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VISVA BHARATI LIBRARY SANTINIKETAN

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THE CHOWKHAMBA SANSKRIT STUDIES

Vol. XIV

THE LAWS AND PRACTICE OF SANSKRIT DRAMA

AN INVESTIGATION INTO THE CANONS OF SANSKRIT DRAMATURGY AND THEIR APPLICATION TO SOME PRINCIPAL PLAYS IN SANSKRIT

by SURENDRA NATH SHASTRI

VOLUME ONE

THE CHOWKHAMBA SANSKRIT SERIES OFFICE

Post Box 8 Vārāṇasi-1 ( India ) 1961

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Publisher : The Chowkhambā Sanskrit Series Office, Vārāṇasi—1

Printer : Vidyā Vilās Press, Vārāṇasi—1

Edition : First, 1961.

Price : Rs. 25 - 00

Classification No. :

The Chowkhambā Sanskrit Series Office,

Gopal Mandir Lane, Vārāṇasi - 1

[ INDIA ]

TELEPHONE : 3145

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Santiniketan

THE

LAWS AND PRACTICE OF SANSKRIT DRAMA

A thesis approved for the degree of

Doctor of Philosophy in the Faculty of Arts

at the University of Allahabad

BOOK 1

LAWS OF SANSKRIT DRAMA

PERTAINING TO

I TYPES OF DRAMA 1

II PRELIMINARIES OF DRAMA 31

III DRAMATIC PLOT 63

IV HERO AND OTHER CHARACTERS 203

V FEELINGS AND SENTIMENTS 231

VI DRAMATIC CONVENTIONS 292

VII DRAMATIC ARTIFICES 319

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Sanskrit commentary, Kalpa-latā on Kālidāsa's Vikramor-vaśiyam ( N. S. Edn.-1942 ) at the instance of late Rev. Father R. Zimmermann, Professor of Sanskrit, St. Xavier's College, Bombay. In course of this attempt the writer felt that even on perusal of the canonical texts, the finer distinctions between one dramatic feature and the other do not at places become decisively clear. The reasons for this are obvious. For the oldest authority available on the subject is Bharata, who in his magnum opus on Dramaturgy has dealt with the principles at length, but has defined terms without adding suitable illustrations which could make distinctions clear enough. This difficulty further looms larger especially when the terms apparently bear names without radical reference to their connotation as Pushpa, Totaka, Mālā and many others ; or have confusing titles as Drava and Vidrava, Dishtā and Upadisḥṭa and the like; or have synonymous titles as Drṣṭānta, Udāharaṇa and Nidarśana. Then there are confusing readings also in the Text-books either mutilated or containing copious variants sub-joined to them. Bharata's illustrates his enunciations no doubt, but he presents there too, a twofold difficulty : firstly, that in most cases he cites examples from such dramas as are not extant and prefers references to his or his father's works that are not available for understanding the correct position taken by him by actually referring to their context; and secondly, that he takes at times such position as is not tenable even in the opinion of his commentators and uses at places so ambiguous a language as is capable of varied interpretations by his commentators as shown in case of

Yayāti-vijaya, Jānakī-rāghava, Chalita-rāma, Udātta-rāghava, Pushpa-dūtikā, Rāmābhinanda, Ḳtyā-rāvaṇa etc.
e. g. Candra-kalā, Prabhāvatī, etc.
e. g. Pushpa-mālā.
as he does in case of the Nandin.

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SCHEME OF TRANSLITERATION

Whereas all extracts from the original Sanskrit and Prakrit works and also various technical terms and phrases are given in the Roman characters here in the Text, the mode of Transliteration adopted while doing so, is given below for ready reference :

Vowels : The vowel sounds occurring in initial syllables or associated with consononts are written as :

a, ā, i, ī, u, ū, ṛ, ṝ, e, ai, o, au, ṃ, ḥ.

Consononts : ( Basic form to which vowels are added )

Gutturals :

k, kh, g, gh, ṅ,

Palatals :

c, ch, j, jh, ñ,

Linguals :

ṭ, ṭh, ḍ, ḍh, ṇ,

Dentals :

t, th, d, dh, n,

Labials :

p, ph, b, bh, m,

Semi-vowels :

y, r, l, ḷ, v.

Sibilants :

ś, sh, s,

Aspirate :

h.

In case of Sanskrit words which are accepted in the English vocabulary like Pandit, Sanskrit and others, only popular spellings are adopted and no diacritical marks are used. All Sanskrit words are italicised in the Text except Proper names. Quotations in Sanskrit are, however, not italicised when they are enclosed in parentheses or given within inverted commas.

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MODE OF CITATIONS

Citations are given as per List of Abbreviations annexed hitherto, and the Conspectus of the editions of the Texts under reference is given towards the end. In case of the cononical Texts the citations are by reference to Chapters and Verses.

Where the verses are not numbered in the Text, references are cited by quoting pages and lines, and the abbreviation 'P.' or 'Pp.' precedes such references according as they refer to a particular page or pages. In case of such Texts as are not divided into Chapters like the N. L. R., citations refer only to the lines in the Text-book as denoted by the Editor in the margin.

In case of the commentaries, the citations refer to the pages of the original Text, and lines are to be counted from the commencement of the comment on the page or the verse below which the comment reads. In case of the Texts of dramas, whether their Edition is the European or the Indian, citations are given according to Prof. C. R. Lanman's Method for citing Sanskrit Dramas prefixed to Vol. XXI of the Harvard Oriental Series : that is, the first figure refers to the number of the Act, the second to the preceding verse, and the third refers to the line counted from the last preceding verse.

This mode applies to references to the Prose passages only. To avoid extreme inconvenience in following this method in case of dramas where lines or verses or both are not numbered as in the Nirṇaya Sāgara Editions or the Editions of the Bombay Sanskrit Series, references only to the page and line have, however, been reluctantly made.

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Ccha. K.

Chandah Kaustubha.

Ch. N.

Chando Nirukti.

Cha. Ś.

Chandaś-śāstra by Piṅgala Nāga.

D. A.

Dhvanyāloka by Ānandavardhana.

D. R.

Dáśarūpaka of Dhanañjaya.

D. V.

Dūta-vākya of Bhāsa.

Dh. V.

Dhanañjaya-vijaya of Kāñcanācārya.

G. P.

Garuda-Purāṇa.

K. A.

Kāvyānuśāsana by Ācārya Hemacandra.

K. Al.

Kāvyalaṅkāra by Vāmana.

K. An.

Kāvyānuśāsana by Vāgbhaṭa.

K. B.

Karṇabhāra of Bhāsa.

K. D.

Kāvya-dākinī of Gaṅgānanda.

Kā. D.

Kāvyādarśa of Ācārya Daṇḍin.

K. G. R.

Kumāra Giri Rājīya : A Ṭīkā on Mālavikāgni-mitra by Kāṭayavema.

K. L.

Kalpa-latā : A Ṭīkā on Vikramorvaśī by S. N. Shāstrī.

K. M.

Kunda Mālā of Diṅnāga.

K. Mı.

Kāvya-mīmāṅsā of Rājaśekhara.

K. P. [ Pr. ]

Kāvya Prakāśa of Mammata Bhatṭa.

K. R.

Kavi-rahasya.

Kā. L.

Kāvyālaṅkāra of Bhāmaha.

Kā. P.

Kāvyendu-Prakāśa.

Kar.

Karpūra-mañjarī of Rājaśekhara.

Ku. Sam.

Kumāra Sambhava of Kālidāsa.

Ku. Pr. ( a )

Kusuma Pratimā : A Ṭīkā on Sāhitya-darpaṇa by Haridāsa.

Kuv.

Kuvalayānanda of Appaya Dīkshita.

L. M.

Laṭaka-melaka of Śaṅkhadhara.

L. R.

Locana-rocinī of Rūpa Gosvāmī on U. N. M.

M. [ Māl. ]

Mālavikāgnimitra of Kālidāsa.

M. C.

Mahāvīra-carita of Bhavabhūti.

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M. M.

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M. R.

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M. S.

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M. V.

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Mā. Mā.

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Mah. B.

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N.

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N. P.

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N. S.

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N. V.

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Nā. Ś.

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Nāg.

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P. P.

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P. R.

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Pr. C.

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Raghu.

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S. D.

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S. K.

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XXXII

Symbols :

A. Anushṭup list of Bharata's Nāṭya-lakshaṇas.

a. First foot of a verse.

b. Second foot of a verse.

c. Third foot of a verse.

d. Fourth foot of a verse.

B. Upajāti List of Bharata's Nāṭya-lakshaṇas.

S. Long syllable in a metre.

I. Short syllable in a metre.

— — — →0← — —

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V. Doshas :

Number of Doshas according

to Bharata

Doshas according to the New

School

Doshas converting into merits

p. 363

VI. Metrics :

p. 365-388

(a) General outline

p. 365

(b) Classificztion of Metres :

Jāti

Vṛttas

pp. 367-369

Classification of Sama-vṛttas

p. 370

Types in the Sama-vṛttas

p. 371

Types in the Ardha-sama

Vṛttas

Types in the Vishama Vṛttas

p. 385

(c) Rules regarding the

suitability of classes

(d) Rules regarding the

suitability of types

VII. Ṇṛtta, Gati and Gīta :

pp. 389-398

(a) Ṇṛtta and its types

p. 389

(b) Lāsyāṅgas

p. 390

(c) Gaits and Postures

p. 394

(d) Gīta : Dhruvās

p. 395

VIII. Recognised Alañkāras

pp. 398-401

IX. Use of Flora and Fauna

p. 402

X. Miscellaneous Artifices :

Use of wit, humour, satire,

and imagination

p. 404

XI. Pāka of Drama and its types

p. 405

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THE LAWS AND PRACTICE OF SANSKRIT DRAMA

CHAPTER I

KĀVYA is the generic name comprising all forms of poetical compositions in Sanskrit. Two species of Kāvya are recognised: audio-visual (drśya) and aural (śravya). Of the audio-visual again there are two classes : drama or Nāṭya, and representation by gestures with a musical background or Nrtta.

Drama is the reproduction of certain situations so as to induce in the spectators a sense of identification with the hero and other characters by the way the actors render them.1 Composing a drama is an art of presenting a story in the form of a dialogue, and “the elements going to the make-up of a play,” says Aristotle, ‘consist of the fable, manners, diction, sentiments, decoration and music’.2 Thus drama is a literary piece written for representation on the stage, say, it is largely for a theatre ; and the theatre is a place where people meet to hear the dialogue and to see the action of the play or representation by actors.

1

Bharata defines representation as that art of an actor by means of which he re-creates the sentiments (rasa) inherent in the original situation forming the theme of the drama under enactment.3 Such sentiments are so re-created that a spectator

3

R. S.—87; D. R. I—7.
Poetics—II—iii.
N. I—104 ff., M. M. VII—2;

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This is the view of one school of thought that believes in the Co-ambulation theory, but in view of irregularity in the matter of juxtaposition of these two concurrent phases of dramatic action, the other school does not favour the idea of defining divers Junctures in relation to the Avasthās with Prakṛtis; but holds that the Sandhis mark the different phases of the germ bloom or its disappearance, its partial decay, and also its fruition at length. Thus the different situations of the Bīja, the concentrated quintessence of all dramatic action, showing its rise or fall or involving efforts to sprout it and depicting anxious care to vivify it, no sooner than it appears fading or withering, determine the different Junctures that weave the entire dramatic theme. According to this school of thought, the presence of Bindu, Patākā and Prakarī distinctly at particular stages has no significance. It is the purpose, the aim and object of pursuit nursed to its full development that matters, whether be it due to Patākā or Prakarī or Bindu or one or more or all. It leads to the conclusion that according to this school of thought, endorsed even by Bharata's dictum, not only is the use of Patākā and Prakarī optional but even their position could be reversed according to as it suits the sense of dramatic justice of the playwright.

In the opinion of this school too, believing, as enunciated above, in the Drṣhṭa-nashṭā theory there are only five Junctures which are defined in the following terms:

Mukha Sandhi: It is a Juncture which discloses the origination of the germ and introduces a variety of matters and of sentiments. It also puts the principal characters to some action in furtherance of the main motif of the play. To illustrate, the first Act of the Vikramorvaśī be referred to, as it contains the germ of love between Purūravas and Urvaśī, displays divers events, manifests different feelings of terror and comic, and the sentiment of Pūrva-rāga, and also opens the stage of the Commencement of action.
N. XIX-39 followed by M. M. p. 61, line 63; R. S. III-30; S. D. VI-76. It may be noted here that some scholars desire

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enjoyment of rati1 by Bharata who is adopted by Viśvanātha.

The text is explained by Viśvanātha as a desire for a woman or a man or an object of love, who is the exciting cause e. g. in the Śākuntala, " My beloved is in no way easy to obtain ", says Dushyanta only to express his yearning for the heroine.2

In the Mālatī Mādhava also, Mādhava's wistfulness at the sight of the heroine in the third Act is an expression of his longing for her.3

Jīvānanda4 explains the text of Viśvanātha5 as a desire for amorous enjoyments, which is also the purport of the commentary of Bhaṭṭanārya.6 Following this sūtra of Bharata, Śāradātanaya has made the idea more explicit by saying, "Vilāsa is an expression of the amorous sports of the loving pair at the honey-moon"7; and the Nāṭya-darpana is equally unequivocal in defining Vilāsa as an expression of wistfulness of a woman for a man or of a man for a woman.8

It is submitted that this view is not much at accord with the general dramaturgic principles if it is limited only to a feeling of amorousness or a desire for a sensual contact with each other in the mind of a couple. For the presence of this feature may be possible in case of the erotic dramas where rules the sentiment of love; but in case of purely heroic dramas and especially in the high-pitched ones like the Kāmsavadha, or in case of political dramas as the Mudrā-rākshasa, or devotional drāmas as the Caitanya-candrodaya and the Prabodha-candrodaya or the quietistic plays like the Bhartrhari-nirveda, it will not be feasible to present the amorous sports of a couple

"Samīhā rati-bhogārtha vilāsa iti kīrttitah"—N. XIX-74a ; Cf. S. D. VI-89.
Śāk. II-1.
Mā. Mā. III–6 & 7.
Vimala p. 417, Ll. 10–11.
"Rati-bhogārtha samīhā "—S. D. Ibid. et seq.
Vivṛti p. 305, Ll. 4–5.
"Rati-ceshṭā vilasas syād dampatyor nava-saṅgame" — B. P. p. 209, 10.
"Vilaso nṛ-striyor iha "— N. D. p. 69, Ll. 9–10.

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greater intellectual strengh of the one of the two parties engaged in an intrigue for taking the other in.1

There are some canonists referred to by the Daśarūpaka and the Mandāra Maranda who believe that a cutting statement like Toṭaka is called Adhibala,2 in which sense, however, Vastu -

vicāra speaks to the King in the Prabodha-candrodaya, " Oh ! a five-arrowed warrior of floral bow is to be conquered. What, does it need then my holding weapons ! sure, only with a mental operation I shall uproot passion." 3

The Chāyā, following the Mandāra Maranda notes an opinion of some stray scholar who thinks that the wise critics recognise the association with a dear object as the characteristic feature of Adhibala 4

Dismay ( Udvega ) : It is an element that introduces fear which may arise of a king, an enemy, a thief, a fierce animal or the like.5 It is not limited to fear proceeding from an enemy only in the opinion of Dhananjaya and a few other scholars.6 In order to support the view of Dhananjaya, Dhanika took the expression 'enemy' in its widest sense extending it even to a feeling of emulation or jealousy between co-wives.7 In fact, even the most delicate feeling of hesitation, I think, is included in dismay as is found in the Śākuntala, where the heroine says, " my heart trembles for fear of being disregarded." 8
Terror ( Vīdrava, also termed as Sambhrama ) : It is an extreme fear and trembling, which may be due to any fright -
N. D. p. 89, 11, 13.
Referred to in D. R. I-41a ; M. M. p. 63-26.
P. C. IV–10 to 15.
Chāyā p. 313, 11.
N. XIX-86b; S. D. VI-100a; R. S. III-56a; M. M. p. 64, 1 ; N. L. R. 761.
D. R. I-42a; B. P. p. 211, 7; P. R. p. 187, 10; N. D. p. 86, 22; N. R. p. 125, 21.
Ava. p. 20, Ll. 4, 5.
Śāk. III-15-viii.

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Bhimasena where the two excited characters rebuke each other.

Dhanika confuses Virodhana with Chalana by attributing to the former the same characteristics as Dhananjaya does to the latter.

Singha Bhupala also maintains this view, but Visvanatha and Ramacandra define Virodhana as an element which signifies some impediment or delay in the fruition of the dramatic cause.

An illustration of the same may be found in this sense in the Vikramorvasi where the King refuses to pick up the gem of union ( sangama mani ).

Disrespect ( Chalanam ) : Saradatanaya, Vidyanatha and Dhananjaya include the element of Disrespect among the sub-divisions of the Vimarsa Sandhi.

From the illustrations cited by them it may be concluded that disregard contemplated here is by reference to the principal characters of the play, e. g. the hero or the heroine, or the hero and his counterpart.

To illustrate, Rama amply evinces lack of concern in Sita when he quits her in the Uttaramacarita; or in the ninth Act of the Balaramayana Rama shows disregard for Ravana and the latter his contempt for the former.

Similarly, Vasavadatta's spite towards Udayana's quest of love is again a specimen of Chalana in the Ratnavali.

Srikrsna Kavi adds that it is only a purposeful disrespect which falls within the compass of Chalana.

On the other hand, the Natyadarpana records the opinion of some scholars who think that Chalana is bewilderment.

In this sense, samhara in the sixth Act where Yudhishthira is addressing the Carvaka, "Please tell me, by all means, O revered Sir, in brief

Venj. Act V-30 to 34.
Vide Ava. p. 25, line 28. 3. S. D. VI-106a ; N. D. p. 97, 15 ; N. L. R. 840. 4. Vikra. IV-43. 5. B. P. p. 211, 1 ; P. R. p. 197, 9 ; D. R. I-46b-ii. 6. M. M. p. 64, 20. 7. N D. p. 95, 16.

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N. XVI-42 : Here the use of the generic term ‘Kāvya’ could be limited to the specific sense pertaining to the subject-matter under treatment, viz. the scenic poetry ( drśya-kāvya ), but from a similar use in case of the four figures of speech and metres recognised by Bharata it appears that he uses the term ‘Kāvya’ to denote all poetry in general. ( Vide N. Chap. XV-172 also Chap. XVI-43. )
A. B. p. 295, line 9 ; also p. 296, line 2. ( G. O. S., 1934, Vol. II )
C. L. Chap. III.

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Apology ( Parihāra ) : Begging pardon for a wrong done is apology.1 It is evidenced by the text of the letter despatched to Mādhava by the king of Padmāvatī in the Mālatī Mādhava.2

Sāgaranandin defines Parihāra as a retraction from one's own statement;3 which is available in the speech of Aśvatthāmā, "I say so out of affliction, not due to any insult from any one, who is valiant."4

Indication ( Nivedana ) : When some neglect of duty is shown to a delinquent person, it amounts to Nivedana.5 Reminding of an action already contemplated is Nivedana according to Sāgaranandin and Śāradātanaya.6
Aid ( Sāhāyya ) : Rendering assistance in times of difficulty is Sāhāyya.7 For example, reference may be made to

realised by the emphatic gesticulation and not otherwise. The reading of dramas, therefore, can hardly permit an appreciation of its charm and so the connotation g ven by Sāgaranandin becomes of doubtful acceptance, unless it is interpreted only to mean a suggestion of some representation of taunt through a particular gesticulation. ( N. L. R. II. 1763-1766 ). In the opinion of Śāradātanaya, Atha-viseśahana is a statement which proves some special facts ( Viśiṣṭa artha ). - B. P. p. 225, 14.

S. D. VI-210a; B. P. p. 426, 1.
Mā. Mā. X-23.
N. L. R. 1804.
Veṇī. III. p. 87.
S. D. VI-210b.
N. L. R. 1794; B. P. p. 225, 17. The only distinction between S. D. and N. L. R. is due to the change of a vowel in the readings : S. D. has 'avadhirita' whereas N. L. R. has "avadhirita," and it may not be wrong to surmise that it is due to some scribal error in the Manuscript.

Still all the glosses on the S. D. have tried to adjust the reading 'avadhirita' meaning 'avajñāta' with the illustration, which is one and the same cited both by Viśvanātha and Sāgaranandin from the Rīglavābhyudaya.

S. D. VI-208a; N. L. R. 1816.

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ŚILPAKĀṆGAS * :

Āśaṁsā :

To long for the acquisition of an object which is not easily accessible is Desire, e. g. Mālavikā's longing for Agnimitra expressed in, "Unattainable is my love...."1

Tarka :

To interpret a particular situation in terms of one's own feelings is Guess; a striking example being available in Dushyanta's interpretation of all movements of Śakuntalā to refer only to him and her love for him.2

Sandeha ( Samśaya ) :

An indecision is a doubt. For example, in the Viddha-śāla-bhañjikā, the hero wonders as to who the one could be at the top of the terrace.3

Tāpa :

It is a grave repentence4 as done by Dushyanta in the VI Act after repudiating Śakuntalā.

