35. 32 HISTORY OF SANSKRIT POETICS

32 HISTORY OF SANSKRIT POETICS

the eight sthāyibhāvas, the 33 vyabhicāribhāvas, eight sāttvika- bhavas, four kinds of abhinaya(भाङिक, वाचिक, आाहार्य, and सात्त्विक), two kinds of धर्मी (viz. लोकधर्मी and नाटयधर्म); four vrttis ( भारती, सात्व्रती, कैशिकी, आरभटी); the pravrttis (शरवन्ती, दाकिखात्या, श्रोड्रमागधी, पाञ्चाली); siddhi (of two kinds, दैवी and मानुषी), the seven svaras (sadja, rsabha &c.), the four kinds of musical instruments (aa, अवनद्ध, धन, सुषिर), five kinds of gana (singing), ranga (mandapa: square, elongated or triangular); how rasa is evolved by farrra, अनुभाव and व्यभिचारिभाव; relation of rasas to each other and to bhavas; colours and superintending deities (adhidaivata) of the rasas; detailed treatment of several rasas, their sthāyibhāvas; 7 detailed treatment of bhāvas, vibhāvas, sthāyibhāvas (viz. rati &c.) and vyabhicāribhāvas, viz. nirveda, glāni &c.(in all 33); the eight sāttvika bhavas, viz. stambha &c .; 8 detailed description of the four kinds of acting, viz. sāttvika (already described as stambha, perspiration, tremor, horripilation &c.), āngika, vācika and aharya; 9 the various movements and positions of the hands, the chest, the sides, the abdomen, the waist, legs and feet in nātya1; 24 postures of the hand such as patāka, tritatāka when not joined and 13 postures of the joined hands such as añjali, svastika; 27 nrttahastas; definitions and employment of the above mentioned 64 movements and postures of the hands; other kinds of movements and hands may be employed in accordence with rasa, bhava, and actions, the requirements of time and place; the postures of hands in dancing; 10 five kinds of the movements of the chest, the sides, the waist and other parts of the body, their definitions and employments on occasions; 11 definitions of Cārī (gait),2 Khanda, Karana, and Mandala; definitions of 16 carīs (called bhaumyah, of land) and 16 of the sky and when they are to be employed; how archery is represented in a drama; who should not be made to undergo rapid movements and Prof. K. C. Pandey on 'Dhanañjaya and Abhinavagupta' in N. I. A. vol. VI pp. 272-282 in which the arguments for and against śnta rasa are well marshalled. I On 9. 27 एवमेष प्रयोक्तव्यः स्ीपुंसाभिनये करः, the शर. भा. (vol. II. P.31) remarks: स्त्रीपुंसयोरुभयोरषि अभिनेत्रोरमिनेययोर्वा. So, women also were engaged as actresses in Abhinava's day at all events. Vide also 9. 155. 2 एकपादप्रचारो थः सा चारीत्यभिसंशिता। द्विपादक्रमणं यत्तु करणं नाम तद्द्रवेत्।। ... यदेतत्प्रस्तुतं नाट्यं तच्चारीष्वेव संश्ञितम् । नाट्य. XI. 3 and 6.