312. RŪPAGOSVĀMIN 313

RŪPAGOSVĀMIN 313

that work in a group; they are of two kinds, muni and upanisads; भयौथिक्य: were of two kinds, प्राचीन and नव; देवीs were those goddesses that were born on the earth along with oU; TTHT and चन्द्रावली were among नित्यप्रियाS; and enumeration of the gunas of Radha and their illustrations; five kinds of सखी; स्वकीया and परकीया are each of three kinds viz. मुग्धा, मध्या and प्रगल्भा; their definitions and illustrations; sub-divisions of these; all nāyikās are again of eight kinds viz. अमिसारिका, वासकसज्जा, उत्कगिठता, खिडता, विप्रलब्धा, कलहान्तरिता, प्रोषितपतिका, स्वाधीनभर्तका, their defini- tions and examples; further sub-divisions; in all 360 kinds of नायिका; दूतीs of two kinds स्वयंदूती and भाप्तदूती; their sub-divisions and characteristics; wets and their qualities and characteristics; the उद्दीपनविभावs, viz. the gunas (मानस, वाचिक, कायिक) of Hari and his priyas and their elucidation; their names, actions, decora- tions, things in contact with them (such as flute, song, nirmālya, basil plant), anubhūvas; 20 guņas due to sattva, bhāva, hāva, helã (three angaja), seven (sobhā, kānti &c.) that are natural and] without effort and ten that are svabhāvaja (līlā, vilāsa, &c.); the sāttvikabhāvas, stambha (due to fear, wonder, grief, anger), perspiration &c .; thirty-three vyabhīcāribhāvas, such as nirveda, glani &c .; explanation of srngara called nyrrrfa; firm रति is called प्रेमा, which has six aspects viz. स्नेह, मान, प्रयय, राग, अनुराग, भाव, just as from the same sugarcane one can get juice, गुड, खएड, शर्करा, सिता, सितोपला; subdivisions of प्रेमा; शृद्गार is of two kinds. विप्रलम्भ and सम्भोग; the latter is of two kinds, मुख्य and गौस and sub-divisions of these two. The उन्ज्वलनीलमणि is distinguished from many other works on Poetics in two ways, viz. it treats exhaustively of Bhaktirasa and all the illustrations relate to Krsna, his devotees and their moods and doings. Rūpagosvāmin also composed a work on dramaturgy called नाटकचन्द्रिका. At the beginning of his work he states that he followed Bharata and Rasasudhākara and rejected the dicta of the Sahityadarpana as they were opposed to those of Bharata. It is divided into eight sections. It contains the usual topics of the general characteristics of a drama, the Nāyaka, other topics of a drama such as nāndī, sandhis, patākā, vişkambhaka, bhāșās, vịttis and their adaptation to the several rasas. Most of the numerous examples are taken from Vaișnava works. For an analysis of the contents, vide Mitra's