244. 244 HISTORY OF SANKRIT POETICS

244 HISTORY OF SANKRIT POETICS

wit 'Avaloka', which suggests interpolations. The trnsy deserv. es to be referred to here because it contains a treatment of the rasa theory. Otherwise it is a work dealing with drama- turgy alone and not with the several topics of Poetics. The work contains about 300 kārikas and is divided into four AGTXIS. Bharata in chap. 20 verses 1-2 (Ch. ed .= 18th chapter in K. M. ed.) states that he will set out the ten kinds of plays together with their names, their actions, their representation on the stage. The ten principal varieties of drames are aree, प्रकरण, भक्क, व्यायोग, भाख, समवकार, वीथी, प्रहसन, डिम, ईहामृग. Out of these नाटक and प्रकरण are most important and serve as the pattern (prakrti) on which the remaining kinds and other kinds of plays (such as the नाटिका described by Bharata himself in chap. 20 verses 62-63) are constructed. The work is called Rrey or areys because it is concerned with the representa- tion of ten principal kinds of plays (called rūpakas). Bharata employs kāvya and nātya as synonyms.1 Vāmana states that among poetic compositions, the ten rūpakas are superior* (rTT. ₹. I. 3. 30). The view of Tota identifying rasa with natya has been already quoted (p. 219). Three works stand pre-eminent in the treatment of dramaturgy in Sanskrit viz. भरतनाव्यशाखत्र, दशरूप (with अवलोक) and the साहित्यदर्पण. In the Udepur

1. Vide नाव्यशाख 16. 169 काव्यवन्धास्तु कर्तव्या: षटत्रिशपक्षणा- न्बिताः ।; 'षट्त्रिशलवणान्येवं काव्यवन्वेषु निर्दिशेद। 17. 5; also 17. 42 and 121. 2. भवस्थानुकृतिर्नाट्यं रूपं दृश्यतयोच्यते। रूपकं तत्समारोपाद दशषैव रसाश्यम् । दशरूप I. 7. This means that नाट्य is called रूप because it is something to be seen (just as q i. e. the form of a body is seen) and it is called eya because while it is being represented the actors have for the time being superimposed upon them the actions and situations of other men (viz. the hero {IH and the like). Vide for a discussion on the meaning of ISTF J.O. R., Madras, for 1933 p. 277-290 (Dr. Raghavan). 3. The last verse of the work is : विष्णोः सुतेनापि घनञ्जयेन विदन्मनोरागनिबन्धहेतु:। भाविष्कृतं मुञ्जमहीशगोष्ठीवैदग्ध्यमाजा दशरूपमेतत्।. This goes to show that qrEq is the proper name of the work. The Colophons at the end of the commentary describe it as दरारूपावलोक composed by धनिक son of विष्णु. Hall notes in his Preface (p. 3) that one of the mss. of the Avaloka speaks of