Udvega

is a mental disturbance due to loss or separation of akinsman as does Dhṛtarāshṭra while addressing Gāndhārī towards the close of the Venisamihāra.5

Prasakti

is a close attachment to an object.6 Sāgaranandin does not recognise Prasakti but inserts Praśasti instead; and seems to indentify it with the last sub-division of the Apodosis or the Nirvahana-Sandhi.7

Prayatna

is an endeavour which is carried upto the end, and there is no retraction from it till success is got. It is seen in Purūravas' attempt in finding out the whereabouts of Urvaśī in the fourth Act of the Vikramorvaśī.8

For all the 27 Śilpakāṅgas Vide S. D. Chap. VI. 298–360.

N. L. R. 3060, e. g. Māl. II–2. Dullaho piyo...A. B. Vol. II.
N. L. R. 3066 : e. g. Śāk. II–2 ( Kāmi svatīṁ paśyati ).
N. L. R. 3071 : e. g. " Upa prākāāgre prahiṁu nayane tarkaya manāṅg / anākāśe ko'yam galita-hariṇaḥ śīta-hiraṇaḥ //" V. Ś. B. I–31.
N. L. R. 3076 : e. g. Śāk. Act V.
N. L. R. 3081 : e. g. Veṇī. V–3.
S. D. 298a.
N. L. R. 3145.
N. L. R. 3046 : c. g. Vikra. Act IV.

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[ CHAP. IV ] HERO & OTHER CHARACTERS 207

'That he has got a taste for magical feats' is the observation of Vidyānātha.1 Acyuta Rai, however, does not accept 'Uddhata' as a type of a hero; for he defines heroes of the first three types only.2

These are the four popular types of heroes who lead other characters whether their action is to pursue for an accomplishment of love or the heroic exploits. Should he be a hero of an erotic composition, his pursuits are all directed to amatory càuses. As polygyny was much in vogue in ancient India and more prominently in the princely order, an amatory hero is further classified into four types according to his conjugal behaviour towards his spouse or spouses. In the first place a hero may be either a monogamist or has more than one spouse at a time. A monogamist makes a class by himself and is called anukūla or faithful like Nala or Rāma. But a polygynic hero has got divided affection amongst his different beloveds and he may behave in different ways with them :

( i ) A hero, when he is enamoured of another woman, may behave gallantly, showering his affection equally on all of his spouses and remain kind to his previous lady-love. Such a hero is said to be Dakshina or the gallant one, like Udayana or Yudhishṭhira.

( ii ) While in pursuit of another woman, a hero, who hides his unfaithfulness from his pervious love and clandestinely approaches the subsequent one, is called Saṭha or the deceitful hero, like Purūravas.

( iii ) A hero is called Dhṛshṭa or the bold one, when he is so disregardful of his previous love that he does not feel abashed of his appearance with amorous marks visible on his person which betray his association with another woman. This is how Dhananjaya defines the bold hero. But more aptly his character is defined by Viśvanātha whẹn he qualifies him

P. R. p. 22, Verse 30.
" Trèdhā netā prakīrtiḥ " - S. S. XI-2.
D R. II-10.

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in its kind as well as in its after-effects according to the nature of its cause. It may be due to some portentious phenomenon (utpāta), a strong gale, a conflagration, torrential rain, presence of some wild animal, some dismal tidings, invasion by an enemy or some other physical injury. Sometimes even a sudden happy news also causes a flurry.

Each one of these types may have again different reasons to cause a peculiar type of flurry; e. g. an agitation occasioned by some veritable portent may be due to fall of a meteor, peals of thunder, lightning, appearance of a lodestar or an eclipse of the Sun or the Moon. Such an agitation is to be portrayed by means of distress in limbs, standing aghast, loss of facial colour or a wonderstruck posture. An agitation caused by a strong gust of wind be presented in the shape of veiling oneself, rubbing one's eyes, tightening clothes or acceleration in pace of walking. The mood of flurry brought out by excessive rainfall may be shown in the form of squeezing one's limbs, running away speedily, use of umbrellas, stucking up of garments and the like. Conflagration resulting in a flurry is to be put forth with an atmosphere filled with smoke and the characters to be portrayed with their eyes watering with tears, reddened face, a hurried exit, and distressed limbs.

The flurry caused by the presence of wild beasts becomes remarkable by a quick exit, sudden shriek, fright, standing of hair on their ends, and constantly looking behind. With sighs and shrieks, groaning lamentations, loud outbursts of cries, sudden departure from the spot and stunned vacany of mind, an agitation caused by the dismal tidings is to be presented. Flurry occasioned by foreign invasion or an attack of thieves or similar use of pressure is to be shown by a chaotic disturbance involving some sudden action, resort to arms, scaring, indignation or in certain cases even with a thoughtful brow. Hearing of some very good news may also cause flurry which may be demonstrated by a sudden jump, clamping in a seat, embracing the news-bearer, putting on a gala dress, jubilation, horripilation or even a flow of cool and joyous tears.1

N. p. 120, 121; R. G. p. 112, 9; S. D. III-143, 145a.

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Guru or a king

1 to be a mental attitude which can pervade the activities of a character throughout his life, and consider Bhakti and Śradhā to be the other two sthāyins. Abhinava Bhāratī criticises this view and includes them in the midst of rati as an ordinary bhāva,2 which is in keeping with Bharata's view.

Rapacity or laulya

is another type of sthāyin believed by some whose view is equally criticised by Abhinava Bhāratī.

Affection ( premā )

towards juniors like a son, a daughter,3 a younger brother, a pupil or any other individual in loco fili, whether male or female, is also capable of being a sthāyin in the opinion of some authors like Viśvanātha.4

Rudraṭa5 and Bhojarāja6

are two broad-minded canonists who feel that all the thirty-three transitory and eight involuntary states ( sāttvikas ) are competent for being delineated as sthāyins and can assume the form of a sentiment if manifested by means of suggestive factors.

The Daśarūpaka

refers to some writers who have gone to such a queer length as to recognise passion for hunting and gambling ( mṛgayā and aksha ) as fit for becoming sthāyins and converting themselves into rasas. But in actual practice of the poets none of these is portrayed to any such length, nor does it seem feasible to grant recognition to all such passing phases of mind for want of their fitness to be developed into rasas, hence these views could not be admitted by reputed scholars.

All the three types of states

discussed above are called, in general terms, ( bhāvas ) and distinguished by reference to

Here the list

is only illustrative and not exhaustive, for devotion to any cause which may be dear, e. g. service to the motherland, may equally well fall within this category.

A. B. ( G. O. S. )

p. 450.

Ibid.

p. 342.

S. D.

III-251.

Śr. T.

I, 14.

Śr. Pr. Vol. II.

pp. 377-8.

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280 LAWS OF SANSKRIT DRAMA

( iii ) Bellicose Heroism ( Yuddha-vīra ):

It is the arduous zeal to fight the opponent that turns into bellicose heroism. The one ālambana is the fighting hero and his counterpart ( prati-nāyaka ) is the second one, who offers him fight, picks quarrel with him and opposes his interest. It is awakened by the blows of trumpet in the field of battle or the sound of the bugle that accosts the warrior to fight. The insolent speech of the adversary, his combatant attitude and rough behaviour also act as excitants. Encountering speeches, preparation for fight, flourish of arms, waving of banners, responding trumpets and nearer approach are its ensuants. Extreme pride, anger, emulation ( asrīyā ) are some of the auxiliary feelings to enhance the emotion. Change of voice and stupefaction are the resultant states.1

( iv ) Righteous Heroism ( Dharma-vīra ):

An ardent zeal for doing, at all events and costs, what one ought to do, and for refraining from what one ought not to do is a heroism which is of righteous character. In this case one ālambana is the hero, and the other is the Duty itself. Listening to the contents of the religious texts, study of the scriptural injunctions or the precepts preached over by the preceptors, sages and seers are the excitants that awaken the zeal. An attempt to sacrifice one-self, to forsake one's dearest object or otherwise to stake one's own best interests, the declaration of vows and intolerance of impious deeds are some of the consequences ( anubhāvas ) of the prevalance of such a zeal. Fortitude ( dhairya ), reasoning ( mati ), pride or self-assertion ( garva ) are the subserving feelings. The Sāttvika-bhāvas are as usual.

It may, likewise, be noted here that an attempt to offer a fight for relieving the oppressed or ancilliary to performance of a pious deed will not make the hero a Yuddha-vīra. He would, all the same, be a compassionate hero or the righteous one, but not the bellicose. What, in fact, is neccessary to the prevalance of the Yuddha-vīra is that the fighting zeal should be independent and should not subserve any other emotion, otherwise the fighting attitude becomes only an amarsha, an ancilliary feeling.

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[ CHAP. VII ] DRAMATIC ARTIFICES

327

and sibilants and combination of letters with the captious repha.1

( iii ) Komalā ( Soft ) Vritti pertains to the medium type of structure which has a suitable combination of both types of syllables or is composed of such syllables as are deemed neither sweet nor particularly harsh. Udbhata has chosen to name it as the Grāmyā Vritti and enjoins a greater frequency of the dental semi-vowel in such a type of structure.2

It may be noted that since the diction always follows the bearing, Upanāgarikā and Kaiśikī go hand in hand; Parushā and Ārabhati likewise go together, and Sāttvati and Bhārati agree with Komalā. All the same, they are not identical with Ritis, since these three Vrittis are the modes of expression of thought. They deal more with the tone of the character which varies according as his mood changes. So, they differ from Ritis which are types of composition and belong to the form of language used by a particular character at a particular occasion.3

Besides these two meanings, Vritti is used by the canonists in three other senses, viz., ( i ) Vritti is the name of the verbal force ( śabda-śakti ) like Abhidhā, Lakshanā and others, the first two of which are called Mukhyā and Gauni respectively;4 ( ii ) Vritti is one of the types of the Anuprāsa alaṅkāra5 ; and ( iii ) Vritti is synonymous with grammatical formatives as well, like Samāsa,6 and Taddhita. An inquiry into them is at any rate, not pertinent here.

K. A. p. 5.
Ibid, p. 6 middle.
( My own view ).
Details of Śabda-śakti are dealt with by the author in his edition of the Vritti-vārtika.
Vide Author's " Alañkāra-Kaumudi " on Sanskrit Figures of Speech.
For details Vide Author's "A Brief Note on Sanskrit Compounds."

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LAWS OF SANSKRIT DRAMA

the number of syllables in each quarter. In the Vritta class of

metres, the type of the syllable, whether it is short or long, does

not so much matter as the number does, and more so the

order of succession. For, a particular number of syllables,

short or long, occurring in a defined manner or order will

determine the type of a Vritta. Hence the variety of Vrittas

is designed in two respects : One, on account of the number

of syllables contained in each quarter, and the other in respect

of the difference in order of succession of syllables in each of

them. Before dealing with the varieties of Vrittas created by

this twofold basis of distinction, it is necessary to be acquaint-

ed with the mode of counting the number of syllables in a

quarter of a stanza as formulated by the canonists for the

sake of quick judgment and recognition.

For purposes of counting the number of syllables, they

are always grouped in a set of three which is said to con-

stitute a metrical foot ( gana ). By means of arithmetical

process of permutation and combination, a set of three mem-

bers of two kinds, one long and one short,1 arranged in diffe-

rent order of succession can present no more than eight

varieties given below :-

No. Symbolic presentation

Nature of variety

Name of variety

English Equivalent

S l l

Ādi-guru

Bhagana

Dactyl

l S l

Madhya-guru

Jagana

Amphibrach

l l S

Antya-guru

Sagana

Anapæst

l S S

Ādi-laghu

Yagana

Bacchius

S l S

Madhya-laghu

Ragana

Amphimacre

S S l

Antya-laghu

Tagana

Anti-bacchius

S S S

Sarva-guru

Magana

Molossus

l l l

Sarva-laghu

Nagana

Tribrachys

In order to have an easy comprehension of the varieties the sym-

bols 'S' and 'l' respectively denoting the long and short syllables

are adopted here in accordance with the practice of all the

prosodists.

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( ix ) Candra-lekhā is that type which is distinguished by a pair of Maganas followed by another pair of Yagan as with pause at the end of the fifth syllable in its foot. It is named Vaiśvadevī by Kālidāsa, Kedāra and Pingala Nāga.1

( x ) Kumuda-nibhā also spelt as Kumuda-prabhā is a less known metre recognised by Bharata with a scheme of a Ragana and a Yagana followed by another set of a Magana and a Yagana. By reversing the position of the two sets in respect of priority it makes the metre under reference in the opinion of Bharata alternately.2

In addition to these types noted by Bharata, there are a few following ones which are important among those stated by other canonists :

( ix ) Indra-vajrā is that type which is comprised of a pair of Taganas followed by a Jagana and a Ragana with a pause only at the end of its foot. It differs from Vamśastha in respect of the initial syllable only, which is long in Indra-vamśa but short in Vamśastha. This pair equates with the pair of Indra-vajrā and the Upendra-vajrā of the Trishtup closs, and is very suitable for making combinations to form Upajāti.

( xii ) Mālati is another pattern of rare occurrence, and is marked by one Nagana followed by a pair of Jagan as and a Ragana. The pause is prescribed at the end of the seventh syllable in a foot.3 With the same scheme, it becomes Tati if the pause is given at every set of six syllables in a foot.4 The Mandāra Maranda spells its name as Mālini, in stead of Mālati.5

ATI-JAGATI: Of the metres belonging to this class, Bharata recognises only three patterns.6 They are :
Ccha. S. VI-41; V. R. III-78; Sr. B. 27; M. M. p. 17, 4.
N. XV-56, 57. For a few alternate views see Nā. XV-59.
V. R. III-80.
Ibid. III-69.
M. M. p. 17, 7.
N. XV-54, 58.

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ŚAKVARI : Of myriads of varieties in this class, Bharata has chosen to make mention of three types1 out of which Vasanta-tilakā is the most frequent and well-known. It contains four feet and two super-numerary syllables, which are Ta, Bha, Ja, Ja and a spondee of two long syllables.2 It has a pause only at the close of its foot. It is otherwise named as Simhonnatā by Kāśyapa and Uddharshini by Saitava.3 Asambādhā 4 and Sarabhā 5 are the two other types recognised by Bharata, the form of which is Ma, Ta, Na, Sa and a spondee ; and Ma, Bha, Na, Ta and a spondee respectively.
ATI-ŚAKVARI : It has received a scant recognition at the hands of Bharata and other canonists who recognise only one type suitable for use in dramas. Bharata calls that type as Nāndīmukhi which is identical with Mālinī of other prosodists. Its scheme is two Naganās, a Magana and two Yaganās in a foot with a pause at the end of the eighth syllable.6 The Chhando-nirukti records another rival of the name of Nāndīmukhi which is said to contain fourteen syllables in a foot with two Naganās and Taganās each.7
ASHTI : This class does fare no better, and has only two of its types deemed fit by Bharata. They are Vilasitam and Pravara-lalitam. The former contains Bha, Ra, and then a set of three Naganās and an ultimate long syllable ; while the latter has Ya, Ma, Na, Sa, Ra and the last, a long syllable.8
N. XV-60-64.
N. XV-60; Ccha. S. VII-8; V. R. III-96; Śr. B. 37.
Chha. S. VII-9; 10. Bhatta Kedāra says that Naga calls it Madhu-mādhavī which is not supported by any extant editions of Ccha. S. "Nagena saiva gaditā Madhu-mādhavīti" -V. R. III-96d.
N. XV-62; V. R. III-93; Ccha. S. VII-5; M. M. p. 18, 4.
N. XV-64.
Ibid. XV-66.
Ccha. N. p. 148, 13. It is that variety of Śakvarī class which numbers 2363. Malinī is accepted by all other prosodists : V. R. III-110, Ccha. S. VII-14; Śr. B. 38; M. M. p. 15, 9.
Its full title is Vrshabha-gaja-vilasitam or Ṛshabha— N. XV-68; Ccha. S. VI-15; V. R. III-118; N. XV-70; Ccha. N. p. 115.

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Out of these three sets, Rājasékhara adds that the first

type of each of these sets should be avoided,1 while the second

one is only of second grade achievement. If the composition

is merely a sort of a medley work and has only an anomalous

growth with astringent taste, then it is a Kapittha-pāka tasting

like a wood-apple.2 Mallinātha's son, Kumāra-svāmi in his

Ratnāpana makes a mention of Kadali-pāka which is a middling

achievement tasting like a banana fruit.3

It thus becomes evident from the description of the various

standards of success fixed by the poeticians that the Badara-

pāka is a middling achievement, and that the most of the

varieties lack in success worthy of its name. It is only

Mrdivikā and Amra-pāka that ensure high success of a

playwright, if his theme is of erotic nature; and it is Nārikela-

pāka which is a hall-mark of his success in the heroic themes.

It, therefore, follows that in order to attain the high tone

of accomplishment in a dramatic work which may captivate

all hearts and bring laurels to the playwright, a proper stan-

dard is to be aimed at; and that standard is aptly summed up

by the Nātyācārya when he says,

"Mrdu-lalita-padādhyam gūḍha-śabdārtha-hinam,

Jana-pada-sukha-bodhyam yuktiman-nrtya-yojyam /

Bahu-krta-rasa-mārgam Sandhi-sandhāna-yuktam,

Bhavati jagati yogyam Nāṭakam prekshākānām. //"4

K. M. p. 21, line 3 seq.
Ibid p. 21, line 8. In this case some stuff (subhāshita) is found

with great effort like a grain of corn gleaned from a heap of chaff

after a long and patient winnowing.

Vide Ratnāpana p. 69 last line.
[N. XVI-124.] English Translation : That work of art satisfies the

spectators as a happy and pleasant piece of composition which is

graceful on account of sweet and elegant words, free from obsolete

vocabulary and obscure sense, easily intelligible to the mass

audience, is skillfully arranged and attended with dance and

music, and has a variety of sentiments, and a plot duly divided

into Junctures and Stages of Action.

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Chap. III Contd.

Chart V

[ Pp. 81-82 ]

KĀRYĀVASTHĀ

Ārambha Yatna Prāptyāśā Niyatāpti Phalāgama

Chart VI

[ P. 83-88 ]

ARTHA-PRAKṚTIS

Bīja Bindu Patākā Prakari Kārya

According to Mātṛgupta

Phala 2. Vastu 3. Artha Śuddha Miśra

Chart VIa

[ Pp. 96-97 fn. ]

ARTHA-PRAKṚTIS ( SĀDHYĀDI-PAÑCAKA )

( According to Mātṛgupta )

Sādhaka Sādhana Sādhya Siddhi Sambhoga

Chart VII

[ Pp. 89-93 ]

SANDHIS*

Mukha Pratimukha Garbha Vimarsa Nirvahana

Also meant for the Pūrṇa type of Nāṭaka according to Subandhu.

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[ APP. A ]

CLASSIFICATION

421

SANDHYANGAS

Vastu according to the order mentioned by different cononists

R. S.

S. D.

N. L. R.

M. M.

N. R.

Upakshepa
Upakshepa
Upakshepa
Upakshepa
Parikara
Parikara
Parikara
Parikara
Parinyāsa
Parinyāsa
Parinyāsa
Parinyāsa
Vilobhana
Vilobhana
Vilobhana
Vilobhana
Yukti
Yukti
Yukti
Yukti
Prāpti
Prāpti
Prāpti
Prāpti
Samādhāna
Samādhāna
Samādhāna
Samādhāna
Vidhāna
Vidhāna
Vidhāna
Vidhāna
Paribhāvanā
Paribhāvanā
Paribhāvanā
Paribhāvanā
Udbheda
Udbheda
Udbheda
Udbheda
Bheda
Karana
Bheda
Bheda
Karana
Bheda
Karana
Karana

Page 480

[ APP. A ]

CLASSIFICATION

423

Contd.

R. S.

S. D.

Vilāsa
Vilāsa
Parisarpa
Parisarpa
Vidhuta
Vidhuta
Sama
Tāpana
Narma
Narma
Narma-dyuti
Narma-dyuti
Pragamana
Pragamana
Virodha
Virodha
Paryupāsana
Paryupāsana
Pushpa
Pushpa
Vajra
Vajra
Upanyāsa
Upanyāsa
Varna-samihāra
Varna-samihāra

N. L. R.

M. M.

Vilāsa
Vilāsa
Parisarpa
Parisarpa
Vidhūta
Vidhūta
Tāpana
Sarma
Narma
Narma
Narma-dyuti
Narma-dyuti
Pragamana
Pragamana
Virodha
Virodha
Paryupāsana
Paryupāsana
Pushpa
Pushpa
Vajra
Vajra
Upanyāsa
Upanyāsa
Varna-samihāra
Varna-samihāra

N. R.

Vilāsa
Parisarpa
Vidhūta
Sama
Narma
Narma-dyuti
Pragamana
Nirodha
Paryupāsana
Pushpa
Vajra
Upanyāsa
Varna-samihāra

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[ APP. A ]

CLASSIFICATION

429

Contd.

