71. 68 HISTORY OF SANSKRIT POETICS

68 HISTORY OF SANSKRIT POETICS

शैर्विना कृतम्) and it is stated that it should be endowed with nine rasas ((रसैः कार्य समन्वितम्। verse 14); chap. 16 names and defines 21 Prahelikās (15 verses); chap. 17 speaks of rūpakas which are of 12 varieties (नाटकादिषु रूपेषु कर्तव्यं द्वादशस्वपि, verse 60) and not ten as Bharata states (नाट्यशास् 20. 1-3=G.O.S. vol. II chap. 18. 2-3). Verses 12-13 state that death (of the hero), loss of kingdom, the siege of a city, battles, should not be shown directly on the stage but should be narrated by means of Praveśakas.1 Verses 56-59 of this chap. speak of the eight kinds of Nayikas; chap. 18 (mostly in prose) treats of गीत, the स्वरs, ग्राम, मूछना; two verses of it (भपरान्तकमुल्लोप्यं मद्रकं प्रकरी तथा। उवेशकं सरोबिन्दुसुत्तमं गीतकानि तु।। ऋग्गाथा &c.) are the same as Yaj. III. 113-14 quoted above (p. 45, n. 2) and they read सरोबिन्दु (as विश्वरूप and मिताक्षरा do) for रोविन्दक of the नाव्यशास्त्र (31.290); chap. 19(in prose)deals with the four kinds of musical instruments and 20 with मएडलs (two kinds of ten varieties each), अङ्हारs(36in verses 29-35, while the नाय्यशा speaks of 32 in chap.4.27), करणs (108 described in ना्य० IV. 61-169), पिएडीबन्धS, four वृत्तिs and four प्रवृत्तिs; the first verse of chap.20 is that natya is an imitation of another and nrtta (dance) gives it polish and charm (परस्यानुकृतिर्नाट्यं नाट्यश्ै: कथितं नृप। तस्य संस्कारकं नृत्तं भवेच्छोभाविवर्धनम्।।1). It also speaks of लोकधर्मी and नाट्यधर्मी; the four kinds of भभिनय; chapters 21-23 deal with शय्या, आसन, स्थानक; chap. 24-25 deal with movements and postures of the hand and other limbs of the body; chap. 26 with 13 gestures of the joined hands (संयुतकर) and 22 of the unjoined hands (असंयुतकर); at the end it is stated 'सर्व करायत्तमिदं हि नृत्तम्'; chap. 27 deals with आहार्याभिनय which is of four kinds प्रस्त (पुस्त ?) अलंकार, अङ्गरचना, सजजीव (vide नाव्यशास्त्र2 23.5); chap. 28 on सामान्याभिनय (the last verse viz. 62 saying नाट्यं हि विश्वस्य यतोनुकारं कृत्स्नं ततो वक्तुमशक्यमीश ॥); chap. 29 on गतिप्रचार (gaits and manner of movement on the stage of several chara- ters); chap. 30 on रसवर्णन (in 28 verses, the first being हास्य श्रङ्गार ... नव नाट्ये रसा: स्मृता:); chap. 31 on 49 भावs in 58 verses (53 being

1. मरयं राज्यविभ्रंशो नगरस्योपरोधनम्। एतानि दर्शयेन्नाङ्के तथा युद्धं च पार्थिव। प्रवेशकेन कतव्यं तेषामाख्यानकं बुधः। विष्णुध० III. 17. 12-13; compare नाय्यशाख 20. 21=GOS. vol. II. chap. 18. 38. and भावप्र० (VII.) p. 216 for a verse similar to the above. 2. Verses 21-25 of chap. 27 of विष्युधर्मोत्तर are identical with नाट्यशाख 23. 102-104 about the complexion of characters from various countries.