62. VĀRTİKA ON NĀȚYASĀSTRA 59

VĀRTİKA ON NĀȚYASĀSTRA 59

is cited as a writer on कलाs in वामन's काव्यालक्वारसूत्रवृत्ति (I.3.7.). The कुट्टनीमत (v. 123) has भरतविशाखिलदन्तिलवृक्षायुर्वेदचित्रसूत्रेषु। पत्रच्छेदविधाने भ्रमकमषि पुस्तसूदशास्त्रेषु ॥. The A. B. (vol. I. p. 199 on chap. 4. 312) states that लास्यगान was expounded by विशाखिल. On नाट्यशास्त्र 28. 10 the A. B. (B.O.R.I. copy p. 383) states the view 'तथा च विशाखिलाचार्या: स्वरपदतालसमवाये गान्धर्वमिति.' On नाट्य 29. 81-83, B. O. R. I. copy p. 401 makes the following remarks and thereby suggests that अभिनव thought that भरत knew विशाखिल 'एवकारेण चतुष्प्रहर एासत्रिप्रहर यमङगुलीनां विभागो द्े वृती समलेखा च त्रिलेखा इत्यादिकं विशा- खिलाचार्यान्तरप्रोक्तं सर्वंथव ध्रुवागानज्ञानवैकल्प्योपयोगात् मया नोक्तमिति सूचयति।.' विशाखिल is mentioned also on pp. 408, 422(on 30.3 अतएव शारीरवद्वंश्यानामारोहयमिवारोहयं वेति विशाखिलाचार्य: ।), 429, 431, 432, 497 (विशाखिलादिलन्ितं सर्वमेव लास्यगानं). It appears that there was a work called Vartika on the Nātyasastra. It was composed by one Srīharșa or Harșa. He is frequently referred to sometimes as simply वार्तिककृत and some- times as श्रीहर्ष; (1) On नाट्य. II. 97-98 (A. B. vol. I. p. 67) the views of the वार्तिककृत on the numbers of columns(स्तम्भ) to be erec- ted in various parts of the नाट्यमएडप are quoted in 11 aryas that are rather mutilated. On p. 68 there are four more āryas with gaps that are also probably from the वार्तिक; (2) on नाट्य I. 84 नेपथ्यभूमौ मित्रस्तु, A. B. (vol. I. p. 31) mentions the view of वार्तिककार which cannot be made out clearly as the passage is corrupt; (3) on नाट्य 4. 267-268 (vol I. p. 172) the वार्तिककृत् asserts that in essence नाट्य and नृत्त are not different,1वाच्यानुगतेऽभिनये प्रतिपाधेर्थे च गात्रविक्षेपः। उभयोरपि हि समानः को भेदो नृत्तनाव्यगतः ॥l; (4) The same view is enforced by another arya from the वार्तिक (vol. I.

1. नाट्य means all dramatic performance. It comprehends drama, singing and dance. In several kinds of रूपकs drama predonimates, in the other रूपकs and in उपरूपकs song and dance predominate. Sometimes a distinction is made between नाट्य, नृत्य and नृत्त. नाट्य is represented by several persons, नृत्य and नृत्त are the business of one (they are एकहार्य). नृत्य and नृत्त are also distinguished. Vide दशरूपक 1. 7-9 अवस्थानुकृतिर्नाट्यं ... दशधैव रसाश्रयम्। अन्यद् भावाश्रयं नृत्यं नृत्त ताललयाश्रयम्।'. The भावप्रका- शन p. 298 says: 'पदार्थाभिनयो नृत्यं डोम्बीश्रीगदितादिषु। अरभविक्षेपमात्रं यल्लयतालसमन्वितम्॥ तन्नृत्त &c .; also p. 45 नटकमैव नाट्यं स्यादिति नाट्यविदां मतम्। करसैरडहारैश्च नि्वृत्त नृत्तमुच्यते ॥. What is common to all three is अनुकृति or अनुकरण. The भमरकोश has तौर्यंत्रिकं नृत्यगीतवाचयं नाट्यमिदं त्रयम्।'