R.S.

S.D.

N.L.R.

M.M.

N.R.

Sandhi
Sandhi
Artha
Sandhi
Sandhi
Virodhana
Vibodha
Grathana
Virodha
Virodha
Grathana
Grathana
Nirṇaya
Grathana
Grathana
Nirṇaya
Nirṇaya
Paribhā-shaṇa
Nirṇaya
Nirṇaya
Paribhā-shaṇa
Paribhā-shaṇa
Dyuti
Paribhā-shaṇa
Paribhā-shaṇa
Prasāda
Kṛti
Prasāda
Prasāda
Praśāda
Ānanda
Prasāda
Ānanda
Ānanda
Ānanda
Samaya
Ānanda
Samaya
Samaya
Samaya
Kṛti
Samaya
Anuyoga
Kṛti
Kṛti
Bhāshā
Upagūhana
Bhāshaṇa
Bhāshā
Bhāshā
Upagūhana
Bhāshaṇa
Bhāshaṇa
Upagūhana
Upagūhana
Pūrva-bhāva
Pūrva-vākya
Pūrva-vākya
Pūrva-bhāva
Purva-bhāva
Upa-saṃhāra
Kāvya-saṃhāra
Kāvya-saṃhāra
Upa-saṃhāra
Upa-samhara
Praśasti
Praśasti
Praśasti
Praśasti
Praśasti

Page 490

(29) Parihāra.

(30) Nivedana.

(31) Pravartana.

(32) Prahasita.

(33) Upadeśana.2

N. B. This Chart purports to present a comparative table of the Lakṣaṇas that

List Viśvanātha has borrowed a few of

Column I shows the complete set of 36 Lakṣaṇas it becomes

the A. List of 1 harata; the B. List of 36 Lakṣaṇas becomes those given in Column I and

in the Col. II and

Those features given in the A List (1-11) account (1-18 Lakhaṇas in Col. II, the list of 33 Nāṭyalakṣaṇas

becomes complete.

By taking the number of Nātyālakṣaṇas

given in Col. III, those

not enclosed within brackets show the Apavāda

B. P. has Abhinijāna, Ukti ( Gunotii ) and Desā,

as additional

Abhidhēyaṃ for Uthhāpana and Cūrṇikābandhaṃ for Cūrnīkaṃtas Cagunāṇaṃ as

Sāgarānand has Cūrnīkṛtaṃ for Cūrṇikābandhaṃ.

of S. D.
Nirbhāsana
Kārya.
Paridevana.
Kṣhamā.

N. B. This Nāṭyalankāras,

are accepted by Bharata.

this Nāṭya-lakṣaṇas,

complete by taking 1-18 Lakhaṇas according to the A. List of 36 Lakhaṇas.

List of Nātya-lakṣaṇas peculiar to the A. List of Bharata.

Siddhi.
Abhiprāya.
Nidarśana.
Viśéṣaṇa.
Tulya-tarka.
Dishṭa.
Upadisḥṭa.
Vicāra.
Viparpatya.
Guṇatipāta.
Bhraṃśa.
Mālā.
Dākṣinya.
Garhaṇa.
Prasiddhi.
Leśa.
Śankshepa.
Anuktasiddhi.
Arthāpatti.

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[ APP. A ]

435

CLASSIFICATION

Chapter IV

Chart XIII

[ P. 9 ]

NĀYAKA

( Classification from the view-point of birth )

Divya Adivya Divyādivya

Chart XIII a

[ Pp. 205-207 ]

NĀYAKA

( Classification from the view-point of his character )

Dhīrodātta 2. Dhīra-lalita 3. Dhīroddhata 4. Dhīra-prasānta

Chart XIII b

[ P. 208 ]

NĀYAKA

( Classification in relation to his consorts )

Pati Upapati Vaiśika

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442 LAWS OF SANSKRIT DRAMA

Chapter V

Nirveda
Glāni
Śaṅkā
Aśrūya
Mada
Śrama
Alasya
Dainya
Cintā
Moha
Smṛti

Chart XIX [ Pp. 234-291 ]

BHAVA

Sāttvika

Stambha
Sveda
Kampa
Aśru- ̄Ānanda ̄Soka
Romāṅca
Pralaya
Vaivarṇya
Svarabheda

Vyabhicāri

Dhṛti
Vṛidā
Capalatā
Harsha
Āvega
Jaḍaṭā
Garva
Vishāda
Autsukya
Nidrā
Apasmāra
Supta
Vibodha
Amarsha
Avahitthā
Ugratā
Mati
Vyādhi
Unmāda
Maraṇa
Trasa
Vitarka

Sthāyi

Premā

Sneha

Māna

Praṇaya

Rāga*

Anurāga

Bhāva

Rati-
Śoka
Krodha
Utsāha
Bhaya
Hāsa
Jugupsā
Vismaya

For different stages ( daśās ) of Rāge Vide Chart XIXa infra.

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Adbhuta ]

ADBHUTA

= Marvellous, a Rasa.

ADHIKA-PADATVA

= Redundancy, a dosha.

ADHIKĀRA

= A claim to benefit.

ADHIKĀRIN

= A claimant of Adhikāra.

ADHIBALA

= { 1. Outwitting, a sub-div. of III Junc. 2. Outvying, a sub-div. of Vithi.

ADHĪRĀ

= Lacking in self-control, a type of Madhyā Nā.

ADHYAVASĀYA

= Resolution, a Nāt. Al.

ANAṆGA-KĪRTANA

= Development of the subsidiary, a Rasa- dosha.

ANANUSANDHĀNA

= Oblivion, a Rasa-dosha.

ANAVIKṚTATVA

= Want of novelty, a dosha.

ANIYAME NIYAMA

= Restriction of the unrestricted, a dosha

ANUKŪLA

= Faithful, a type of Śṛiṅg. N.

ANUKTA-SIDDHI

= Fulfilment, a Nāt. Al.

ANUGAMANA

= Pursuit, a sub-div. of Śīlp.

ANUDDISHṬA- SAMHĀRA

= V Junc. of Praśānta drama.

ANUNAYA

= Conciliation, a Nāt. Lk.

ANUNĀYAKA

= A subsidiary hero.

ANUPRĀSA

= Alliteration, an Al.

ANUBHĀVA

= After-effect, an ensuant of a feeling.

ANUMĀNA

= { 1. Inference, a sub-div. of III Junc. 2. Inference, an Al.

ANUMITA

= Inferred, a type of Īrshyā-māna.

ANURĀGA

= Developed affection, a sub-div. of rati.

ANULĀPA

= A repetition of words, an Ud. Bhā.

ANUVṚTTI

= Gallantry, a Nāt. Al.

AṆṚTA

= Falsehood, a sub-div. of Prahasana.

ANAUCIṬYA

= Impropriety, a Rasa-dosha.

ANTARA-LĀPĀ

= Internal type of enigma ( nālikā ).

APALĀPA

= Withdrawl of a statement, an Ud. Bhā.

APAVĀDA

= { 1. Censure, a sub-div. of IV Junc. 2. False attribution, a Nāt. Lk.

[ Apavāda

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Artha-Prakrti ]

ARTHA-PRAKRTI

= Elements of Plot.

ARTHA-BĪJA

= Subject of Action, a type of germ.

ARTHA-VYAKTI

= 1. Vividity, a type of Artha-guṇa. 2. Perspicuity, a Śabda-guṇa.

ARTHA-VIŚEṢAṆA

= Repetition, A Nāṭ. Al.

ARTHA-VṚTTI

= Effective bearing, a Vṛ.

ARTHA-SAHĀYA

= Assistant of N.

ARTHA-HĪNA

= Pleonasm, a doṣha.

ARTHĀNTARA

= Digression, a doṣha.

ARTHĀPATTI

= Deduction, a Nāṭ. Lk.

ARTHOPAKSHEPĀKA

= An Intermediary Scene.

ARDHA-MĀGADHĪ

= 1. a type of Pravṛtti. 2. a variety of language.

ARDHA-SAMĀ

= Semi-regular, a class of metres.

ALAṆKĀRA

= Figures of Speech.

AVAPĀTA ( NA )

= Tumult, a sub-div. of Ār. Vṛ.

AVAMARŚA

= Epitasis, IV Junc.

AVALAGITA

= 1. Continuance, a sub-div. of Vithi. 2. Siip, a Mem. of Prah.

AVALAGITĀ

= a type of Prast.

AVASKANDA

= Condescension, a Mem. of Prah.

AVASPANDITA

= Interpretation, a sub-div. of Vithi.

AVASYANDITA

= Same as Avaspandita.

AVAHITTHĀ

= 1. Concealment of an object, a sub-div. of Śil. 2. Dissimulation, a Sañc. Bh. 3. Approach in flurry, a sub-div. of Bhaumī Gait.

AVĀCAKATVA

= Inexpressiveness, a doṣha.

AVIMṚṢṬA-VIDHEYAMŚĀ

= Indiscrimination of Predicate, a doṣha.

AŚRU

= Tears, a Sātt. Bh.

AŚLĪLA

= Indecency, a doṣha.

AŚVAKRĀNTĀ

= Equaline pace, a sub-div. of Bhaumī Gait.

[ Aśvakrānta

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Āryā ]

ĀRYĀ

= A type of Jāti Metres, a Vr-bh.

ĀLAMBANA

= A determinant or pendant, a Vibhāva.

ĀLASYAM

= 1. Physical fatigue, a sub-div. of Śil. 2. Sloth, a Sañc. Bh.

ĀLĀPA

= A coaxing speech, an Ud. Bh.

ĀVANTIKĀ

= 1. Same as Āvantī. 2. A type of Lang.

ĀVANTĪ

= 1. A type of Prākṛta Bhāshā. 2. A type of Ṛti.

ĀVEGA

= Agitation, a Sañc. Bh.

ĀŚĪH

= Blessing, a Nāṭ. Al.

ĀŚIRMŪLĀ

= Benedictry, a type of Nāndī.

ĀŚCARYA

= Surprise, a Sandhi-phala.

ĀŚRAYA

= Shelter, a Nāṭ. Al.

ĀŚVĀSA

= Appeasement, a sub-div. of Śil.

ĀŚVĀSANA

= Same as Āśvāsa.

ĀSĪNA

= Musing, a sub-div. of Lāsya.

ĀHĀRYĀBHINAYA

= Decorative representation.

Ī

ĪRSHYĀ

= 1. Emulation, a Sañc. Bh. 2. a Mānaja Vipra.

ĪHĀMRGA

= A type of Rūp.

U

UKTA-PRATYUKTA

= Amoeban Song, a sub-div. of Lāsya.

UKTI

= Narration, a Nāṭ. Al.

UGRATĀ

= Acrimony, a Sañc. Bh.

UCCHVĀSA

= Regaining senses, a sub-div. of Śil.

UTKANṬHĀ

= Longing, a sub-div. of Śil.

UTKĪRTANA

= Mentioning, a Nāṭ. Al.

UTTAMOTTAMAKA

= A Dance attended by music, a sub-div. of Lāsya.

UTTEJANA

= Persuasion, a Nāṭ. Al.

UTTHĀPAKA

= Challenge, a sub-div. of Satt. Vṛ.

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Upadeśa ]

UPADEŚA = { 1. Instruction, a Nāṭ. Al. 2. Direction, an Ud. Bh.

UPANĀGARIKĀ = Urban, a Śabda. Vr.

UPANYĀSA = { 1. Intimation, a sub-div. of II Junc. 2. Casual Introduction, a Mem. of Bhāṇi.

UPAPATTI = { 1. Reasoning, a Nāṭ. Al. 2. Argument, a Mem. of Prah.

UPA-RŪPAKA = A generic term for subsidiary shows.

UPA-SAMHĀRA = { 1. V. Junc. of Lalita type of Nāṭaka. 2. Apodosis, a Sandhi.

UPA-HASITA = A loud laugh, a Comic ( Prah. )

UPĀTTA = Borrowed, a type of Vastu.

UPĀDHI = Same as Kapaṭa.

UPEKSHĀ = Indifference, a Manopasamana.

UBHAYĀYATTA- ) SIDDHI = a type of N.

ULLĀPYA = an Upa-Rūpaka.

ULLEKHA = A demonstration, a Nāṭ. Al.

ŪHA = Dubiousness, a Sañc. Bh.

EKĀRTHATĀ = Tautology, a dosha

OJAS = { 1. Prowess, A Sandhyantara. 2. Elaborateness, an Artha-guṇa. 3. Bombast, a Śabda-guṇa.

AUGRYAM = Same as Ugratā.

AUDHRA-MĀGADHĪ = Eastern etiquette, a Pravṛtti.

AUTSUKYA = Eagerness, a Sañc. Bh.

AUDĀRYA = { 1. Magnanimity, a N. Guṇa. 2. Dignity, a N. Al.

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Krama ]

KRAMA

= Progress, a sub. div. of III Junc.

KRAMUKA-PĀKA

= Areca-like Taste, a type of Pāka.

KRODHA

= { 1. Indignation, a sandhyantara.

Wrath, a Sthāyī Bhāva.

KLISHTATĀ

= Obscurity, a dosha.

KSHAMĀ

= Forbearance, a Nāṭ. Al.

KSHIPTI

= Revelation, a sub-div. of III Junc.

KSHĪRA-PĀKA

= Milky Taste, a type of Pāka.

KSHOBHA

= Agitation, a Nāṭ. Al.

KSHOBHANA

= Ghastly, a type of Bibhatsa-rasa.

KHANDA-CŪLIKĀ

= a Post-scenium speech, a type of Cūlikā.

KHANDITĀ

= Broken-hearted, a situation of Nā.

KHEDA

= Dejection, a sub-div. of IV Junc.

GANDA

= Abrupt remark, a sub-div. of Vīthī.

GANIKĀ

= Courtesan, a type of Nāyī.

GATI

= Gait.

GADA

= Illness, a Sainc. Bh.

GAD-GAD-VĀK

= Choked voice, a sub-div. of Prah.

GADYA

= Prose, a class of Kāvya.

GARBHA-SANDHI

= Catatasis, III Junc.

GARBHĀṄKA

= An Embryo Scene, an Arthop.

GARBHIṬATĀ

= Misplacing, a dosha.

GARVA

= { 1. Conceit, a Nāṭ. Al.

Conceit, a Sañc. Bh.

GARHANA

= Censure, a Nāṭ. Lk.

GĀMBHĪRYA

= Mental Equilibrium, A merit of Nā.

GĪTA

= Music, a dramatic artifice.

GĪTI

= A type of Jāti Metre, a Vr.-bh.

GUṆA

= Dramatic Merit.

GUṆA-KATHANA

= Extolling, a Rāga-daśā.

GUṆA-KĪRTANA

= { 1. Description, a Nāṭ. Lk.

Extolling of virtues, a Rāga-daśā.

GUṆĀTIPĀTA

= A ray or quality - a type of r1...

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DISHṬA

= A description by ref. to seasons, a Nāṭ. Lk.

DIPTA

= Gleaming, a type of Sātt. Bha.

DĪPTI

= { 1. Rejuvenation, a Rasa-dosha. 2. Radiance, an Ayatnaj a Nā. Al.

DURMALLIKĀ

= An Upa-Rūpaka.

DŪTA

= An Agent.

DŪTYA

= Assistance, a Sandhyantara.

DUŚŚRAVATVA

= Onerousness, a dosha.

DRŚYA

= Visible, a sub-div. of Vastu.

DRSHṬA

= Observed, a type of Īrshyā-māna.

DRSHṬĀNTA

= { 1. Example, a Nāṭ. Lk. 2. Illustration, an Al.

DEVĪ

= Queen, a senior Nā.

DEŚA

= { 1. Place, a sub-div. of Prarocanā. 2. Inferential Knowledge, a Nāṭ. Al. ( B. P. )

DAINYA

= Depression, a Sañc. Bh.

DYUTI

= Reprimand, a sub-div. of IV Junc.

DRAVA

= Contempt, a sub-div. of IV Junc.

DRĀKSHĀ-PĀKA

= Same as Mṛdvikā Pāka.

DRĀVIDĪ

= A Dravidian sub-dialect.

DVIMŪḌHAKA

= A circular dance, a sub-div. of Lāsya.

Dha

DHARMA-VĪRA

= { 1. Righteous heroism, a rasa. 2. A moral N.

DHARMA-SAHĀYA

= An asstt. to hero in matters of religion.

DHI

= Determination, a Sandhyantara.

DHĪRĀ

= { 1. Self-controlled, a type of Madhyā Nā. 2. Patient, a Nā.

DHĪRĀ-DHĪRĀ

= Partly controlled, a type of Madhyā Nā.

DHŪNANA

= Disinterest, a sub-div. of II Junc.

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Parivāda ]

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Parīsarpa

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Parushā

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Paryupāsana

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Paśccāttāpa

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Pāka

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Pāñcāla-Madhyamā

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Pāñcālī

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Pāṇḍu

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Pātra

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Pāripārśvaka

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Picumanda-Pāka

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Piṭhara-Pāka

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Piṭhamarda

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Pushpa

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Pushpa-Gaṇḍikā

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Pūrṇa

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Pūrva-Bhāva

Visva Bharati Library

Pūrva-Raṅga

Visva Bharati Library

Pūrva-Rāga

Visva Bharati Library

Pūrva-Vākya

Visva Bharati Library

Prcchā

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Paisācī

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Paunaruktya

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Prakaraṇa

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Prakaraṇī

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Prakarī

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Prakāśam

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Prakāśana

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Prakṛta-Viparyaya

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Prakhyāta

Visva Bharati Library

Pragamana (-Yāna)

Visva Bharati Library

Pragalbhatā

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Praśasti ]

[ Proshita-Bhartṛkā

PRAŚASTI = Valediction. a sub-div. of V Junc.

PRAŚĀNTA = { 1. A type of Nāṭaka.

Calm, a type of N.

PRASAKTI = Close Attachment, a sub-div. of Śil.

PRASAṆGA = Reverence, a sub-div. of IV Junc.

PRASĀDA = { 1. Graciousness, a sub-div. of V Junc.

Concinnity, a Śabda-guṇa.
Perspicuity, an Artha-guṇa.

PRASIDDHI = Similitude, a Nāṭ. Lk.

PRASIDDHI-VIRODHA = Unconventionalism, a doṣa.

PRASTĀVANĀ = Induction, a preliminary of drama.

PRASTHĀNA = An Upa-Rūpaka.

PRAHARṢA = { 1. Excess of joy, a Nāṭ. Lk.

Ecstatic delight, a sub-div. of Śil.

PRAHASANA = { 1. Farce, a type of Rūpaka.

Humour, a sub-div. of Bh. Vṛ.

PRĀKṚTA = A Jāti-bhāshā ( under Pṛ. )

PRĀGALBHYA = Same as Pragalbhātā.

PRĀCYĀ = A type of Prākṛta ( under Pṛ. )

PRĀPTI = { 1. Attainment, a sub-div. of I Junc.

Conjecture, a Nāṭ. Lk.
Blissful accomplishment, a sub-div. of Śil.

PRĀPTYĀSĀ = Prospect of success, a Kār.

PRĀRTHANĀ = Request, a sub-div. of III Junc.

PRĀVEŚIKĪ = Introductory song, a Dhruvā.

PRĀSĀDIKĪ = Decorative, a type of Dhruvā.

PRIYOKTI = Gratifying speech, a Nāṭ. Lk.

PREKSHĀNAKA = An Upa-Rūpaka.

PREMĀ = Affection, a Bhāva capable of being Sthāyin.

PROTSĀHANA = Encouragement, a Nāṭ. Al.

PROSHITA-BHARṬṚKĀ= A type of Nā., whose husband is on sojourn.

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Bhāṇa ]

BHĀNA

= Monologue, a type of Rūpaka.

BHĀNĪ

= An Upa-rūpaka.

BHĀRATĪ

= Eloquent bearing, a type of Śabda-Vṛ.

BHĀVA

= { 1. reēngs ( yungyu ). 2. Attachment, a sub-div. of Rati. 3. Affection, a Nā. Al.

BHĀVA-DHVANI

= Suggestion of emotions.

BHĀVA-ŚABALATĀ

= Commixture of various feelings.

BHĀVA-ŚĀNTI

= Sinking of feelings.

BHĀVA-SANDHI

= Confluence of two or more feelings.

BHĀVĀNTARA

= A sub-div. of IV Junc.

BHĀVĀBHĀSA

= Psuedo-suggestion.

BHĀVODAYA

= Rise of Feelings.

BHASHANĀ

= Satisfaction, a sub-div. of V Junc.

BHĀSHĀ

= Language, a sub-div. of Pr.

BHĀSVARA

= A type of Nāṭaka.

BHINNĀRTHATĀ

= Obscurity, a dosha.

BHŪSHANĀ

= Ornament, a Nāṭ. Lk.

