37. 34 HISTORY OF SANSKRIT POETICS

34 HISTORY OF SANSKRIT POETICS

scheme of eight ganas (such as bha, ma, ja); meaning of guru, laghu, yati; 16 the metres (vrtta) to be employed in dramas, their definitions and examples; sama and vişama metres, Āryās; 17 enumeration of 36 lakşaņas in kāvya that is to be represented on1 the stage and their definitions; four alankāras of Nātaka viz. Upamā, Rūpaka, Dīpaka and Yamaka and their sub-divisions and illustrations; the ten blemishes of kāvya (kāvyadoșa); the ten guņas of kāvya and their definitions; 18 Prākrit recitation in dramas is of three kinds, just like Sanskrit, vibhrasta (in which vowels and consonants of Sanskrit are changed) and desi; what characters are to speak Sanskrit, Prakrit or other dialects; Sauraseni to be the principal Prākrt but there are six other (bhasas) prakrts viz. मागधी, अवन्तिजा, प्राच्या, अर्धमागधी, बाह्ोका, दाक्षियात्या that may be employed according to the desire of the actors; who are to use these; dialects of sabaras, ābhīras, cāņdālas, sacara (? śakāra), dravidas, odras (Orissa people) and of forest tribes are called vibhâșa; 19 the various modes of addressing high, middling or low characters, such as saying ārya to a brāhmana and maharaja to a king; names of persons of the three varņas should respectively end in śarma, varma and datta; names of courtezans should end in dattā, mitrā and senā; the gunas of pāțhya; seven musical notes (svaras viz. șadja, rsabha &c.), the three sthanas (chest, throat and head); four svaras viz. 34T, अनुदास्त, स्वरित, कम्पित; the two kinds of kaku; the alankaras viz. उच्च, दीस, मन्द्र, नीच, द्रुत and विलम्बित); 20 disquisition on ten varieties of plays (noted below)2; description of contents and characte-

I Vide Dr. Raghavan's paper on 'the concept of laksanas in Bharata' in J. O. R., Madras, vol. VI. pp. 54-82 and in 'Some concepts of the Alankāra-śāstra' (1942) pp. 1-47; 'Doctrine of lakşanas' in Poona Orientalist vol. XVI part 1, pp. 11-33 by Prof. S. P. Bhattächarya. ara says in the last line of chap. 16 'काव्यबन्धास्तु कर्तव्याः षट्त्रिशल्लक्षणान्विताः'. As observed by Abhinava himself these laksanas faded into the background and some of these like asih and drstanta came to be names of ueaRs: 'तत्र गुणालंकारादिरिति वृत्तयश्चेति काव्येषु प्रसिद्धो मार्गो लक्षयानि तुन प्रसिद्धानि' भ. भा. vol. II. p. 294. There were ten पनs about them: इदं तु दशपचयां वस्तु ॥vol. II. p. 297. 2 नाटकं सप्रकरणमको व्यायोग एव च। भारः समवकारश्ष वीधी प्रहसनं डिमः॥ र्ईद्दामृगं च विशेयं दशमं नाट्यलक्यम्। नाट्य. 20. 2-3.