38. NĀȚYAŠĀSTRA 35

NĀȚYAŠĀSTRA 35

rristics of the first variety (nataka) out of the dasarupas; what incidents may be represented or not represented on the stage1; the technique of pravesaka and vişkambhaka; the characteristics of a prakarana and the other kinds of dramatic representations and the definitions of their angas ; 21 the plot of the drama; it has a dominant part (ādhikārika) and a subsidiary one (prāsangika) ;. there are five sandhis; five avasthas (प्रारम्भ, प्रयत्न &c) ; five artha- prakrtis wiz. बीज, बिन्दु, पताका, प्रकरी, कार्य, and their definitions; sandhyantaras; the 64 angas (constituents) of the five sandhis (viz. 12 each of mukha and garbha, 13 each of pratimukha and vimarśa and 14 of nirvahana) and their definitions; five arthopa- ksepakas (devices referring to incidents that have happened during the intervals of the Acts and that are not to be represent -. ed on the stage) viz. बिष्कम्भक, चूलिका, प्रवेशक, अक्कावतार and अ्रङ्कमुख; there is no action, no knowledge, no lore, nor kalā and no craft that cannot be2 represented or cannot be useful in a Nātaka; 22 (or chap. 20 of GOS ed.) the four vrttis, called भारती, सात्वती कैशिकी, आरभटी, their mythical origin at the time of the fight of Visnu with the asuras Madhu and Kaitabha; the origin of the four vrttis3 respectively from ऋग्वेद, यजुर्वेद, सामवेद and आथर्वणवेद; four sub-divisions (aa) of each of the four vrttis and their definitions; particular rasas for which each of the four vrttis was to be employed; 23 dramatic representation is centred in I. क्रोधप्रसादशोका: शापोत्सर्गोडय विद्रवोद्ाहौ। अद्भुतसंश्रयदर्शनमङ्कप्रत्यक्षजानि म्युः ॥ युद्वं राज्यभ्रंशो मरणं नगररोधनं चैव। अप्रत्यक्षकृतानि प्रवेशकैः संविधेयानि ॥ अङ्कप्रवेशके वा प्रकरणमाश्रित्य नाटकं वापि। न वध: कर्तव्यः स्याद्योभ्युदयी नायकः ख्यातः ॥ नाट्य. 20. 20-22. Vide अ्र.भा. vol.II. pp. 426-427(chap.18) for several views on the question of representing death on the stage directly. अभिनव० (vol. II. p. 426) is against it (तस्माद्रङ्ग मरमप्रयोज्यमेव). 2. न तज्ज्ञानं न तच्छििल्पं न सा विद्या न सा कला। न तत्कर्म न योगोऽसौ नाटके यन्न दृश्यते ॥ नाट्य. 21. 122. It is also नाट्य. I. 113-114. अ्र. भा. comments (vol. I. 42) 'ज्ञानमित्युपादेयमात्मज्ञानादि। ... विद्या दएडनीत्यादि। ... योगो योजनं तेषामेव ज्ञानादीनां कलान्तानां स्वमेदैरन्योन्यस्त्रभेदः। ... कर्मेति युद्ध- नियुद्धादिर्व्यापार:।.' 3. या वाक्प्रधाना पुरुषप्रयोज्या स्रीवर्जिता संस्कृतवाक्ययुक्ता। स्वनामघेयर्भरतः प्रवुत्ता सा भारती नाम भवेतु वृत्तिः ॥ नाट्य० 22.25 (or 20.26 G. O. S. ed.) In अलक्कार works वृत्ति has several meanings. 4. Vide Dr. Raghavan on vrttis in J. O. R., Madras, vol. VI. pp. 346-370 and vol. VII. pp. 33-52 and 91-112 and in 'Some concepts of the Alankara-sastra' pp. 182-193. The rara-