BHEDA

= { 1. Division, a sub-div. of I Junc. 2. Disintegration, a Sandhyantara. 3. Negotiation, a Māṇop.

BHOGINĪ

= A mistress, a Junior Nā.

BHAUMĪ

= Terrestrial, a Gait.

BHRĀNTI ( - ° MĀN )

= { 1. A mistake, a Sandhyantara. 2. Error, an Al. Ma

MATI

= Determination, a Sañc. Bh.

MADA

= { 1. Intoxication, a Sandhyantara. 2. Inebriety, a Sañc. Bh. 3. Arrogance, a Nā. Al.

MADAṀ-SAMA

= Mellitous, a type of Sneha.

MADHYAMA

= { 1. Middling, a type of Premā. 2. A type of character.

MADHYAMA-ĀRABHATĪ

= A weak specimen of horrific Vṛ.

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Mūrcchā ]

MŪRCCHĀ = swoon, a smara-daśā.

MŪDHATĀ = { 1. Same as Mugdhatā.

Silliness, a Sañc. bh.

MRII = Same as Maraṇa.

MRḌAVA = Euphemism, a sub-div. of Vīthī.

MRḌVĪKĀ-PĀKA = Same as Drākshā-pāka.

MOHA = Silliness, a Sañc. Bh.

MOṬṬĀYITA = Manifestation of Rāga, a Svābhāvika Nā. Al.

MAUGDHYA = Simplicity, a Nā. Al.

Ya

YATNA = Endeavour, a Kār.

YATI-BHAṄGA = Breach in the rule of pause, a dosha.

YĀCÑĀ = Solicitation, a Nāṭ. Al.

YUKTI = { 1. Resolve, a sub-div. of I Junc.

= { 2. Reasoning, a Nāṭ. Al.

YUDDHA-VĪRA = { 1. Bellicose hero, a N.

= { 2. A type of Vīra-rasa.

Ra

RAKTIMĀ = Crimson, a type of rāga.

RAṄGA-DVĀRA = Gateway to the Play, a Preliminary of drama.

RACANĀ = A suitable arrangement, a Sandhi-phala.

RATI = Love, amor, a Sthāyī Bh.

RASA = Sentiment, soul of Poetry.

RASA-CARVAṆĀ = Sentimental Relish.

RASA-DOSHA = Sentimental Flaw.

RASĀNTARA = Change of humour, a Mānop.

RĀGA = { 1. Emotion, a Sandhi-phala.

= { 2. Dye, a sub-div. of Rati.

RĀGA-DAŚĀ = Stages of Love.

RĀSAKA = An Upa-Rūpaka.

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VAYAH-SANDHI

= Adolescence, an age of attraction in Nā.

VARNA-SAMHĀRA

= Congregation, a sub-div. of II Junc.

VARSHAVARA

= A eunuch, an attendant in a harem.

VALITA

= A sub-div. of Prast.

VASTU

= Dramatic Plot.

VASTŪTTHĀPANA

= Production of Matter, a sub-div.of Ār.Vr.

VĀK-KELI

= Repartee, a sub-div. of Vithi.

VĀKYA-DOSHA

= Syntactical flaw.

VĀG-VENī

= Same as Vāk-keli, a sub-div. of Vithi.

VĀCAKĀŚRAYĀ

= Structural, a sub-div. of Vr.

VĀCAKĀBHINAYA

= Verbal representation.

VĀCYĀŚRAYĀ

= Pertaining to sense, a sub-div. of Vr.

VĀMA

= A type of Bhaumi Gati.

VĀMYA

= Perverse attitude, a sub-div. of Śil.

VĀRNIKA

= A class of metres.

VĀRTĀKA-PĀKA

= Brinjal taste, a type of Pāka.

VĀSAKA-SAJJĀ

= Decorated, a type of Nā.

VIKSHepa

= Perturbance, a Nā. Al.

VIKRTA

= Modified, a type of Prahasana.

VIDALANAM

= Self-praise, a sub-div. of IV Junc.

VICĀRA

= Argument, a Nāṭ. Lk.

VIṬA

= A rake, a minor character.

VITARKA

= Dubiousness, a Sañc. Bh.

VIDŪSHAKA

= Clown, the Narma-saciva of N.

VIDYĀ-VIRODHA

= Unscientific, a dosha.

VIDRAVA

= { 1. Terror, a sub-div. of III Junc. 2. Flight, a sub-div. of IV. Junc. }

VIDHĀNA

= Conflict of feelings, a sub-div. of I Junc.

VIDHŪTA

= Disinterest, a sub-div. of II Junc.

VIDHŪNANA

= Same as Vidhūta.

VINĪTA

= Moderate, a sub-div. of Prarocanā.

VINYĀSA

= Insertion of a statement, a sub-div. of Bhaṇīti.

VIPARYAYA

= Alteration, a Nāṭ. Lk.

VIPULĀ

= A type of Āryā.

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Vishama ] [ Vyapadeśa

VISHAMA

= { 1. Irregular, a class of metres. 2. Anomaly, a dosha. 3. Incongruity, an Al.

VISHKAMBHA ( KA )

= Explanatory Scene, an Arthop.

VISHĀDA

= Despondency, a Sañc. Bh.

VISANDHI

= Want of coalescence, a dosha.

VISARPA

= Consequence, a Nāt. Al.

VISMAYA

= { 1. Surprise, a sub div. of Śil. 2. A Sthāyi Bhāva.

VIHASITA

= Laugh, a mode of expressing comic ( Prah. ).

VIHRTA

= Reserve, a Nā. Al.

VĪTHI

= { 1. Avenue, a sub-div. of Bhāratī Vr. 2. An Upa-Rūpaka.

VĪTHYAN̐GA

= A Mem. of Vīthī.

VĪRA

= { 1. Heroic, a rasa. 2. Bellicose, a N.

VRTTA

= A class of metres.

VRTTA-DOSHA

= Metrical flaw.

VRTTĀNUPAKSHAYA

= Sustaining interest, a Sandhi-phala.

VRTTI

= Bearing.

VEPATHU

= Tremour, same as Kampa.

VAITĀLIKA

= A Time-keeper.

VAIDARBHI

= Gay, a rīti.

VAIVARNYA

= Pallor, a Sātt. Bhāva.

VAIŚĀRADYA

= Skill - an expression of, a1 sub-div. of Śil.

VAIŚIKA

= Indulging with courtesans, a type of N.

VYAKTA-YAUVANĀ

= Blooming Youth, an attractive age of Nā.

VYAN̐GYA

= Charm by Suggestion.

VYATIREKA

= Contrast, an Al.

VYAPADEŚA

= An expression of desire, an Ud. Bh.

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śuddha ]

ŚUDDHA

= { 1. a type of Prakarana.

Regular, a type of Prahasana.
Pure, a type of Vishkambha.
Single, a type of Kāryāvasthā.

ŚUDDHĀ

= Simple, a type of Nāndī as distinguished from ( i ) Nīlī; ( ii ) Paträvalī.

ŚRŅGĀRA

= Erotic, a type of rasa.

ŚRŅGĀRĪ

= Æsthetic, a type of N.

ŚOKA

= Grief, a Sthāyī Bhā.

ŚOBHĀ

= { 1. Beauty, a Nāṭ. Lk.

Beauty of character, a Na.-guṇa.
Beauty, an Ayatnaja N. Al.

ŚAUCA

= Serenity, a Sañc. Bh.

ŚYĀMA

= Mazarine, a type of Nīlimā-rāga.

ŚRADDHĀ

= Devotion, a Bhāva capable of being Sthāyi.

ŚRAMA

= Exhaustion, a Sañc. Bh.

ŚRAVYA

= Presentable, a sub-div. of Vastu.

ŚRIGADITA

= An Upa-Rūpaka.

ŚRUTA

= Reported, a type of Īrshyā Māna.

ŚLESHA

= { 1. Density, a type of Sabda-guṇa.

Entirety, a type of Artha-guṇa.

ŚLESHA-MŪLĀ

= a type of Patrāvalī Nāndī.

SA

SAKHYA

= Commanding friendship, a type of Praṇaya.

SAŇKALPA

= Reflection, a Smara-daśā.

SAŇKĪRNA

= { 1. Irregular, a type of Prahasana.

Mixed, a type of Vishkhambha.
Restricted, a type of Sambhoga Śṛṅgāra.

SAŇKSHKIPTA

= Brief, a type of Sambhoga Śṛṅgāra.

SAŇKSHIPTIKĀ

= Compression, a su

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Sampralāpa ]

SAMPRALĀPA

= A random talk, a Rāga-daśa.

SAMPHETA

= { 1. Hot speech, a sub-div. of the IV Junc. 2. Wrathful statement, a sub-div. of Śil. 3. Recontre, a sub-div. of Ārabhaṭī Vṛ.

SAMBHOGA

= Love-in-union, a type of Ṣṛṅg.

SAMBHRAMA

= { 1. Agitation, a Saṅc. Bh. 2. Terror, a sub-div. of IV Junc.

SAMBHRAMAJA

= Proceeding from calamity, a type of Vipra.

SAMRAMBHA

= Assertion, a sub-div. of IV Junc.

SAÑLLĀPA

= Witty Conversation, an Ud. Bh.

SAÑLLĀPAKA

= { 1. Discourse, a sub-div. of Sātt. Vṛ. 2. An Upa-Rūpaka.

SAMVARAṆA

= Concealment, a Sandhyantara.

SAMVṚTI

= Same as Samvaraṇa.

SAMŚAYA

= { 1. Doubt, a Nāt. Lk. 2. Doubt, a sub-div. of Śilpaka.

SAMSKṚTA

= Classical, a type of Jāti-bhāshā.

SAMHĀRA

= Culmination of motif, a sub-div. of Bhāṇī.

SAHAKĀRA-PĀKA

= Same as Āmra-Pāka.

SĀTTVATĪ

= Majestic bearing, an Artha. Vṛ.

SĀTTVIKA-BHĀVA

= Involuntary state.

SĀTTVIKĀBHINAYA

= Emotional representation.

SĀDANA

= An insulting speech, a sub-div. IV Junc.

SĀDHANĀ

= Promise to do something, a sub-div. of Śilpaka.

SĀDHĀRAṆA

= Responsive, a type of Sambhoga Ṣṛṅg.

SĀDHARANI

= A Commoner, a type of Nā.

SĀDHVASA

= Mis-statement of facts, a sub-div, of Bhāṇī.

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Svabhavika ]

SVABHAVIKA

= Inborn, a class of Na. Al.

SVAYATTA-SIDDHI

= A full Monarch, a type of N.

SVIYA

= Legally wedded, a Na.

SVEDA

= Perspiration, a Sattv. Bha.

SVOKTI

= Direct mention, a Rasa-dosha.

Ha

HATA-VRTTATA

= Lameness in metre, a metrical flaw.

HARITA

= Green, a type of Varna.

HARSHA

= Joy, a Sañc. Bhava.

HASITA

= Gentle laugh, a mode of expressing comic ( prah. ).

HAVA

= Emotion, an Angaja Na. Al.

HASA

= Humour, a Sthayi Bhava.

HASYA

= Comic, a Rasa.

HRLLISA

= An Upa-Rupaka.

HETU

= { 1. Reasoning, a Nat. Lk. 2. A Poetic Figure, Al.

HETVAVADHARANA

= Conclusion, a Sandhyantara.

HELA

= An expression of passion, a type of Angaja Na. Al.

HRI

= { 1. Modesty, a Sañc. Bh., same as Vrida. 2. Concealment, a Sandhyantara.

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Blissfulness ]

Blissfulness

= Saubhāgya.

Bodiless god ( Cupid )

= Anaṅga.

Bombastic style

= Gauḍi-Riti.

[ Cow's tail

C

Cæsura ( Interim pause )

= Yati ( virāma )

Canonist

= Lakshana-kāra.

Catatasis

= Garbha-sandhi.

Catastrophe

= Vimarsa-sandhi.

Chamberlain

= Kaṅcukin.

Character

= Pātra.

Chequered style

= Khaṇḍa-Riti.

Chime

= Yamaka ( alaiṅkāra ).

Choking

= Gad-gad-vāk.

Circumstantial causes

= Uddīpana-Vībhāva.

Clown ( Jester )

= Vidūshaka.

Co-ambulation theory of junctures.

= Arthā-prakṛti-sañcāra ( vastu ).

Cognition

= Rasa-bhāvanā.

Comic sentiment

= Hāsya-rasa.

Comic ( end )

= Sukhānta.

Comouflage

= Dosha-Vyāpāra ( a condition precedent to Sādhārani-karaṇa. )

Compliment

= Prapaṅca.

Composite elements

= Avayava.

Concinnity

= Prasāda-guṇa.

Conclusion

= Nirvahaṇa-sandhi.

Consummation

= Phalāgama.

Continuance

= Avalagita.

Continuation Scene

= Aṅkāvatāra.

Conventions

= Samaya [ Kavi- ].

Caunter-hero

= Prti-nāyaka.

Counter-part

= Āśraya.

Cow's tail

= Go-pucchākāra, a feature of dramatic construction.

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496

Episode ]

[ God of Love

Episode

= Patākā.

Epitasis

= Vimarsa-sandhi.

Equivocal expression

= Ślesha.

Erotic sentiment

= Śṛṅgāra-rasa.

Establisher

= Sthāpaka.

Etiquette

= Pravṛtti.

Euphemism

= Mṛdaya.

Excellences ( merits )

= Guṇas.

Exclusive speech

= Janāntikam.

Expansion

= Prati-mukha ( sandhi ).

Explanatory Scene

= Vishkambhaka.

Explicit feelings

= Udbhāsvara-Bhāva.

Expression

= Vācya.

F

Fallacy

= Hetvābhāsa.

Farce

= Prahasana ( a play ).

Feeling

= Bhāva (Sañcāri-̄).

Fictitious ( plot )

= Kalpita, Utpādya.

Foot ( metrical )

= Gaṇa.

Fruition

= Bhoga-kṛtva ( vyāpāra ); Pāka.

Furious sentiment

= Raudra-rasa.

Fusion

= { 1. Ceto-druti ;

Sambheda.

G

Gaiety

= Lālitya.

Gallant

= Udātta ( a pātra ).

Gateway

= Raṅga-dvāra.

Gay

= Lalita.

Gay bearing

= Kalsikī Vṛtti.

Gay style

= Vaidarbhī riti.

Gentle dance

= Lāsya.

Germ

= Bīja.

Gleaning Song

= Śushkāvakṛshṭa.

God of Love

= Rati-pati.

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Jocular dialogue ]

[ Motif

J

Jocular dialogue = Vyavahāra.

Juncture = Sandhi.

Juncture of Conclusion = Upasamhära-sandhi.

L

Laudation = Prarocanā.

Laws of Interpretation = Mīmāmsā.

Leader - of Episode = Patākā-nāyaka.

" - of Incident = Prakari-nāyaka.

Lineaments = Rūpa.

Loathsome ( sentiment ) = Bibhatsa ( rasa ).

Love-in-longing = Pūrva-rāga.

Low character = adhama-pātra.

M

Main ( plot ) = Ādhikārika ( vṛtta ).

Majestic = Prauḍha ( prarocanā ).

Male attendant ( chief ) = Pāri-pārśvaka.

Manifestation = abhivyakti.

Marvel = Vismaya.

Marvellous ( sentiment ) = Adbhuta ( rasa ).

Meditative Bearing = Brāhmi-vṛtti.

Melody = Mādhurya ( guṇa ).

Mercenery passion = Artha-Śṛṅgāra.

Metrics = Chando-vijñāna.

Middling ( character ) = Madhyama-pātra.

Minor shows = Upā-rūpakas.

Military Spectacle = Vyāyoga.

Moderate = Vīnīta ( prarocanā ).

Modes of behaviour = Vṛtti.

Modified ( play ) = Vikrta.

Monologue = Bhūṇa.

Mood ( of characters ) = Vṛtti.

Mortal = Adivya ( pātra ).

Motif = Lakshya ( phala ).

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500

LAWS OF SANSKRIT DRAMA

Protasis ]

= Mukha-sandhi.

Protasis

= Mukha-sandhi.

Psuedo-suggestion

= Ābhāsa.

sentiment

= Rasābhāsa.

feelings

= Bhāvābhāsa.

Quiet

= Śānta ( pātra ).

Quietistic ( sentiment )

= Śānta-rasa.

Real Commencement

= Kathodghāta.

Reasoning

= Upapatti.

Recontre

= Sampheta.

Regular ( play )

= Suddha.

( metre )

= Sama-Vritta.

Relish

= Rasa-carvanā.

Repartee

= Vāk-keli.

Representation

= Abhinaya.

Res-business

= Kathā-vastu.

Righteous hero [ -ism ]

= Dharma-vīra ( netā ), [ -°rasa ]

Scene

= Vidhāna.

Scooping

= Avaskanda.

Sensible person

= Sahṛdaya.

Sentiment

= Rasa.

Shadow-drama

= Chāyā-nāṭaka.

Show

= Rūpaka.

Similarity of Episodes

= Chāyā.

Situation

= Samvidhāna.

Slip-down

= Avalagita [ a Mem. Prah.]

Sober way

= Sāttvatī-Vṛtti.

Soft bearing

= Kaiśikī-Vṛtti.

Solecism

= Śabda-cyuta ( a dosha ).

Sources of plot

= Artha-prakṛti.

Special features

= Sandhyantarās.

Spectator

= Sāmājika.

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502 LAWS OF SANSKRIT DRAMA

Virtual Start 1

Virtual Start( of a play ) = Utthāpana.

Visible

= Drśya ( vastu ).

Void

= Ākāśa.

Voluptuous passion

= Kāmā-Śṛṅgāra.

Wanton-ness

= Prema-vaicitra.

Wee-monologue

= Bhāṇi.

Wonder

= Camatkāra.

Zeal

= Utsāha ( sthāyi-bhāva ).

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History of Classical Sanskrit Literature : Kṛshṇamācāriar, ( Madras ).

History of Sanskrit Literature — A. B. Keith — (O. U. P.)

History and Practice of Indian Music — Foroze Framjee.

Indian Stage by H. Dasgupta.

Indian Theatre—C. B. Gupta.

Indian Theatre : Its Origin and Development under European Influence by R. K. Yājñika.

Studies in the History of Indian Poetics — S. K. De.

II

Select Articles :

Date of Bharata’s Nāṭya-śāstra : D. C. Sircar : Jahars XII.

Doctrinaire Drama : R. V. Jahagirdar : JRAS, Bengal, 1932.

Hāsya as a Rasa in Sanskrit — Haradatta Sarmā,

Annals, B. O. R. I.—XXII.

Hindu Theatre — D. R. Mankad. (IHQ, 1938.)

Hindu Theatre — Rāghavan. (IHQ, 1933.)

History of Bhāvika in Sanskrit Poetics : Rāghavan— (IHQ, 1938.)

Imagination in Indian Poetics : T. N. Śrīkaṇṭaiyya. (IHQ, 1937.)

Kuntaka’s Conception of Guṇas by Haradatta Sarmā — (IHQ, 1934.)

Nāndī in Theory — Urmilā Dave. (IHQ, 1941.)

Pre-ḍhvani School of Alañkāra — V. V. Sowani — (Bhāṇḍārkar Comm. Vol. I.)

Problems of Nāṭya-śāstra : Manoranjana Ghosh : (IHQ, 1932.)

Criticism of the same : H. V. Trivedi : (IHQ, 1931.)

Rasābhāsa in Alañkāra Literature : S. P. Bhaṭṭācārya.

(Cal. O. J. II-10.)

Uttara-rāma-caritam : Articles on - by S. N. Shāstri - Prācya-Vāṇī, Calcuṭṭā Vol. II-Nos. III & IV. 1945.

: Allahabad Univ. O. S, Bulletin-1933.

Vṛttis : Rāghavan : (J. O. R. Madras, Vol. VII.)

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विश्वभारती पुस्तकालय

891.22/Sa 53 La

Santiniketan

LAWS AND PRACTICE

OF

SANSKRIT DRAMA

BOOK I

INDICES

A : A CONSPECTUS OF TEXT-BOOKS UNDER REFERENCE ;

B : INDEX TO QUOTATIONS ;

C : INDEX TO WORKS & AUTHORS ;

D : SUBJECT-INDEX.

Page 566

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Page 567

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510

Āścarya Cūḍāmaṇi of Śakti Bhadra

(Bālamānoramā Edn. Madras, 1933)

Ashṭa Ślokī by Pārāśara Bhaṭṭārya (Śrīnivāsa Press, Bṛndāban,1920)

(Camb. Univ. Press, 1926)

As You Like It — Shakespeare

Aucitya Vicāra Carcā of Kshemendra

(Kāvyamālā Part I, 1929)

Avaloka on Daśarūpaka by Dhanika

(N. S. Edn., 1941)

Avimāraka of Bhāsa

(Bhāsa-nāṭaka-cakram...O. B. A., Poona, 1937)

Bālabodhinī on Kāvyaprakāśa by V. Jhalakīkar

(2nd Edn. Bombay, 1901)

Bāla-rāmāyaṇa of Rājaśekhara, Ed. Govinda Deva Shāstrī

(Benares, 1869)

Bhagavadajjukīyam of Bodhānya Kavi

(Paliyam Mss. Library -1925, Jayantamaṅgalam, S. I.)

