, avastha, 9, II technical terms, varying forms of, stage-directions, mention of asides xxx-xxxi

in, 37 method of translating, xliii Termination, kāvyasamhāra, 29, 32 stage-manager, manner of address- ing the, 76 terminology, variations in, xxx-

assistant of the, 76, 82 xxxi

opening of a play by the, 79, 82, Terrible Sentiment, bhayānaka, 74,

88 128, 145

remark of the, taken up by text of DR., in Hall's edition, xxxix-x1 another actor, 83 in the present volume, xli-xlii refers to an entering character, Thunderbolt, vajra, 16, 19 84 State, bhāva, 108 Torment, tāpana (SD.), 17 Tranquillity, śama, 124, 129 structure, dramatic, general arrange- Transitory State, vyabhicarin, 92, ment of, 90, 91 Stupor, jadatā, 110, 113, 132, 144, 106, 109, I1O, 125, 129, 131

146 translation, character of the pres-

Style of Procedure, vrtti, 67, 73, 74, ent, xliii of technical terms, xliii 100, 102 Subhāșitāvali, stanzas by Muñja in Trembling, vepathu, 108 Triple Explanation, trigata, 84, 85 the, xxiv Subject, Principal, ādhikārika, 6, Tripura, the burning of, as subject for a drama, IOI 89 Subject-matter, vastu, 6, 7, 33, 36, Tumult, vidrava, 25

80, 88, 92, 96, 98, 100, 102, 105 Tumultuous Disturbance, avapāta, 72, 73

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GENERAL INDEX 169

U verse-fillers, Dhanamjaya's use of, Udāttarāghava, drama, quoted in xxx DR. com., xxxvii Viddhaśālabhañjikā, quoted in DR. Udayanacarita, story mentioned in com., xxxvi DR. com., xxxviii Vidyāsāgara, J., reprint of DR. pub- Udbhața, rhetorician, 73, 74 lished by, xl Unforeseen Circumstance, upa- repeats errors of Hall's edition, gūhana, 29, 31 Union, sambhoga, 131, 140 xl, 46

Unrequitedness, vidhūta, 16, 17 Vigilance, vibodha, 29

Uproarious Laughter, apahasita, Vikațanitambā, poetess, quoted in DR. com., xxxvii

Utpaladeva, Saivite guru, not to be 144 Vikramorvaśī, quoted in DR. com ..

confused with Utpalarāja, xxii. xxxvi

Utpalarāja, epithet of King Muñja n. 5 Viriñci (= Brahma), creator of dramatic science, 2 (q. v.), xxi, xxiii, xxxii Vișņu, invocation of, I Uttararamacarita, quoted in DR. Vişnu, father of Dhanamjaya, xxiv, com., xxxvi 148 Vivacity, vilāsa, 45, 46 V Vākpatirāja II, Paramāra ruler, see W Muñja Vallabhadeva, stanzas by Muñja in- Weakness, glani, 110, I1I, 134, 144 cluded in the Subhāșitāvali of. Weariness, śrama, 110, 112, 144 xxiv Weeping, aśru, 108 variation in form of technical wife of the hero (sva), as heroine, terms, xxx-xxxi 48, 49, 95 'vehement' hero, uddhata, 40, 42, wild dance, tāndava, 2, 5 45, IOI, 105 women, Prākrit to be spoken by Veņīsamhāra, frequently quoted in most, 75 DR. com., xxxvi manner of addressing, 77

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VITA

GEORGE CHRISTIAN OTTO HAAS was born March 28, 1883, in New York City. He received his preliminary training in private schools, and was admitted in 1898 to Columbia College, from which he graduated with the degree of A.B. in 1902. After obtaining the degree of A.M. from Columbia University in the following year, he became a candidate for the degree of Doctor of Philosophy and continued his studies under the Faculty of Philosophy, holding the Gottsberger Fellowship during the aca- demic year 1905-1906. His work has been chiefly in the field of Indo-Iranian languages under the direction of Professor Jackson, to whom he is greatly indebted for instruction and scholarly training. He has published a paper entitled ' An Avestan Frag- ment on the Resurrection (Fr. W. 4) edited with translation and notes,' in the Spiegel Memorial Volume, Bombay, 1908, pp. 181- 187. Since 1907 he has been an associate editor of Orientalische Bibliographie (published annually), and since 1903 a member of the American Oriental Society.

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