48. NĀȚYASĀSTRA 45

NĀȚYASĀSTRA 45

fore, लोल्लट probably flourished before शङ्कुक i.e. between 750- 800. The conclusion is that the 6th chapter of the नाटयशास्त्र dealing with rasas had been the subject of several interpretations from the 8th century A. D. (e) भवभूति (about 700-740 A. D.) looks upon Bharata as the author of तौर्यत्रिकसूत्र (i. e. नाट्यशास्त्र) and as a contemporary of Valmiki, the author of the रामायण (vide उत्तररामचरित IV). (f) Bana in his कादम्बरी (para 71 of my edition) mentions the नत्तशास्त्र composed by भरत as one of the branches of knowledge in which चन्द्रापीड became proficient. In the हर्षचरित also(III. para 5) he speaks of singing which followed the path laid down by Bharata.1 In another place («so II. 4) he speaks of actors in the आरभटीवृत्ति (रैणवावर्तमएडलीरेच करासरभसारब्धनतनारभटीनटा:). रेचक is defined in नाट्यशास्त्र (4. 240-246) and आरभटी (chap.20.65 of vol. III GOS ). (g) The याज्ञवल्क्यस्मृति, after stating that by reciting the Sam- an songs according to rules and without mistakes the singer reaches Brahma (i.e. realises the Supreme Reality), extends the same reward to those who instead of the Vedic songs sing the seven kinds of non-Vedic songs called2 अपरान्तक, उल्लोप्यक, मद्रक, प्रकरी, ओवेखक, सरोबिन्दु and उत्तर; further provides that the repeated singing of four kinds of other songs (mentioned below) also tend to moksa (enabling the mind to concentrate itself on the Supreme Soul) and those who know the essence of the playing on the

I वंशानुगमविवादि स्फुटकरणं भरतमार्गभजनगुरु। श्रीकएठविनिर्यातं गीतमिदं हर्षराज्यमिव ॥ हर्षचरित III. verse 4; as to विवादी, vide नाट्यशास्त्र for the four kind of स्वरs, viz वादि, संवादि, अनुवादि and विवादि (28. 20) and 'विवादिनस्तु ते येषां विशतिस्वरमन्तरम् । तधथा वृषभगान्धारी धेवतनिषादौ' (नाट्य० chap. 28 after verse 21 p.318). For करखs (of the hand) see नाट्य. 9. 198-207. 2 अपरान्तकमुल्लोप्यं मद्रकं प्रकरीं तथा। शवेशकं सरोबिन्दुमुत्तरं गीतकानि च। ऋग्गाथा पािका दक्षविहिता ब्रह्मगीतिका। गेयमेतत्तदभ्यासकर ान्मोतसंशितम्।। वीखावादनतत्त्वश्ञः श्रतिजातिविशारदः तालज्ञश्च प्रयासेन मोक्षमार्ग नियच्छति ॥; compare याश III. 113-115. Compare ब्रह्मोक्तं सप्तरूप हि समवेताद विनिःसृतम्। दैवताराधनं पुयमनन्तं गीतवादितम् । ... ऋग्गाथापायिकानां च प्रमाण- नां तथैव च। अ्रनेनैव विधानेन युग्मौजस्त्वं विभावयेद्॥ नाट्यशास्त्र 31. 419, 421; K. M. 31. 324 is somewhat similar to the last verse. Again 31. 523 is ऋग्गाथा पाशिका चैव सप्तरूपं प्रकीर्णकम् । and 32. 2 is या ऋच: पाषिका गाथा सप्तरूपांङ्मेत्र च ।.