Bhagavad Gītā

(Ashṭekar & Co., Poona, 1926)

Bhāminī Vilāsa of Jagannātha

(N. S. Edn., 1933)

Bhāsa — A. S. P. Aiyyār

(Indian Men of Letters S., 1942)

Bhāsa—A study by A. D. Pusalkar

(Motilal Banarasidāsa, Lahore)

Bhāsa-nāṭaka-cakram, Ed. by Devadhar

(Poona Oriental Series, 1937)

Bhāvaprakāśa of Śāradātanaya

(G. O. S. Edn., 1930)

Bhāva-tala-sparśinī on Uttarā-rāma-carita by Virarāghava

(N. S. Edn., 1939)

Bhīma-vijaya — An unpublished Drama

Bhoja-prabandha of Ballāla

(Ed. Jīvānanda, Cal., 1923)

Bhartrhari-Nirveda of Harihara

(N. S. Edn., 1936)

Brahmā Purāṇa

(Khemarāja Śrīkṛṣṇadāsa, Bombay, 1906)

Caitanya Candrodaya of Karnapūra

(N. S. Edn., Bombay, 1917)

Cāṇakya Cāturī on Mudrā Rākshasa by Haridāsa

(1st Edn. Nakipura)

Caṇḍakauśika of Khemiśvara

(Ed. Jīvānanda, 1931)

Candrāloka of Jayadeva

(Chowkhambā S. S., Benares, 1938)

Candrikā on Prabodha-candrodaya by Nādillyāgopa

(N. S. Edn. Bombay, 1924)

Chandah-Śāstra of Piṅgala Nāga

(Kāvyamālā Edn., 1938)

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[ IND. A ] 511

Visva Bharati Library

Chāndogya Upanishad. ( N. S. Edn., 1932. )

Visva Bharati Library

Chāyā on Sāhitya-darpaṇa by Durgāprasāda Dviveda — ( N. S. Edn., Bombay, 1936. )

Visva Bharati Library

Citra Mīmānsā of Appaya Dikshita. ( N. S. Edn., Bombay, 1907. )

Visva Bharati Library

Collected Works of Lord Tennyson. ( Golden Treasury Series—I Edn., Macmillan. )

Visva Bharati Library

Concept of Riti & Guṇa by P. C. Lahari — ( Dacca Univ. Pubn., 1937. )

Visva Bharati Library

Ḍamarūkam of Ghanaśyāma. ( Śrīraṅgam Edn., 1942. )

Visva Bharati Library

Daśarūpaka of Dhananjaya. ( N. S. Edn. 1941. )

Visva Bharati Library

Daśarūpaka : Translated by Dr. Hāas (Columbia Univ. Press 1912.)

Visva Bharati Library

Daśarūpaka : Translated by Gopāla Datta — ( Goṇḍal, Kāṭhiāwāra, 1942. )

Visva Bharati Library

Dhanañjaya Vijaya of Kāñcanācārya. (N. S. Edn. Bombay–1930.)

Visva Bharati Library

Dhūrta-viṭa-saṁvāda of Īśvaradatta. ( Patna Edition–1922. )

Visva Bharati Library

Dhvanyāloka of Ānandavardhana. ( Kāvyamālā series, 1911. )

Visva Bharati Library

Dūtaṅgada of Subhaṭa Kavi. ( N. S. Edn., Bombay, 1935. )

Visva Bharati Library

Dūtavākya of Bhāsa. ( Poona Oriental Series, 1927. )

Visva Bharati Library

Ekākshari Kośa. ( N. S. Edn., First Edition. )

Visva Bharati Library

Ekāvalī of Vidyādhara. ( B. S. S., 1903. )

Visva Bharati Library

Garuda Purāṇa. ( Khemarāja Śrīkṛshṇadāsa, Bombay, 1904. )

Visva Bharati Library

Ghaṇṭāpatha on Kirātārjunīyam by Mallinātha — ( N. S. Edn. Bombay, 1933. )

Visva Bharati Library

Hāsyacūdāmaṇi ( Prahasana ) by Vatsarāja. ( G. O. S., 1911. )

Visva Bharati Library

Hāsyārṇava of Jagadīśvara. ( 1st Edn. Timiranāśaka Press, Benares. )

Visva Bharati Library

Jīvānandana of Kṛshṇarāya Makhi. (N. S. Edn., Bombay, 1933.)

Visva Bharati Library

Kalpa-latā on Vikramorvaśī by S. N. Shāstri ( N. S. Edn., 1942. )

Visva Bharati Library

Kāmandakīya Nītiśāstra of Kāmandaka — ( 1st Edn. Khemaraja Śrīkṛshṇadāsa, Bombay. )

Visva Bharati Library

Kāmasūtra of Vātsāyana, Ed. Dāmodaralāl Gosvāmin— ( 1st Edn. Benares. )

Visva Bharati Library

Karnabhāra of Bhāsa, Ed. Devadhara. ( Poona O. Series, 1937. )

Visva Bharati Library

Karṇa Sundarī of Bilhaṇa. ( N. S. Edn., Bombay, 1932. )

Visva Bharati Library

Karpūracarita Bhāṇa of Vatsarāja. ( G. O. S. Edn., 1918. )

Visva Bharati Library

Karpūramañjarī of Rājaśekhara. Ed. Konow & Lanman. ( Harv. O. Series No. 4, 1901. )

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512

Kāvya-dākinī of Gaṅgānanda —

( Sarasvatī Bhavana Texts, Benares, 1924. )

Kāvyādarśa of Daṇḍin, Ed. Vācaspati. ( Madras Edn., 1936. )

Kāvyadīpikā of Kānticandra, Ed. Urdhvareshe. (Ist Edn., Indore.)

Kāvyālaṅkāra of Vāmana. ( N. S. Edn. Bombay-1st Edition. )

Kāvyālaṅkāra of Bhāmaha, Ed. Baladeva Upādhyāya

( Chowkhambā S. S., 1938. )

Kāvyālaṅkāra-sāra-saṅgraha of Udbhaṭa. ( G. O. S. Edn. 1931. )

Kāvya Mīmāṅsā of Rājaśekhara. ( G. O. S. Edn. 1916. )

Kāvyānuśāsana of Ācārya Hemacandra —

( N. S. Edn., Bombay., 1934. )

Kāvyānuśāsana of Vāgbhaṭa. ( N. S. Edn. Bombay, 1915. )

Kāvyānuśāsana of Vāmana. ( 1st Edn., N. S. Edn. Bombay. )

Kāvya-pradīpa of Govinda. ( N. S. Edn., Bombay, 1912 ).

Kāvyaprakāśa of Mammaṭa Bhaṭṭa, Ed. Jhalakīkara —

( 2nd Edn.!B. S. S. )

Kāvyenduprakāśa as cited by S. D. ( N. S. Edn., Bombay. )

Kirātārjunīyam of Bhāravi. ( N. S. Edn., 1933. )

Kirātārjunīya-vyāyoga of Vatsarāja. ( G. O. S., 1918. )

Kucimāra Tantra of Kucimāra (Motilal Banarasidas, Lahore, 1922.)

Kumāra Giri Rājīya on Mālavikāgnimitra by Kāṭayavema—

( N. S. Edn., 1935. )

Kumāra Sambhava of Kālidāsa. ( N. S. Edn., 1935 ).

Kunda Mālā of Dīnnāga. ( Meharchand Lakshamanadas,

Lahore, 1930. )

Kusuma Pratimā on Sāhitya-darpana by Mm. Haridāsa —

( Fourth Edition, Calcutta. )

Kuṭṭinī-mata of Dāmodara Gupta, Ed. K. P. Trivedi —

( B. S. S., 1915. )

Kuvalayānanda of Appaya Dīkshita. ( N. S. Edn., 1942. )

Laṭaka Melaka of Saṅkhadhara. ( N. S. Edn., Bombay, 1923. )

Locana on Sāhitya Darpana by Anantadāsa —

( Motilal Banarasidas, Lahore, 1938. )

Locana on Dhvanyāloka by Abhinava Guptapāda —

( N. S. Edn., 1911. )

Page 570

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[ IND. A ] CONSPECTUS OF TEXT-BOOKS

Locana-rocinı on Ujjvala Nıla Manı by Jıva-gosvāmin —

( N. S. Edn., Bombay, 1932 ).

Madhyama Vyāyoga of Bhāsa. (Poona Oriental Series, Poona, 1937.)

Mahābhārata.

( Kumbhakonam Edition, First Impression. )

Mahānāṭaka of Hanūmat (Khemarāja Srīkrshnadāsa, Bombay, 1886.)

Mahānāṭaka of Hanūmat with Jıvānanda's Ṭīkā —

( Third Edn., Calcutta. )

Mahāvıracaritam of Bhavabhūti Ed. R. G. Bhāṇdārakara —

( B. S. S., 1905. )

Mālatı Mādhava Ṭīkā by Jagaddhara.

( B. S. S., 1905. )

Mālavikāgnimitra of Kālıdāsa. ( N. S. Edn., Bombay, 1912. )

Mallıkā Māruta of Uddanda. Ed. by Jıvānanda. (Calcutta, 1878.)

Mandāramaranda Campū of Srıkrshna Kavi. (N. S. Edn., 1895.)

Manusmṛti.

( N. S. Edition, Bombay, 1939. )

Mattavilāsa Prabhasana of Mahendra Vikrama Varma —

( T. S. S., 1917. )

Medinı Kośa. Ed. Jıvānanda. ( First Edition, Calcutta )

Merchant of Venice of Shakespeare. Ed. K. Deighton —

( Macmillan, 1930. )

Merry Wives of Windsor of Shakespeare —

( Standard Literature Edn., 1940. )

Mṛcchakatika of Sūdraka. ( N. S. Edn., Bombay, 1902. )

Mṛgāṅka Lekhā Nāṭikā of Viśvanātha Deva —

(Sarasvatı Bhavana Studies, Benares, 1929. )

Mudrā-rākshasa of Viśākhadatta. ( N. S. Edn., Bombay, 1935. )

Mudrā-rākshasa Ṭīkā by Dhuṇdhirāja. (N. S. Edn., Bombay, 1935.)

Mukundānanda Bhāna of Kāśıpati. ( N. S. Edn., Bombay, 1926. )

Nāgānanda of Srıharsha. (Meharchanda Lakshmanadasa,Lahore,1923.)

Nala Vilāsa Nāṭaka of Rāmacandra Sūri

Ed. Bālasubramhanyam. (1st Edn., G. O. S.)

Nañjarāja Yaśo Bhūshana of Abhinava Kālidāsa. (G. O. S., 1930.)

Nārāyaṇı on Sruta Bodha of Kālidāsa by Nārāyana —

( N. S. Edn. Bombay, 1933. )

Nāṭaka-candrikā of Rūpa Gosvāmin —

( Ms. National Library, Calcutta. )

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Nāṭaka-lakṣaṇa-ratna-kośa of Sāgaranandin Ed. M. Dillon

( Oxford Univ. Press, 1937. )

Nātaka Lalita-mādḥava by Rūpa Gosvāmin [ Ms. - Calcutta. ]

Nāṭya-darpana of Rāmacandra & Gunḍacandra. (G. O. S., 1929.)

Nāṭya-kośa of Mātṛgupta cited in N. L. R. by Sāgaranandin.

Nāṭya-locana of Upādhyāya Bhaṭṭa Tauta. [ Ms. - Citations. ]

Nāṭya-pradīpa of Sundaramiśra. [ Ms. - Citations. ]

Nāṭya-śāstra of Bharata. ( Kāśī Sanskrit Series, 1929; also N. S. Edn., 1942; also G. O. S. Edn., 1934. )

Nāṭya Veda of Koḥala. ( Citations by Śāradātanaya. )

Number of Rasas by V. Rāghavan - ( Adyar Library, Madras, 1940. )

Othello of Shakespeare, Ed. K. Deighton. ( Macmillan, 1937. )

Pāda-tāḍitakam of Śyāmila. ( Paṭna Edn., 1922. )

Padma-Prābhṛtakam of Śūdraka. ( Paṭna Edn., 1923. )

Padma Purāṇa. ( 1st Edn., Khemarāja Śrīkṛṣṇadāsa, Bombay. )

Pārvatī Pariṇaya of Bāṇa Bhaṭṭa. ( Śrī Vaṇī Vilāsa Series, 1909. )

Poetics of Aristotle. ( Everyman's Library, 1934. )

Prabhā on Avaloka by Sudarśanācārya - ( Gujarāthī Press, Bombay, 1914. )

Prabodha Candrodaya of Kṛṣṇa Miśra - ( N. S. Edn. Bombay. 1924. )

Practical Sanskrit Dictionary by V. Āpte - ( Gopāla Nārāyaṇa Co., Bombay. )

Prākṛta Piṅgala. ( Bibliotheca Indica, 1902. )

Prasanna Rāghava of Jayadeva. ( N. S. Edn. Bombay, 1922. )

Pratāpa-rudra-kalyāṇa of Vidyānātha - ( 1st Edn., Gopāla Nārāyana Co., Bombay. )

Pratāpa-rudrīyam of Vidyānātha. ( B. S. S., 1909. )

Pratijñā Yaugandharāyaṇa of Bhāsa, Ed., Devadhara - ( Poona Oriental Series, Poona, 1937. )

Priyadarśikā of Śrīharsha. ( Columbia Univ. Edn., 1923. )

Rāghavābhyudaya - cited by Viśvanātha.

Raghuvamiśa of Kālidāsa. ( N. S. Edn., 1929. )

Rasa Candrikā of Viśveśvara. ( Kāśī S. S., 1926. )

Rasagaṅgādhara of Paṇḍitarāja Jagannātha. (N. S. Edn., 1939.)

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[ IND. A ] CONSPECTUS OF TEXT-BOOKS

Rasa Pradipa of Prabhākara Bhaṭṭa —

( Sarasvati Bhavan Studies, Benares, 1925. )

Rasa Mañjarī of Bhānubhaṭṭa.

( Benares, 1904. )

Rasa-ratna-hāra of Śivarāma.

( N. S. Edn., 1923. )

Rasārṇava Sudhākara of Siṅga Bhūpāla.

( T. S. S., 1916. )

Rasa-sadana Bhāṇa of Yuvarāja.

( N. S. Edn. Bombay, 1922. )

Rati Manmatha of Jagannātha —

( 1st Edn., Gopāla Nārāyaṇa Co., Bombay. )

Ratnadarpaṇa on Sarasvatīkaṇṭhābharaṇa by Ratneśvara —

( N. S. Edn., Bombay, 1934. )

Ratnāpana on Pratāparudrīyam by KumārasvāmI —

( B. S. S., 1909. )

Ratna Prabhā on Śruta Bodha by Vrijaratna.

( N. S. Edn., 1933.)

Ratnāvalī of Śriharsha.

( N. S. Edn., Bombay, 1925. )

Rucirā on Sāhitya Darpaṇa by Mm. Śivadatta Dādhīca —

( 1st Edn., Venkateśvara Press, Bombay. )

Rudiments of Literary Criticism by Lamborn —

( Longman's Edn., 1925. )

Rukmiṇī Pariṇaya Īhāmṛga of Vatsarāja.

( G. O. S., 1918. )

Rukmiṇī Pariṇaya Nāṭaka of Rāma Varman

( N. S. Edn. Bombay, 1927. )

Sāhitya Darpana of Viśvanātha.

( N. S. Edn. Bombay, 1936.)

„ „ „ ed. by E. Roer

( Bib. Ind., 1851. )

Sāhitya Mīmāṁsā of Maṅkhuka.

( T. S. S., 1934. )

Sāhitya Sāra of Acyuta Rai.

( N. S. Edn. Bombay, 1906. )

Samson Agonistes of Milton.

( Macmillan, 1915. )

Samudra Manthana of Vatsarāja.

( G. O. S., 1918 )

Saṅgīta-ratnākara of Śārṅgadeva.

( Madras Edn., 1943. )

Saṅjīvanī on Raghuvaṁśa by Mallinātha —

( N. S. Edn., Bombay, 1929. )

Sanskrit Drama by A. B. Keith.

( Oxford Univ. Press, 1924. )

Sanskrit Figures of Speech by S. N. Shāstrī.

( Student's Edn. )

( L. S. V. Press, Indore, 1924. )

Saṅskrit Poetics by S. K. De.

( Luzac & Co. London, 1923. )

Sarasvatīkaṇṭhābharaṇa of Bhojadeva.

( N. S. Edn. Bombay, 1934. )

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[ IND. A ]

Visva Bharati Library

Vāg-Vallabha by Duhkha-bhanjana Kavi.

Visva Bharati Library

( K. S. S., 1933. )

Visva Bharati Library

Vāg-vilāsa : Compiled by Śrikrshna Shāstri.

Visva Bharati Library

[ Indore. Ms. ]

Visva Bharati Library

Vakrokti-jīvita of Kuntaka. - Ed. S. K. De. (Cal. O. S., 1928.)

Visva Bharati Library

VāṇI Bhūshana of Dāmodara Miśra. (N. S. Edn. Bombay, 1903.)

Visva Bharati Library

Veni Samhāra of Bhatta Nārāyana. (N. S. Edition, Bombay, 1937.)

Visva Bharati Library

Vidagdha Mādhava of Rūpadeva Gosvāmin -

Visva Bharati Library

( N. S. Edn., Bombay, 1937 ).

Visva Bharati Library

Viddha-śāla-bhanjika of Rājaśekhara, Ed. Jvānanda-

Visva Bharati Library

( Calcutta, 1943. )

Visva Bharati Library

„ - Ed. J. B. Chowdhari.

Visva Bharati Library

( Calcutta, 1943. )

Visva Bharati Library

Vidyāpariṇaya of Ānandarāya Makhi. (N. S. Edn. Bombay,1938.)

Visva Bharati Library

Vijña-priyā on Sāhitya-darpana by Maheśvara -

Visva Bharati Library

( Motilal Benarasi Dass, Lahore, 1938.)

Visva Bharati Library

Vikramorvaśī of Kālidāsa Ed. S. N. Shāstri -

Visva Bharati Library

( N. S. Edn., Bombay, 1942. )

Visva Bharati Library

Vimalā on Sāhitya-darpana by Jīvananda. (Calcutta, 1934.)

Visva Bharati Library

Virāja Sarojinī of Haridāsa. (Govardhana Press, Bañgābda, 1937.)

Visva Bharati Library

Vivrti on Chandaś-Śāstra by Bhatta Halāyudha -

Visva Bharati Library

( N. S. Edn. Bombay, 1938. )

Visva Bharati Library

Vivrti on Kāvyānuśāsana by Hemacandra -

Visva Bharati Library

( N. S. Edn., Bombay, 1934. )

Visva Bharati Library

Vivrti on Sāhitya-darpana by Rāmacandra Tarkavāgīśa -

Visva Bharati Library

( N. S. Edn., Bombay, 1939. )

Visva Bharati Library

Vṛsha-bhānujā Nāṭikā of Mathurādāsa -

Visva Bharati Library

( N. S. Edn., Bombay, 1927. )

Visva Bharati Library

Vṛtta Ratnākara of Bhatta Kedāra -

Visva Bharati Library

( Veṅkaṭeśvara Press, Bombay, 1928. )

Visva Bharati Library

What You Will of Shakespeare. ( Macmillan, 1935. )

Visva Bharati Library

Yajña-phalam of Bhāsa. (Rasa-śālī Series, No. 18, Gondal, 1940.)

Visva Bharati Library

Yājñavalkya Smṛti. ( N. S. Edn., Bombay, 1926. )

Page 575

[IND. B]

B

INDEX TO QUOTATIONS

ARRANGED IN SANSKRIT ALPHABETICAL ORDER

A

PAGE

Akaṭhorāksharam

295

Akāraṇa-pari — °

156

Akshare-pariśuddhe

35

Agūḍha-śabdārtha— °

295

Aṅga-saṃsthāna — °

339

Athavā smarata

316

Advaitam sukha— °

251

Anaṅkurita-kūrcakas— °

263

Anistirṇa prati — °

333

Anubhaya-nishṭhā — °

288

Aṇṭam tu

53

Anaucityād rte

288

Antar-gūḍha— °

306

Apāre Kāvya— °

231

Api māsham masham

374

Ayi pīna-ghana— °

54

Arāterapacaya— °

82

Avaskandastu

54

Avāntarārtha— °

84

Ashṭānām Loka — °

10

Asatya-rudito— °

55

Ā

Āṅgika, vācika...

2

Ādānam varṇam

34

Āditya-viśva — °

22

Āmukham tat tu

43

Āmukhāṅgāni pañca

60

Āsvādyatvāt

258

Āhuh prakaraṇā— °

30

I

Iti pādayoḥ

116

Iti roditi

199

Iyam aśaktir

407

Ishad-vyaktā

246

Ihate migavad

23

U

Ukta-prakarṭīyāśca

36

Utkramannmukḥāḥ

25

Uttamādhama — °

25

Udayanasyendor...

85

Udāra-madhurailḥ

337

Unmukhī-karaṇam

44

Upakārakatvād

407

Upapattis tu sā

55

Upa-prakāṛāgre

198, 401

Upamaikā yatra

401

Ū

Ūrvim mastriguruh

35

E

E-O- kvacit

367

Ekārtham upa — °

93

Etasya vratasya

127

Ebhir arthakriyā— °

402

K

Karṇe nivedyam

71

Kavi-nirmāṇa-saṃnagrī— °

367

Kāntā-sammita— °

404

Page 576

IND. B ]

QUOTATIONS

KāmI svatām

198

Kāryasya upa—°

142

Kāvya-yoge —°

337

Kāvyam vyavahāra—°

404

Kāyeshu Nāṭakam

xi

Kim pāntha tvarase

183

Kim bravīshi

70

Kurarīnām iva

403

Kṛtiratha labdhā—°

143

Kah kho go

35

Kshetram vāṭi

277

Kshudra-cūṛṇa—°

295

Gūḍhāgūḍhārtha—°

406

Gaudī-dambara —°

341

Gṛvā-lhaṅgābhi—°

289, 295

Citrārtha-samavāya—°

197

Tat sarvathā yatnaḥ

170

Tad-upakshepaḥ

141

Tasyopasamanam

112

Teshām vicitram

333

Toṭayati iti

127

Tyāgi kṛt i

205

Tri-varga-prāptiḥ

1:

Tredhā netā

207

Tvad-sādṛśya—°

277

Tvam idānīm

316

Thy waist

354

Dara-nimīlita—°

352

Dalad-drākshā—°

406

Daśa-pakshī

159

Daśāntikam

379

Divyāśrayopetam

9, 12

Divyo'tha divyā—°

9

Dullaho piyo

108

Dṛshtārtha-vishayām

108

Devatā-vicakāḥ

35

Devā dhīroddhatā

5

Devānāmidam

390

Dosha-vyāpāra—°

285

Dvābhyām yugma—°

385

Dharma-kīṃritha—°

13

Dharmānusṭid viśati

297

DhāvatyEkramitum

1,0B

Dhīroḍḍitam jayati

5

Na-na-ra-1a

384

Nandanti kāyāni

3:

Namaskṛtir māṅgalikī

33

Nayana-prītiḥ prathamani

268

Narendro vṛddhaḥ

:81

Nīgena saiva

380

Nāṭayati sabhyānām

14

Nānā-rasa-bhāva—°

13

Nānā rasīrtha—°

397

Nānā-vibhūti—°

12

Nāndīm padair—°

40

Nā-vishṇuḥ Prthivī—°

10

Nāsayanto ghanā—°

359

Nityam yasmāt

39

Nṛpāgni-bhaya—°

129

Nepathyoktam śrutam

7C

Pañca pañca catuh

30C

Pañca prastāvanā—°

61

Paṭi-kshepo na

30:

Paṭakā-nāyakasya

74

Paṭakā syānna vā

91

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520 LAWS OF SANSAKRIT DRAMA

Pada-niveśa-nish—°

407

Yadi pūrvāparau

374

Padānām nītyat—°

345

Yadyapyaringīni

31, 41

'adair dvādaśabhir—°

40

Yas tushṭe tushṭim

233

Paśvadibhiscā—°

290

Yasmīd alhinayas—°

36

Pādāhatah pramadayā

317

Yasyām bijasyā

33

Pūrvam ātma—°

53

Yā ca rasāntaram

397

Prthivyām nānā-deśa—°

328

Yuktam nīnā—°

12

Prakarshena kriyate

15

Ye strīnām pāthya—°

396

Prakrta-gāminī

170

Yah pātrasya

60

Prakhyāta-nāyaka—°

18

R

Ranga-dviram ārabhya

37

Rati-ceshṭā

106

Rati-bhogīrit

67

Ratir mano'nukūle

109

Rasatvena bhavantam

258

Rasyate

258

Rasānkāra—°

31

Rasonmukham

257

Raso' vai saḥ

258

Rāmo dānta—°

147

Rucim kuru

350

Rudrenedam Umā—°

390

Ṛtum ca kañcit

297

L

Labdhārtha—°

143

Lakshmīḥ kāirava

160

Let me caress

354

Loka-dharmī bhavet—°

404

Lokād grāhyam

327

Laṅkā-dvīpa-gatam

139

Lhādayaika-mayīm

286

V

'Vaktrāṇi bhānti

160B

Vasanta-tilakā—°

366

Vastu netā

291

Vastunetānyarth

67

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IND. B

QUOTATIONS

521

PAGE

Vastu-sāmya—°

55

Vipralambho vañcanā

Sañghāta-bhedanārtho—°

Vilāso nṛ —°

103

Vishesheṇa āyujyante

Sañghātena militāsya

Vṛttis sarvatra

103

Vyaktaś sa tair

106

Vyavahāraś sva—°

13

Vyāja-ceshṭam

18

Sañyuktapūrvo'pi

366

Śaktir nipunatā

320

Śakyā kṛchrena

Sañyuktādyam

Śaṅkī-mṛyā—°

366

Śuddham dhūrtam

Samīhā rati —°

Śṛṅgārī cet kavih

106

Śokah ślokatvam

Sammohanonmādanau

Śobhāyai vedikā—°

317

Śobhā svabhāva

Sakshād bhūtam

Ślesheṇa vi

54

Śloka-pāda-padam

Sābhipraya-viśe—°

348

Sukha-duḥkha—°

Sadyah para°—

14

Saṅgatayoreva—°

Sunayane nayane

364

Sūtraṇam sakalā—°

Haṭād akṛshṭānām

68

Sūryopasthāna—°

Hita-rodho

297

Somo Brhaspatih

Hrasvaiḥ samāsair—°

333

So'yamidānīm

295

Stuti-nindābhyām

364

Stokānuprāsa —°

335

Smṛtam bhayam

55

Svarūpa—°

40

Svair aṅgaiścaṅpi

61

Haṭād akṛshṭānām

315

Hita-rodho

115

Hrasvaiḥ samāsair—°

335

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IND. C ] WORKS & AUTHORS 523

Bharata vii-ix, xiii, xvii, xliii, xx 1, 4-8, 11, 13, 16, 19, 21, 23, 30-32, 36-39, 42, 45, 48-51, 53, 60, 61, 65, 66, 73, 78, 80, 81, 83, 84, 86, 90, 96, 97, 100, 101, 103, 104-106, 108, 110, 112-115, 117-119, 121, 123, 124, 127, 131-135, 137, 142, 144, 147, 149, 151, 153, 156-164, 166, 167, 169, 173, 175, 177, 178, 183-189, 212, 220, 221, 223, 224, 233, 234, 242, 244, 256, 266, 282, 284, 285, 288, 293, 295, 297, 300, 304, 308, 314, 315, 316, 321, 322, 324, 326, 328, 330, 332-334, 336, 337, 343-347, 349, 353-356, 358, 360, 361, 367, 369, 370, 372-375, 378, 380, 382-386, 389, 391, 392, 394-396, 398, 399, 400, 401

Bhojadeva alias Bhojarāja

24, 40, 65, 149, 159, 160, 184, 224, 231, 242, 244, 256, 272, 285, 289, 325, 326, 341, 350

Brahmasūtra 290

Brook 248

Caitanya-Candrodaya 106

Candakauśika 123

Candrikā 99, 108

Cārudatta 191

Chalita-rāma xxii

Chandah-kaustubha 372

Chandaśāstra 34, 374

Chando-nirukti 380

Chāya 33, 75-77, 83, 117, 128, 199, 275

Citramī-mānsī 401

Concept of Riti & Guna 349

Damodara Miśra 373

Dardin 63, 158, 244, 338, 343, 345, 348, 399, 401

Daśa-rūpaka vii, xii, xix 25, 46, 48, 58, 61, 62, 84, 102, 114, 115, 123, 124, 126, 128, 129, 222, 256, 322

Bharṭhari-Nirveda 106, 285

Bhāsa vii, ix, xv, 8, 184, 212

Bhaṭṭācārya 106, 295

Bhaṭṭa Halāyudha 374

Bhaṭṭa Kedāra 372-382

Bhaṭṭa Nārāyaṇa 107

Bhaṭṭa Prabhākara 285

Bhavabhūti 41, 44, 63, 69, 250, 251

Bhāvaprakāśa viii, 14, 115, 118, 135, 186, 188, 325

Dhanañjaya vii, xiii, xviii 19, 25, 46, 50, 58, 68, 72, 78, 90, 91, 93, 102, 104, 110, 118, 125, 128, 129, 131, 132, 134, 136, 142-144, 147, 157, 205, 207, 213, 214, 216, 244, 284, 303, 321, 324

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524 LAWS OF SANSKRIT DRAMA

Dhanañjaya-vijaya 175

Dhanika xviii 5, 44, 68, 85, 105, 107, 114, 118, 121, 124, 128, 129, 132, 134, 136, 139, 143, 299

Dhundirāja xvi, 147

Dhūrta-viṭa-samivāda 60

Dhvanyāloka 326

Dillon, M. xiii, 103, 185

Durgāprasāda Mm. [ Dviveda ] 74, 76, 77, 170, 199

Dūtāñgada 29

Ekāvalī 289

Fitz-edward Hall xiii,

Gajendragadkar xv

Gaṇpa'i Śāstri xix

Garuda-purāṇa 372

Ghanaśyāma xvi

Gopāla Dutta 116

Gunaeandra i, 3, 7, 29, 51, 85, 137, 139, 205, 206, 225, 244, 294, 303

Haas, Dr. xiii, xix, 85, 91, 92, 115, 125, 143, 218

Hamlet 3

Hanūman-nāṭaka 26

Hanumat Kavi 15, 203,

Haridāsa Mm. 75, 108, 394

Haripāla 320

Hemacandra Aeārya 5, 6, 244, 272, 344

Hindu Theatre xxi

Horwitz xiv

Indian Drama xiv

Jagaddhara xvi, xix, 124, 160

Jagannātha Pandita-rāja 11, 239-242, 244, 272, 281, 285,

Jagannātha Panditarāja 286, 342, 345, 347, 348, 350, 351

Jānakī-rāghava xvii

Jayadeva 1 158, 160-162, 164, 165, 181, 188, 347, 348

Pīyūshavarsha 1

Jñānanda xix, 106, 107

Kadalī-grha 46

Kāle M. R. xv

Kālidāsa vii, ix, xv, xvii, xx, 9, 15, 36, 38, 39-41, 44, 47, 49, 58, 105, 113, 212, 273, 279, 298, 366, 372-374, 377

Kalpa-latā xvii

Kāmṣa-vadha 106

Kandlarpa-cūḍāmaṇi 395

Karpūra-mañjarī 28, 47, 55, 163, 190, 362

Kāśyapa 380

Kṛtayavema xvi, xix, 99, 106, 110, 122

Katre xv

Kāvya-darśinī 361, 399

Kāvyalañkāra 35

Kāvyānusāsana 209

Kāvya-pradīpa 243, 361

Kāvya-prakāśa 273

Kāvyendu-prakāśa xxi, 16, 58, 60, 67, 113, 261

Kedaranātha, Paṇḍita 394,

Keith, Dr. vii, xiv, 29

Kohala vii, xxi, 24, 48, 65, 76, 86, 126, 132, 201

Konow xlv

Kṛṣṇa viii

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Kṛtyā-rāvaṇa

xvii

Kshemcndra

288, 343, 349

Kucīmāra-tantra

395

Kulakarṇī

xii, xv

Kumāra Girirājīya

117

Kumāra-svāmī

69, 119, 408

Kumuda

378

Kundamālā

58, 149, 174, 177, 199

Kusuma-pratimā

36, 75, 85, 114, 122, 125, 386

Kuṭinī-mata

395

Kuvalayānanda

277

Lamborn

386

Lalita-mādhava

160 A, 160 B

Locana-rocinī

246

Mahābhārata

3

Mahādeva

293

Mahā-nāṭakam

15, 26, 293

Mahā-vīra-caritam

8, 68, 125, 131, 139, 200, 362

Maheśvara

386

Mālatī-Mādhava

xvi, 17, 44, 63, 68, 74, 76, 106, 117, 119, 123, 135, 139, 171, 174, 176, 184, 187, 194, 219, 250-51

Mālavikāgnimitra

5, 40, 44, 58, 74, 105, 134, 171

Mallika-māruta

17, 63

Mallinātha

384

Mammata Bhaṭṭa

244, 255, 259, 273, 326, 344, 352, 353

Mandāra Maranda

4, 11, 13, 16, 25, 32, 108, 113-115, 117, 120

Mandāra Maranda

128, 132, 206, 378, 379

Mankad

vii xv

Mainkhuka

364

Manu

281

Mātṛ-gupta

viii, xxi, 61, 65, 76, 82, 83, 88, 96, 97

Medinī

45

Merchant of Venice

75

Mid-summer Night's Dream

4

Mitra S.D.

xiii

Mṛcchakaṭika

16, 17, 51, 102, 112, 120, 124, 130, 142, 145, 174, 163, 184, 190, 193, 201, 210

Mudrā-rākshasa

45, 46, 80, 83, 97, 106-109, 122, 123, 135, 244, 147, 154, 161, 162, 169, 174, 184, 192, 200

Murāri

xvi

Nāgānanda

8, 9, 167, 310

Nagara-sarvasva

395

Nāgoji Bhaṭṭa

387

Nakhakuṭṭa

viii, xxi, 70, 301

Nala-vilāsa

303

Nārada

396

Nārāyaṇī

379

Nāṭaka-lakshaṇa-ratna-kośa

viii,xiii

Nāṭaka-candrikā

160 A, 160 B

Nāṭyācārya

408

Nāṭya-darpaṇa

vii, 11, 20, 27, 62, 66, 69, 74, 80, 87, 88, 102, 104–107, 110, 111, 113, 115–117, 121, 123

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526

Nāṭya-darpaṇa viii, 117, 129, 130, 132-134, 143, 136, 138-141, 145, 258, 294

Nāṭya-locana xxi

Nāṭya-pradīpa xxi, 32, 33, 41

Nāṭya-śāstra viii, ix, xiii, xx, 7, 9, 16, 36, 38, 59, 76, 90, 111, 141, 146, 159, 160, 178, 182, 189, 193, 197, 336, 356, 374, 379, 382, 394, 400

Padma-prābhrtakam 60

Pañcatanṭra 409

Pārvatī-pariṇayam 11

Piṅgala Nāga 367, 372-374, 377

Prabhā 85

Prabhāvatī xvii

Prabodha-candrodaya 54, 106, 128, 139, 145

Practical Sanskrit Dictionary 48

Prākṛta-piṅgala 381

Prasanna-rāghava 49, 173, 295

Pratāpa-rudra 108, 235

Pratāpa-rudrīyam viii - Kalyāṇa 126

Pratijñāyaugandharāyaṇa 4

Prthvīdhara xvi, xix

Purāṇas 3, 63, 332

Pus̤alakar xv

Pushpadūtikā xvii

Pushpa-mālā xvii

Raghava Bhaṭṭa xvii, 61, 119, 160

Raghavan xv

Rah̤sla 391

Rājanaka Kuntaka 349, 350

Rājaśekhara xvi, 15, 41, 44, 69, 293, 328, 329, 407, 408

Rāmābhinanda xvii

Rāmacandra 10, 28, 40, 46, 51, 85, 134, 136, 139, 143, 157, 173, 225, 255

Rāmakr̥shṇa Kavi 188, 193

Rāmāyaṇa 3

Raṅganātha xvi

Rasa-candrikā 218

Rasagaṅgādhara 34, 236-244, 273, 281, 291

Rasa-mañjarī 342 348

Rasa-pradīpa 214

Rasa-ratna 285

Rasirn̥iva-Sudhākara viii, 11, 53, 113, 114, 133, 137, 141, 161, 325

Rati-manmatha 11, 148

Rati-rahasya 395

Ratna-darpaṇa 341, 342

Ratnākara 374,

Ratna-kośa 141, 142, 154, 156

Ratnīpaṇa 69, 119, 408

Ratnaprabhā 379

Ratnāvalī 4, 41, 46, 51, 57, 69, 79, 80, 97, 100, 112, 117, 121, 124, 125, 132, 136, 138, 143, 154, 177, 182, 200, 294, 296, 397, 299 xix

Revatī-kānta xix

Röer, Dr. xiii

Rucipati xvi, xix 86

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891.22/Sa63L

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891.22/Sa63L

Visva Bharati Library

891.22/Sa63L

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LAWS OF SANSKRIT DRAMA

Ālāpa ] PAGE | [ Artha-vṛtti PAGE

Ālāpa 264 Anuvṛtti 187-88, 197

Ālasya 199, 235-36 Anuyoga 141

Amarsha 241, 247, 271 Apalāpa 265

Ambition 167 Apara-vaktra 384, 387

Āmra-pāka 406, 408 Apasmāra 240, 244, 284

Āmukha 43, 56, 60-62, Apavāda 130, 139 193, 197 299, 325 Apāvaritam 71

Amusement 113, 121 APHRODITE 85,

Analogy 169 Apodosis 73, 95, 145, 292

Ānanda 145, 232 Apology 116, 119

Anañga-kīrtana 322 Aprameyā 377

Ananusandhāna 362 Apratipatti 199

Anaucitya 12, 237, 363, 365 Aprattatva 357

Āṅgika 2, 389 Prayuktatva 357

Aiṅkāsya 68, 69 Ārabhaṭī Vṛtti 18, 21, 22,

Aiṅkāvatāra 67, 69 300, 320, 323,

Aniṭa 55 324, 326-27,

Āntarā 398 331, 340

Antar-lāpā 49 Ārambha 18, 81, 90

Anticipation 147 Ardha-māgadhi 315, 330, 336

Anubhāva 220, 233, 244, 257, Ardha-sama 369, 383-384

258, 261, 264, 265, Argument 171

277-281, 284, 285, ARJUNA 10, 47, 152, 172, 174

289, 365, 387 Artha ( compliment ) 186, 197

Anuddishṭa-saminhāra 14 Artha ( subject ) 64, 197

Anugamana 200 Artha ( wealth ) 11-13, 16,

Anukta-siddhi 177 83, 210, 211

Anukūla 207 Artha-bīja 83

Anulāpa 265 Artha-guṇa 343, 346-352

Anumāna 125, 399 Artha-hīna 353

Anunaya 165 Arthāntara 353

Anu-nāyaka 209 Arthāpatti 177, 180

Anurāga 119, 249-251, 253 Artha-prakṛti 89, 94, 300

Anusandhi 73 Artha-sahāya 211

Anushṭup 370, 371, 373, 374 Artha Śṛṅgāra 21

ANUSŪYĀ 116, 187, Artha-viśeshaṇa 198

Anuṣṭubh 27 Artha-vṛtti 320, 325

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[ IND. D ] SUBJECT INDEX 531

Artha-vyakti ] [ Bhakti-rati

PAGE PAGE

Artha-vyakti 344, 347 Avahitthā 199, 241, 253, 395

Arthopaksepaka 64, 67, 302 Avalagita 46, 53-55, 57,

Āryā 367, 387 58, 60, 61

Arya-bhāshā 334, 335 Avantī 330, 341

ĀRYAKA 190 Āvantika 315, 330, 331, 335

Āśamsā 191, 198 Avapāta 325

Asat-pralāpa :0 Avaskanda 54

Āścarya 150 Avasyandita 51, 52

Ashti 380 Āvega 237-39, 244

Āśina 391 Avenue 43, 44, 57,

Āśraya 190 60, 197

Āśru 182, 245 Avikatthana 205

Assistance 155 AVIMĀRAKA 199, 212

Asūcitāñka-pātram 68 Avimiśita-vidheyāñśa 357-58

Asūyi 234-35, 280 Āyāta 395

Aśva-krāntā 395 Ayoga 272, 273

Aśvamukha 19 ĀYUS 140

Āśvīsa or Āśvīsana 200 B

AŚVATTHĀMĀ 185, 189, 135 BĀBHRAVYA 294, 362

Atibhāshā 334 Badara-pāka 406, 407, 408

Atideśa 265 Bahir-lāpa 49

Ati-gambhīratā 205 Bāhlīkā 336

Ati-Jagatī 378-79, 384, 387 BAKULĀVALIKĀ 155

Atisakvarī 380 Bala-vīra 212

Atiśaya 163-64, 399 BĀLI 131

Ati-vistāra 362 Bandī 229

Ātmagatam . 70 Barbara 315

Ātmānanda 342 Bashpa 199

Ātmīyā 212-213, 216-217 BASSANIO 75

Attainment 100, 163, 200, 209 Beauty 160b

Atyashti 381 Benediction 148, 198

Aucitya 343, 349 Bhagna-prakramati 359, 360

Audārya 209, 222 BHĀGURĀYANA 122

Audhra-māgadhi 330 •BHAIRAVĀNIṢA 47, 55,

AUDREY 75 190, 200

AUŚINARĪ 116, 127, 176 Bhakti-bhāva 320

Autsukya 240, 244, 267 Bhakti-rati 290

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532

[Cakravāka Bhāṇa]

Bhāṇa

2, 17-18, 25, 66, 309

Bhāṇaka

27

Bhāṇī

27

Bhāṇikā

197

Bhaṇikāṅga

27, 300

BHĀNUMATĪ

107, 148, 155, 170

Bharata-vākya

148

Bhārati Vṛtti

24, 27, 42-44, 53, 56, 299, 300, 301, 320, 325-27, 340

BHĀRGAVA

110, 362

Bhāshā

7, 65, 334-337

Bhāshana

146

Bhāsvara

14

Bhāva

222, 233, 249, 251, 253, 256-260, 288, 290, 311, 361

Bhāvābhāsa

290

Bhāva-dhvani

285, 290

Bhāvaktava

259

Bhāvāntara

138

Bhāva-sabalata

391

Bhāva-sandhi

291

Bhāva-śānti

291

Bhāvodaya

291

Bhaya

129, 154, 254, 321

Bhayānaka

283

Bheda (division)

102 103, 104, 120, 274

(disintegration)

152, 323

BHIMA [-SENA]

4, 47, 58, 83, 97-100, 127, 133, 144, 147, 155, 166, 172, 187, 195

Bhinnaka

396

C

Cakāra

336

Cakitam

226

Cakora

402

Cakravāka

402, 403

Page 590

[ IND. D ] SUBJECT INDEX 533

Calanam PAGE Calanam 127 Chāyā-naṭaka 29

Camatkāra 101, 179, 201, Choking 55 258, 259, 291, 318 Cintā 236, 268

Campū 14 Citra 153

CĀṆAKYA 11, 12, 45, 46 80, CITRALEKHĀ 95, 155, 171 83, 97, 103, 121, Cittārdratā 244 122, 133, 135, 141, Clown 27, 39 43, 211, 144. 145, 153, 156, 227, 311, 319 161, 162, 169, 174. 296 Comic 17, 282, 283, 340

Canda 336 Commencement 18

Cindāla 290, 296, 336 Complaisance 174

CANDANAKA 175, 190 Compliment 46-47

CANDRAGUPTA MAURYA 46, Compression 160a 83, 123, 141, 144, Concealment 121, 150, 154 145,153, 162, 169, 296 Conceit 189-90

CANDRĀVALI 160a Conciliation 151, 323

Capalata 237, 267, 278 Concinnity 334, 346, 350-51

Caraṇa 365 Conclusion ( Nirvahana ) 17

Carcari 396 „ ( Abhipraya ) 18, 23, 168

Cari 38 Conflict of feelings 101, 104, 302

CĀRUDATTA 120, 124, 142, Congregation 119-121 160, 183, 191 Consolation 143, 144, 382

CĀRVĀKA 136, 152 Consummation 82, 90, 95

Carvaṇā 232 Contempt 129, 131

Cataka 317, 402 Continuance 46, 57, 60

Catastasis 73, 90, 95, 122, Continuation Scene 67-69 125, 129, 213

CĀTURTHIKA 15 Conventions in regard to

Censure 174, 130, 139 Characters 304-6

Certainty of Success 83, 87, 90 Conventions in regard to

Ceta 230 the use of Languages 313-315

Ceti 230 Conventions in regard to

Chādana 137, 138 Addresses 311-13

Chala 47 Names 309-311

Chalanam 136-138 Conventions of Procedure 331-303

Chastisement 152, 323 Conventions in regard to

Chāyā 84 Rasa 306-9

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534 LAWS OF SANSKRIT DRAMA

Conversation ]

PAGE

Dodhaka PAGE

Conversation

142, 143

Courtesan

16

Cow's tail

293, 294

Cūḍa

67

Culikā

67, 69, 302

Cūrṇaka

295

D

Dainya

236

Dakshiṇa

207

Dākshinātīya

315, 330–333, 336

Dākshīṇya

174

DAMAYANTĪ

303

Dāna ( offer )

151, 275, 323

Dāna-vīra

208, 269, 282, 340

Daṇḍa

152, 323

Daṇḍaka

199

„ ( metre )

371, 372,

Daṇḍa Sahāya

211

DĀṆḌĀYANA

153

DARDURAKA

190

Daśa-pakshī

159

DAŚARATHA

167, 178, 181

Dayā-vīra

208, 278, 279, 281, 282, 340, 363

Deceit

154, 156

Decemviral theory

159

Deception ( chala )

47

„ ( guṇātipāta )

172, 399

Deliverance

145–46

Dénouement

68, 83, 87–88, 141, 147 203, 296

Description

171

Desire

190

Determination

153

Development

90–92, 95, 122–29

Devī

221, 312

Deceit

154, 156

Decemviral theory

159

Dīma

2, 22, 23, 387

Dīpaka

400

Dīpta.

246

Dīpti

222, 362

Disclosure

102, 104, 105

Dishta

171

Disinterest

101, 111–12, 121

Dismay

128, 129, 198

Disrespect

136–138

Divyā

9, 184

Divyā

221

Divyādivya

9

Dodhaka

387

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[ IND. D ]

535

Doshas

352-64

Ekāra

336

Doubt

162, 193

Ekāribata

354

DRAUPADĪ

97, 99, 100, 144

Embryo Act

69

Drāva

129, 131

Endeavour

81, 89, 104, 110

DRONA

185, 189

Enigma

49-50, 61

Drop

22, 24, 83,

87, 89, 105,

107, 121, 302

Enlargement

98

Drishta --

see

Drishta

Episode

9, 24, 74,

80, 89, 302, 303,

Drishta-nashta

94

Leader of -

23, 73

Drishtanta

162, 399

Epitasis

73, 90, 95, 130,

140, 293, 399

Driya

2, 64, 70

Druta-Vilambita

377, 387

Durnalikā

29

Especiality

169

DURMUKHA

49

Establisher

42-44, 57, 58,

60, 301, 325

DUVASAS

116

Establishment

98, 101

DU. YODHANA

10, 47, 50, 79,

97, 107, 134, 135, 148,

152, 154, 166, 172, 173,

175, 186, 192, 193, 362

Expiation

132, 144

DUSHANA

8

F

DUSHYANTA

9, 10, 16, 45,

51-54, 83, 103, 106, 110,

117, 121-126, 137, 140,

145-147, 152-156, 160a-b,

167, 168, 170, 173, 176, 178,

179, 184, 189, 193-198,

247, 268, 296, 297

Falschood

55

Dūta

211

Force

2, 22, 25, 43, 53,

213, 301, 325, 387

Dūti

211, 228, 312

Flora et Fauna

402-404

Dūtya

155

Forbearance

137, 138

Dvimūdhaka

393

Furious ( sentiment )

17, 278, 322,

386, 387

Dvipadi

396

G

Dyuti

132, 144

Gada

244

E

Gad-gada-vāk

55

Effort

190

Gaganokti

302

Gallantry

117, 121

Gāmbhīrya

209

GANADASA

51

Ganda

48-49

Page 593

Visva Bharati Library

LAWS OF SANSKRIT DRAMA

Gāndhārī ] GANDHĀRĪ GANGĀ Ganikā Garbhāika Garbha Sandhi Garhaṇa Garva Gati Gauḍī Gaura-varṇa GĀURĪ GAUTAMA Gāyatrī Germ Geya-pada Ghṛta-sama Gītā Gīti Glāni Goshṭhī Gotra-skhalita Graciousness Grāmyā Vṛtti Grathanam GRATIANO Gūdhārthatā GUHA Guṇa Guṇa-kīrtana Guṇānuvāda Guṇātipāta Gupti

PAGE 50 156, 199 221 69 95, 122-130, 293, 300, 303 174 239, 279, 282, 293 389, 394-95 339-40 332 9, 167 310 370, 377, 387 83-84, 89, 90, 98, 108, 140, 302 390 252 389, 395-98 367 14 29 152, 273 144-45 327 141-42, 199 75 353 120 120,318, 338, 340, 342-52 166-67 178-79, 182, 196, 399 172, 399 150

HAMSA-PADIKĀ Hariṇī Hariṇī-plutā HARIŚCANDRA Harita-varṇa Harsha Hāsa Hasita Hāsyā Hata-Vṛttatā Hāva Heḷā Hero Heroine Hetu Hint Hṛdaya-saṃvāda Hrih Hṛllīśa Humour Ihāmṛga Illustration Impediment Incident Incoherent talk Indication INDRA Indra-vajrā Indra-vaṃśā Induction INDUMATĪ

PAGE 19 364, 388 377, 387 93, 115 332 237, 279 254 226 17, 282-83, 338, 340 355, 358 222 222, 311 9, 203-210 212-21 162, 399 141, 142, 199 232 153 29 325, 387 I 2, 23 161, 168-69, 179, 399 115 72, 75 50, 95, 96 122 11, 95 375, 376, 378, 379 378, 379, 388 124, 53, 57, 59, 60, 62, 297, 299, 301, 302, 320 247

Page 594

Visva Bharati Library

SUBJECT INDEX

1 IND. L ]

537

Inference

PAGE

Inference

125, 399

Insertion

43, 56, 60-62, 325

Interpretation

51-52

Intimation

111, 116,

Intoxication

156, 225

Introduction - See

Āmukha

Invocation

41-42, 56, 395

IRĀVATĪ

153, 156

Īrshyā

270

J

Jadata

239

Jāgaryā

267

Jagatī

376-78, 381, 384, 387

Jambhaka

396

JANAKA

173, 192

JĀNAKĪ

177

Janantikam

71

JĀTĀYU

76, 125

Jāti [ Metres ]

366, 367, 384-387

Jāti-bhāshā

334, 335

Jatyantarı̄

334, 335

Javanıkantara

28

JAYANDHARA

310

Jester

314, 315

JĪMŪTAVĀHANA

153, 167

JĪVA

107

Joke

32, 112, 121

Jugupsā

254

Junction

140

Juncture

88, 89 157, 291, 308

Jvalita

246

Jyeshṭhā

220

Jyotsnī

220

[ Karuna-rasa

PAGE

K

Kādalı̄-pāka

408

KAIKEYĪ

178, 181

Kaisikı̄ Vṛtti

21, 27, 112, 300, 320-22, 327, 330, 340

Madhyama -°

326

KALAHAMSA

310

Kalahantaritā

219, 226

Kāla-kṛtya

59

Kāma

11-13, 16, 83, 210

KĀMADEN̤A

11, 83

Kāma-mattā

377, 384

KĀMANDAKĪ

68, 116, 152, 155, 170, 171,

174, 199

Kāma Śṛṅgāra

21

Kampa

245

KĀMPILY̤A

310

Kaṅcukın̄

65, 230, 314, 315, 333

Kanishṭhā

220

Kāntı̄

145, 148, 222

KAN̤V̤A

133, 138, 168, 171, 175, 192, 193

KAPĀLA-KUN̤DALĀ

129

Kapāṭa

181-84

Kapittha-pāka

408

Kāpota-varṇa

112

Karaṇa

103-105

KARNA

189

Karṇa evam evam

71

KARPŪRA

310

Karuna-rasa

23, 258, 277-78, 322, 386, 387

Page 595

538 LAWS OF SANSKRIT DRAMA

Karuna-vipralambha ] PAGE

Karuna-vipralambha

272, 276

Kārya

59, 88, 90, 180-81, 296

Kāryavasthā

83, 89, 94, 300

Kāshāya-varṇa

332

Kāṭava

364

Kathā

14

Kathodghāta

57, 61

KAURAVA

47, 51, 70, 98–100, 102, 104, 134, 144, 170, 173, 175

Kauṭīmbī

3

Kausumbha

253

KAUTSA

31

Kāvya : audio-visual ( = dṛśya )

1. 107, 158, 159, 389

aural ( = śravya )

1, 285, 381

„ ( upa-rūpaka )

29

Kāvya-samihāra

148

Ke'l

226

Ketumatī

383

Klaṅḍā-cūlikā

67

Khaṇḍa-rīti

341

Khaṇḍitā

219, 226

KHARA

82

Kilakiñcita

224

Kim bravīshi

17, 70

Kirāta

315

Klishatā

364

Komalā

327

Krama

124

Kramuka-pāka

407

Krodha

154, 278

KRPĀCĀRYA

174

Kipāvin

206

KRSHNA

160a, 160b

Krti

143, 144, 382

Kshamā

181, 182, 205

Kshamā-vīra

281

Kshatriya

309, 316, 333

KSHETRAJÑA

139

Kshipti

126

Kshobha

176–77, 190–91, 278

Kshobhana

284

Kulaka

396

Kulasṛī

221

KUMBHAKARNA

83, 132

KURANṂGI

199

KUSĀ

153

Kuṭṭimīṭa

224

Kuṭūhala

226

Lābha

201

Lākshā

253

Lakshaṇas ( dramatic embellishments )

157–160a, 176, 178, 179, 182, 186, 187, 209, 354, 399, 400

LAKSHIMĀN̄A

183, 195, 199

Lalāsī

267

Lalitā

4, 14, 17, 205, 206, 225, 252, 310

Lalitā

221, 385

Lalitya

209

Lāsyā

197, 390, 394

Lāsyāngas

18, 24, 25, 300, 390–94

Lāṭa

332

Page 596

[ IND. D ]

SUBJECT INDEX

Lāṭī

PAGE 340-41

Laudation

43, 44

Laulya

256

LAVA

131, 132

LAVAṄGIKĀ

74, 151, 164

Lāvanya

263, 264, 272, 349

Lekhā

156, 176

Leśā

175-76, 180

Līlā

223

LOMAPĀDA

120

LORENZO

70

Mahāsattva

206

Maitra

252

MAITREYA

160

Majestic

44

MAKARANDA

74, 116, 119, 139, 161, 167, 172, 176, 184, 189, 392

Makara-śīrṣā

372

Mālā

14, 173, 181

Mālā-bhāriṇī

384, 487

MĀLATI

74, 101, 129, 151, 161, 164, 166, 169, 170, 174, 177, 184, 191, 199, 392

MĀLAVIKĀ

50, 51, 74, 101, 111, 151, 153, 155, 165, 171, 198, 275, 297

MALAYAKETU

122, 161, 162

MALAYAVATI

390

Malini

365, 372, 380, 384

Mallaghāṭī

396

MALLIKĀ

63

Māna

216, 250, 252, 270, 273

MĀNA

139

Mānavakākṛidita

373

Mandākrāntā

381, 387

MANDĀRIKĀ

310

MAṄJARIKĀ

173

Māṅjiṣṭha

253

Māṅju-bhāshinī

379

MANMATHA

148

Manoratha

167

Marana

242, 244

Mārdava

262, 263

M

Mada

156, 225

MADAYANTIKĀ

119, 167, 176, 189, 192

MĀDHAVA

63, 101, 106, 118, 119, 129, 138, 139, 154, 161, 164, 166, 169, 172, 174, 189, 191, 194, 199

MĀDHAVYA

310

Madhukart

374

Madhu-kshīra pāka

407

Mādhuryā

209, 222, 262, 263, 341, 344, 346, 349-51

Madhu-sama

252

Madhyā

214-217, 226

Madhyama

64

Māgadha

229

Māgadhi

314, 315, 331, 336, 341

Mahā-cāri

38

Mahādevī

221, 312

MAHĀNANDA

160, 190

Mahā-śahāya

12

Page 597

Visva Bharati Library

540 LAWS OF SANSKRIT DRAMA

Mārga ]

Mārga 122, 129 Muhūrta 20

MĀRĪCA 145, 160b, 167, 195 Mukha 17, 18, 20, 65

Marisha 311 Mukha-Sandhi 65, 300, 395

MĀTALI 152 Muktaka 385

Mati 242, 280, 282 N

Mātrāśishta-saminhāra 14 Nādikā 20

Matta-ceshṭita 373 Naishkrāmikī 397

Mattā-mayūra 379 Nakāra 336

Maugdhya 226 NAKULA 152, 170

Māyā 154, 156 NALA 207, 303

MĀYĀ-LAKSHANA 176 Nalikā 295

MĀYĀMAYA 127 Nānā-vibhūti 12

Metrics 265-389 NANDANA 118, 210

Mīmāmsā 5 Nandi 31-42, 56, 395

Miscellaneous Conventions 315-318 NĀRADA 146, 396

Misconception 55 Nardaṭaka 382

Miśra 16, 63, 64, 88 Nārikela pāka 406-408

MIŚRAKEŚĪ 137 Narma 112, 121, 321

Mis-statement 122, 129 Narma-dyuti 113, 121

Mistake 155, 399 Narma-garbha 322

Mitārtha 228, 229 Narma-sahitya 211

Mithyadhyavasāya 179-80 Narma-sphoṭa 322

Moderate 44 Narma-sphūrja 321

Moha 236, 244 Narration 142, 164

Moksha 12 Nartanaka 29

Monologue 2, 17, 18, 25, 86, 307 Nāṭaka 2-9, 11-15, 13, 19, 22, 27, 29, 30, 62, 66, 107-151, 201,

Moṭaka 375 228, 292, 293, 300,

Motif 296, 305 307, 387

Moṭṭāyita 224 Naṭī 274

Mṛdava 52 Naṭikā 26, 66, 309, 387

Mṛdvīkā-pāka 406-408 Nāṭya 1, 2, 61, 231, 233, 228

Mūdhaṭā 200, 244 ;Nāṭya-Lakshana 157, 159-82,

Mudrā-alaṅkāra 295 177, 179, 300, 399

Mugdhā ( Mugdhata ) 214-217, Nāṭyalaṅkāra 157, 160, 178,

220, 226, 244 182-200, 399

Page 598

[ IND. D ] SUBJECT INDEX 541

Nāṭya-rāsaka ]

Nāṭya-rāsaka 29 Niyatāpti 81, 90

Nāyaka 203-210, 287, 324 Niyata-śrāvya 71

Nāyaka-siddhi 14 Nrpa-patnī 221

Nāyikā 212-221 NṚSIṂHA 20

Nāyikā-bheda 220 Nrtta 1, 389–94

Nāyikālaṅkāra 221 Nyāsa 14

1 aṅgaja, 222 Nyāyādapetāṭā 354–55

2 ayatnaja, 222 Nyūna-padaṭā 353, 358

3 svābhāvika 223–225 O

Nepathya 67 Ojas 153, 340, 345,

Neṭā, see Nāyaka 347, 350, 351

Neyārthata 358 OLIVER 77

Nihita 221 Opening ( Mukha ) 17, 18, 20,

Nidarśana 168–69, 179 24, 89, 93

Nidrā 240 Outvying 48

Nigūḍhāhaṅkāra 206 Outwitting 127

Nihatārthata 453, 363 P

Nīlā 220 Pacification 111–12, 274, 284

Nīlī 34 Pada-doṣa 353, 357–58

Nīlimā 252 Padāṅśa-doṣa 353

Nirarthakatā 353, 358 Padma-varṇa 332

Nirbhāṣaṇa 180 PADMĀVATI 52, 154, 184,

Nirdeśa 265 187, 296

Nirhetutā 364 Padminī 377, 388

Nirnaya 142 Padya 365, 374

Nirodha 115, 141 Pāka 318, 405–8

Nirodhana 115 Paiñca-Cāmara 381

Nirukti 164 Paiñcāla 102, 145

Nirvahaṇa Sandhi 73, 95, PĀÑCĀLĪ 104, 195

140–149, Paiñcālī 330, 331, 339,

300, 307, 372 340, 341

Nirveda 233, 234, 255, 284 PĀṆDAVAS 100, 148, 170

Nishedha 135 173, 175, 311

Nisṛṣṭārtha 228–29 Pāṇḍu-varṇa 332

Nīti 193 PĀṆINI 14

Nivedana 194 Paṅkti 374, 379, 387

Nivṛtti 27

Page 599

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542 LAWS OF SANSKRIT DRAMA

Parakiya ] Prakrti

Parakiya 212, 213 Picumanda paka 406, 407

PARASURAMA 90, 118, Piety 11-13, 16, 83, 210

120, 210, 324 PRSACA 22

Parchment 156, 176 Pitthamarda 211, 212

Paribhashana 142–43 Pithara-paka 406

Paribhavana 101–102, 104 Placating 132, 139

Pariguhana 146 PORTIA 75

Parihara 194 Prabandha-dosha 353–56

Pari-kara ( - kriya ) 98, 105 Prahlavati 379

Parikshaya 14 Prabodhana 201

Parinyasa 94, 101, 105 Pracchedaka 391–92

Paripanthi-parigraha 361 Pracya 315, 336

Pari-parsvaka 43, 311 Pradhana 721

Parisarpa 109, 121 Pragalabha 214–217, 226

Parivada 192–93 Pragalabhya 223

Parivartaka 323 Pragamana 113–115, 121

Parodha 217 Praharsha 195, 200

Parusha 326–27 Praharshini 379

PARVATI 390 Prahasana 2, 22, 25, 43, 53,

Paryupasana 116, 119 213, 301, 325, 387

Pascattapa 184–85 Prahasanarga 306

Pataka 72–74, 76, 78, Praise 137

87, 90, 91, 94, Prakarana : 2, 15–17, 66, 308,

130, 212, 293, 303 Suddha, 387

Pataka-nayaka 23, 73 Prakarani 26, 66

Pataka-sthanaka 72, 77–80, Prakrti 72, 75–77, 87, 90

80, 296 94, 130, 212, 293

Pati 208 Prakasam 70

Patra 62 Prakasana 150

Patravali 33 Prakhyata 63

Pause ( Garbha-sandhi ) 20, 22, Prakhyata Rajarshi 38

28, 37, 90 Prakrta 28, 43, 65,

Personal presentation 57–61 313–315, 335,

Perspicuity 160a, 344 336, 390, 392

Phala 203 Prakrti 6, 94, 231, 304, 363

„ - bija 83 Prakrti [ metre ] 382, 385

Phalagama 81, 82, 90, 95

Page 600

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[IND. D ]

Visva Bharati Library

Prakrti-viparyaya ]

Visva Bharati Library

Prakrti-viparyaya 473

Visva Bharati Library

Pralapa 244, 246, 265

Visva Bharati Library

Pralobha 200

Visva Bharati Library

Praminika 373

Visva Bharati Library

Pramitaksharn 377

Visva Bharati Library

Pranava 62

Visva Bharati Library

Pranaya 252, 270

Visva Bharati Library

Prapanca 46, 47

Visva Bharati Library

Prti 100, 163, 200, 399

Visva Bharati Library

Prtyasti 81, 82, 87, 90-92

Visva Bharati Library

Prarocant (Conclusion) 43, 44, 325

Visva Bharati Library

( Precursion ) 138-39

Visva Bharati Library

Prasada ( graciousness ) 144, 145

Visva Bharati Library

Prasada (-una ) 339, 344, 346, 349-351

Visva Bharati Library

Pratdiki 397

Visva Bharati Library

Prakti 198

Visva Bharati Library

Prasamana 113, 115, 121

Visva Bharati Library

Prasinga 133

Visva Bharati Library

Prasrigika 72

Visva Bharati Library

Prasnta 6, 14, 205, 206

Visva Bharati Library

Prasra 96

Visva Bharati Library

Prasti 138, 139

Visva Bharati Library

Prasiddhi-virodha 361

Visva Bharati Library

Prasthana 39

Visva Bharati Library

Prastavani - see Induction

Visva Bharati Library

PRATAPARUDRA 111, 126

Visva Bharati Library

Pratimukha-sandhi 95

Visva Bharati Library

sub-divisions of- 105-22, 293, 300, 303

Visva Bharati Library

Prati-nyaka 213, 287, 305

Visva Bharati Library

Pratisankrta 63

Visva Bharati Library

Pratishedha 135

Visva Bharati Library

Prattling 265

Visva Bharati Library

Pratyutpanne-mati 152

Visva Bharati Library

Praudha 44, 267

Visva Bharati Library

Pravarlaka 57, 59, 68

Visva Bharati Library

Pravarlana 195

Visva Bharati Library

Pravasa : 269, 273

Visva Bharati Library

-Karyaja 269

Visva Bharati Library

--Sapaja 269

Visva Bharati Library

--Sambhramaja 270

Visva Bharati Library

Pravcaka 23, 65-67, 69, 295, 303

Visva Bharati Library

Prvsik 397

Visva Bharati Library

Pravrtti 304, 313, 316, 318, 328-337

Visva Bharati Library

Prayatna 81, 90, 198

Visva Bharati Library

Prayogatisaya 57-61

Visva Bharati Library

Precursor 138, 139

Visva Bharati Library

Prekshanaka 28

Visva Bharati Library

Prem 250, 251, 256, 290

Visva Bharati Library

Prema-vaicitya 272

Visva Bharati Library

Prevention 135

Visva Bharati Library

PRIYADARSIKA 296

Visva Bharati Library

PRIYAMVADA 160a, 175, 199

Visva Bharati Library

Progress 124

Visva Bharati Library

Progression 95, 105, 109, 110

Visva Bharati Library

Projection 138

Visva Bharati Library

Propitiation 118, 119

Visva Bharati Library

Proshita-bhartika 219, 273, 331

Visva Bharati Library

Prospect of Success 82, 87, 91

Visva Bharati Library

Prosperity 12

Visva Bharati Library

Protasis 89, 95, 101, 102, 104, 105, 120

Visva Bharati Library

Protsahana 185-86

Visva Bharati Library

Prowess 153, 330, 345, 347, 350-51

Visva Bharati Library

Prthvi ( metre ) 374, 382, 387

Visva Bharati Library

PRTHVI 146, 177

Page 601

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544

Pseudo-divine ]

PAGE

[ Reason

PAGE

Pseudo-divine 19

RĀKṢIASA 22, 103, 108. 122,

Pūrṇa ( Nāṭaka

135, 141, 144, 153,

PURŪRAVAS 9, 16, 50, 94, 96,

156, 160-62, 169,

109, 111, 114,

200, 296

118, 123, 135,

Raktimā

152, 156, 163,

252

164, 166, 169,

RĀMA [ - CANDRA ] 8, 10, 28,

172, 173, 175,

49, 74–76, 82, 83, 98,

176, 178, 186,

99, 108, 110, 118, 120,

192, 198, 200,

131, 134, 136, 139, 147,

207, 209

167, 173, 177, 178, 181,

PURUSHA

184, 185, 195, 207, 210,

145,

211, 213, 269, 297, 303,

Purusārtha

324, 362

11, 14, 63

Raṅga-dvāra

PURUSHOTTAMA

36–39, 42

152, 167

Rasa

Pūrva-bhāva

231–259, 261, 288,

147

209, 300, 301, 306–8,

Pūrva-rāga 94, 253, 267, 268,

324, 342, 343, 350,

273, 275, 276

361–363

Pūrva-raṅga 31, 36, 38, 39,

Rasābhāsa

41, 42, 94, 301

288

Pūrva-vākya

Rasa-carvaṇā

147

258–59, 342

Pushpa

Rasa-dhvani

117, 121

282, 406

Pushpa-gaṇḍikā

Rasa-doṣha

391

354

Pushpitāgrā

Rāsaka

384, 387

29

Puṭa

Rasāntaram

377

274

Q

Rasa-vyakti

Quarrel

259–261

128, 129

Rathoddhatā

R

375, 388

Rati

Racanā

249–254, 261

150

RATNĀVALI

RADANIKĀ

147, 294, 296

112

Raudra

RĀDHĀ

17, 278, 322,

160b

386, 387

Rāga 150, 249, 250, 252–253

RĀVAṆA 8, 82, 83, 99, 102,

Rāga-daśā

108, 125, 132, 136,

268

173, 192, 210, 324

Rddhi

Rājā

12

8

Ready wit

Rājarshi

152

8, 18

Real commencement

Rajas

57

231

Reason

162, 399

Page 602

Visva Bharati Library

SUBJECT INDEX

545

Reasoning

PAGE 55, 185

Rebuke

130-31, 201, 324

Reference

133

RENUKĀ

110

Repartec

47-48

Resolve

99, 100, 105, 125, 139, 188

Response

113, 115, 121

Resumption

103-105

Revelation

126

Rīti

315, 326, 327, 337-41, 388

Rodha

111

Romāñca

247

Ruj

154

RUKMIṆI

167

RUMAṆVĀN

145

Rūpa

2, 123, 262-63

Rūpaka

2, 7, 29, 158, 197, 325, 387, 400, 401

SAHADEVA

PAGE 100, 187, 195

Sahakāra-pāka

406, 407

Sāhasa

154

Sāhāvya

194

Saindhavaka

322-23

ŚAKĀRA

130, 131, 142, 201, 210, 212

Śakāra

212, 228, 336

Śakārī

336

Sakhya

252

Śakti

132, 139

ŚAKUNTALĀ

83, 84, 98, 103, 104, 106, 137, 147, 152, 154, 160a,-b, 163, 168-171, 173, 175, 178, 179, 182, 183, 185, 192, 193, 195, 196, 198, 247, 248, 296, 301, 340, 390, 391

Śakvarī

380, 387

Śālinī

375, 388

Sāma

151, 323

Śama

111-112, 274, 284

Samādhāna

100-102, 104

Samādhi

346, 348

Samagra

14, 15

Samañjasa

267-269

Samāpta-punarāttataś

358

Samarpaṇa

27

Samāsokti

34, 78

Samata

344, 346

Samavakāra

2, 19-22, 387

Samaya

145-146

Sambhoga

95, 97

Sambhoga-Śṛṅgāra

275-77

Śabda-cyuta

355, 358

Śabda-guṇa

343-346, 350

Śabdālaṅkāra

326, 400

Śabda-pāka

407

Śabda-śakti

327

Sacivāyatta-siddhi

211

Sādhaka

96, 97

Sādhana

96, 97

Sadhanā

200

Sādharaṇi

213

Sādhvasa

27

Sādhya

96, 97

SĀGARIKĀ

51, 79, 100, 113, 117, 121, 132, 144, 191, 362

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Sambhrama

Sambhrama 65, 128, 132, 244

Samhāra 27

Sankshepa 176, 177

Samkshobha 176, 177

Sampheta 130-131, 201, 324

Sampūrṇa 276

Samrambha 131, 134

Samiddha 276

Samśaya 162, 198, 399

Samudbheda 14

SANIVĀHAKA 142, 184

Samvarana 154

Samvidhāna 78

Samvṛtti 121

Sañcāri Bhāva 244, 266, 277

Sandesa 265

Sandesa-hārika 228, 229

Sandhi ( Juncture ) 15, 77, 308

Sandhi ( Junction ) 140

Sandhyanga 96, 300

Sandhyantara 151-57, 300,

Sandigdhatā 357

Sanghātaya 323

Sangraha 124-125

Śankā 129, 234

Sankīrṇa 25, 64, 276

Sankshiptikā 323, 324

Sańllāpa 265

Sańllāpaka 29, 322

Sanskṛta 335

Śānta 310

, -rasa 4, 284-85, 320, 387

ŚĀNTIDEVI 142

SĀNUMATI See MIŚRAKESI

Śāpa 273

[ Śilpakańga

Śāpaja-vip ralambha 273

Śāpāya 16

SARASVATI 139

Śārdūla-Vikrīdita 365, 382,

388

ŚĀRŃGARAVA 189, 193, 196

SAROJINI 50

Sartupya 165-66

SARVADAMANA 142

ŚARVIIAKA 142, 145, 193

Śasi-vadana 372

Śastras 193, 205, 230, 242

Śatha 207

Satisfaction 146

Saṭṭaka 28, 309, 387

Sattva 231

Sāttvati Vṛtti 18, 21, 22, 300,

320, 322-23, 327,

330, 331, 340

Sāttvika ( abhinaya ) 2

Sāttvika Bhāva 245-247,

266-57, 265, 266,

274, 276, 279, 285

Satya-vīra 281

Saubhāgya 17, 349

SAUDĀMINI 76, 187

Saundarya 262, 263

Scooping 54

Settling 101

SIDDHĀRTHAKA 80, 174,

Siddhi 96, 97, 164-65, 399

ŚIKHANDI 175

Sikharinī 381, 387

Śilpaka 29, 197

Śilpakańga 198-201, 300

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Strī SITĀ ŚIVA Ślesha Slip Śloka Smṛti Sneha Śobhā Śoka Sṛhā Śraddhā Sragdharā Śrama Śravya Śrīdharā Śrigadita ŚRĪ KṚSHṆA Śṛigāra Śṛṅgāra-rasa Śruti Stambha Sthāpaka Sthāpanā Sthāyi-Bhāva Sthiratā Sthita-pathya Structural Conventions SUBUDDHI Sūcya PAGE 46, 49, 75, 102, 108, 125, 136, 146. 167, 173, 177, 178, 195, 199, 200, 213, 269, 303 11, 20, 120, 149, 390 343, 346 52, 53, 58, 61 373, 388 246, 248, 279 250, 251 160b, 161, 209, 222 254, 277 190 290, 320 21, 382, 387, 388 245 2, 64 381 29 9, 10, 152 13, 266, 320, 322, 339, 340 259, 261–77, 281, 288. 386, 387 62 245 42–44, 57, 58, 60, 301, 325 42,43, 56, 299 247, 255–258, 260, 291 206 390 292–301 310 64

Śuddha Śuddhā Suddīpta Suggestion SUGRIVA Suitable arrangement Śuklā Sukumārata SUMANTRA Summary ŚUNAŚ-ŚEPA SŪRPANAKHĀ Surprise SUSAṆGATĀ Sushkāvakrshṭa Sūta Sūtradhāra Suvadanā Svādhīna-bhartṛkā Svāgatā Svagatam Svapna Svara-bheda Svāyatta-siddhi Sveda Svīyā-nāyikā Svokti Sweetness Śyāma T TĀDAKĀ Takāra PAGE 16, 25, 88 33, 34 246 97 74, 75, 82, 211 150 220 344, 347, 352 68 139 98 82, 127 101, 150 46, 113, 118, 121 38 229 28, 31, 36–38, 42, 45, 47, 49, 51, 56–58, 301, 306, 311, 320 382 219, 220 375, 388 70 155 245 211 245 212, 213, 216, 217 361 160a 252, 253 185 337

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Tāla ] PAGE Tāla 27 Tāma-rasa 387 Tamas 231 Tamasi 220 Tanu-madhya 372 Tāpa 198 Tapana 226 Tāpana 111, 112 Tarka 198 Tejas 209, 347, 350, 351 Termination 148 Terror 128, 132 Tiṇṭidīka-pāka 407 Torment 111-12 Toṭaka ( metre ) 377, 387, 407 Toṭaka 128, 129 Trapuṣa-pāka 388 Trāsa 129, 243, 245 Trigata 41, 47 Trigūḍha 392 Trimūḍhaka 391 Tripātaka 71 Tripel-rendering 47 Triṣṭup 375-76, 378, 387 Troṭaka 11, 27, 127 Tulya-tarka 169 Tulya-yogitā 399 U Ubhayāyatta-siddhi 211 Ucchvāsa 200 Udāharaṇa ( Exaggeration ) 123-124 , ( Illustration ) 161, 399 Udāratā 345, 347 Udātta 4, 19, 20, 44, 65, 205, 221, 252, 310, 403

[ Upa-pati PAGE UDAYANA 13, 73, 79, 85, 100, 124, 125, 136, 143, 145, 147, 177, 191, 207, 296 Udbhāsvara 264 Udbheda 97, 102, 104 Uddhata 4, 23, 44, 205-207, 310, 373 Uddīpana-Vibhāva 244, 257, 277, 279, 282, 361, 362, 388 Uddīpta 246 Udgata 385 Udghāṭyaka 45-46, 57, 60 Udvega 128, 129, 198, 267, 268, 282 Ugratā 241-42, 266, 278 Ūha 244 Ukta-pratyukta 393, 394 Ukti 188, 197 Ullāpya 29, 30 Ullekha 192 Uneasiness 129, 243, 245 Unmāda 242, 257, 285 Unmeya 64, 70 Upadrava 196, 265 Upagitti 367 Upaguhana 146 Upajāti 376, 378, 379, 388 Upakṣepa 87, 97, 105 Upamā 400, 401 Upa-nāgarikā 326, 327, 338 UPANISHAD 142, 145 Upanyāsa 27, 118, 119 Upa-pati 208

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Jpapatti PAGE

55, 185

Jpa-rūpaka

26

Jpa-samihāra

15

Upasamihāra Sandhi

45, 140-149, 300, 307

Upāsti

144

Upātta

63

Upekshā

274

Upendra-vajrā

375, 376, 378, 379

URVAŚI

95, 99, 109, 114, 123, 124, 140, 152, 156, 166, 168-171, 198, 200, 214

Ushṇik

370, 372, 387

Utkanṭha

199

Utkīrtana

195

Utkṛti

383

Utpadya

63

Utprāsana

195, 196

Utsāha

254

Utsṛṣṭānka

2, 23-24

Uttamottamaka

393-94

Uttejana

192

Utthāpaka

322

Utthāpana

38

V

Vācika

2

Vadha

152

Vaidarbhī

339, 340

Vaiśāradya

210

Vaiśika

208

Vaiśyas

5, 15, 810

Vaitālika

330, 314

Vaivarnya

246

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Vajra

117, 118

Vāk-keli

47, 48

Vākya-doṣha

354, 358-61

Vākya-pāka

407

Valita

60

VĀLMĪKI

144, 149, 177

Vāma

395

VĀMADEVA

127, 181

Vamśapatra-patita

381

Vamśastha

376, 379, 388, 478

Vāmya

200

Varṇa-samihāra

119-121

Varshavara

227

Vārtāka-pāka

407

VARUṆA

11

Vāsaka-sajjā

218, 220

VASANTAKA

310

VASANTASENĀ

51, 120, 160, 195, 214

Vasanta-tilaka

380, 388

VĀSANTĪ

167

VĀSAVADATTĀ

3, 52, 79, 80, 132, 136, 138, 143, 144, 154

VĀSISHṬHA

120, 147

Vastu

60, 62, 63, 65

Vastubīja

83

Vastutthāpana

324

VASUBHŪTI

310

VĀSUDEVA

97

Vātsalya

320

VATSARĀJA - See UDAYANA

Vibhāshā

336

Vibhāva

233, 244, 257, 258, 277 289, 308, 309, 387

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Vibhrshana ]

PAGE

VIBHĪSHANA 324

Vibhrama 224

Vibhrānti 55

Vibhrti 12

Vibodha 27, 141, 241

Vicalana 137

Vicāra 171

Viccitti 223-24

Vidhāna 101, 104, 302

Vidhṛti 382

Vidhūta 110–112, 121

Vidrava 128–132

Vidūshaka 212, 271, 312, 314, 315

VIDYĀ 107

VIDYĀDHARA 9, 212

VIDYĀS 115

Vidyullekhā 373

Vidyun-mālā 373

Vigilance 14

Vilambita-gati 382

Vilāpa 199, 265, 267

Vilāsa [ enjoyment ] 12, 13, 199, 229, 225

” [ dalliance ] 223

” [ mem. of Junc. ] 15, 105–109, 121

Vilāsikā 60

Vimarśa-sandhi 20, 90, 91, 95, 129, 130, 140, 300, 303

( Virmarśa, Āmarśa or Avamarśa ) 130

Vimata 29

VINAYANDHARA 310

Vinit- 44

[ Vrddha PAGE

VINITAKA 138

Vinyāsa 27

Vipralabdhā 219, 226

Vipralambha ) 15, 17, 55,

-- Sṛṅgāra ) 266, 267, 269, 272, 331, 337

Viprayoga 15, 172, 267, 269

VIRĀDHAGUPTA 154, 184, 200

Viraha 273

VIRAKA 175, 190

Vira-rasa 13, 278–282, 321, 322, 340, 386, 387

VIRĀTA 174

Virodha 115, 141, 146

Virodhana 135, 136

Visandhi 355

Visarpa 192

Viśesha or Viśeshana 169, 399

Vishāda 239

Vishama 335, 370, 385, 387

Vishkambhaka 23, 28. 64, 66–69, 103, 301

VISHNU 11, 195

VISHNUGUPTA ( alias Cānakya ) ) 190

Vision 155

Vismaya 200, 254

Viśodhana 15

Viśrānti 233

VIŚVĀMITRA 168, 184

Viṭa 65, 212, 227–28

Vitarka 243, 244

Vithi 14–25, 43–57, 60, 61, 197, 325

Viyoginī 384, 387

rVrddha 237

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VRKODARA - See BHIMA

Vritta (metre)

Vritta-dosha

Vrittanupakshaya

Vritti

Vyabhicari-bhava

Vyadhi

Vyagrata

Vyuhara

Vyaja-stuti

Vyapadesa

Vyapi

Vyavahara

Vyavasthaya

Vyayoga

Yacna

Yaksha

Yamaka

Yati-bhanga

Yatna

YAUGANDHARAYANA

Yuddha-vira

YUDHAJIT

YUDHISHTHIRA

Yugmaka

Yukti

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Page 527 Col. II, line 1 read "Śaradātanaya" for "Śaradātanay".

Page 528 Col. II top add "Vijñapriyā 133".

" " line 8 omit "Vira-rāghava".

Page 532 Col. I line 23 read "Bhāvakatva" for Bhāvaktava".

Page 533 Col. I line 34 read "Ceṭī" for Ceṭī.

Page 544 Col. I line 27 add below "Quarrel". "Quietistic ( sentiment ) 284, 287".

1. Law and Practice of Sanskrit Drama Surendranath Sastri CSS

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