1. Theories of The Sandhi and The Samyoga in Natya Shastra Manikar T.G

THE THEORY OF THE SAMDHIS AND THE SAMDHYANGAS (In the Bharata's Nāṭya Śāstra) T. G. MAINKAR

THE THEORY OF

THE SAMDHIS AND

THE SAMDHYANGAS

THE THEORY OF THE

SAMDHIS AND THE SAMDHYANGAS

T. G. MAINKAR

1978

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PUBLISHED 1978

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To

The beloved memory

of

my Father

"देहे ससन्ध्यङ्गणे समस्ते

यत्स्थापनं स्पर्शनवृत्तिकारि ।

तदिन्द्रियं यस्‍य वपुर्‍नमामि

तमान्तरस्पर्शमयं महेशम् ॥"

—श्रभिनवगुप्त

PREFACE

This is a dissertation accepted in 1943 by the University of Bombay for the award of the Degree of Ph.D.

The doctrine of the Samdhis and Samdhyangas, with its endless definitions and classifications, would appear, at first sight, to be at best a wooden theory having little or no value. An attempt is made here to show that there was vitality in the theory at the time it was conceived and that even now it has a distinct value of its own, being a very significant effort in literary criticism in general and dramatic criticism in particular.

I have no words to express my deep sense of gratitude to my Guru Dr. V.G. Paranjpe under whose guidance I worked. Those days when I received from him valuable guidance and paternal affection are still green in my memory and will ever remain so. I do not know how to thank adequately Dr. R. N. Dandekar who has been a source of encouragement and inspiration to me all these days.

I do not know how to thank adequately Mr. S. Balwant of Ajanta Books International who has always taken keen interest in my works. This book was out of print for a long time and I have been receiving queries about the same. I do hope and trust that this second edition, like the first one, will receive warm appreciation from the students of the Nāṭyaśāstra of Bharata. My best thanks are due to Mr. S. Balwant who has brought out the present edition in such a fine form.

June, 1978

—T.G. Mainkar

CONTENTS

Introduction ... ... 1 to 4

1. The Theory of the Samdhis and the Samdhyangas ... ... 5 to 32

2. Critical material relating to the Samdhyangas ... ... 33 to 157

Appendix : 1, 2, 3, 4

3. Application of the theory of the Samdhis and the Samdhyangas ... ... 158 to 176

4. Parallelisms in the West ... ... 177 to 187

ABBREVIATIONS

1. NŠ. Nāṭyaśāstra (Kasi Sanskrit Series No. 60; G. O. S. No. CXXIV).

2. AB. Abhinava-bhāratī. B. O. R. I. MS. No. 41 of 1924-28 (B collection).

3. DR. Daśarūpa. (Ed. by Pansikar, 1928).

4. ND. Nāṭyadarpaṇa (G. O. S. No. XLVIII).

5. BP. Bhāvaprakāśana (G. O. S. No. XLV)

6. PR. Pratāparudrīya (Ed. by Trivedi, 1909).

7. RS. Rasārṇavasudhākara (Ed. by T. Ganapati Sastri, 1916).

8. SD. Sāhityadarpaṇa (Ed. by Karunakar Sarma, 1938).

9. NLR. Nāṭaka-Lakṣaṇa-Ratna-Kośa (Ed. by M. Dillon).

10. ŠK. Śākuntala (Ed. by N. B. Godbole, 1933).

11. VS. Veṇīsaṃhāra (Ed. by M. R. Kale, 1936)

12. MR. Mudrā-Rākṣasa (Ed. by K. T. Telang. 1915).

13. VK. Vikramorvaśīya (Ed. by Carudeva Sastri, 1929).

14. MA Mālavikā-Agnimitra (Ed. by Parab 1935).

15. SVPNA. Svapnavāsavadatta.

16. R. Ratnāvalī.

17. MR. Mṛcchakaṭikā.

18. MV. Mahāvīracarita (Ed. by T. R. Aiyar, 1926).

19. TV. Tāpasavatsarāja.

20. DC. Devīcandragupta.

21. PV. Pāṇḍavavijaya.

22. UR. Uttararamacarita.

23. MM. Mālatī-Mādhava (Ed. by Kale :

LIST OF BOOKS

1. Aristotle, : Theory of Poetry.

2. G.P.Baker : Dramatic Technique. Jonathan Cape, Eleven Gower Street, London.

3. A.G. Bradley : Shakespearean Tragedy. Second Edition, 1929, Macmillan and Co., Ltd.

4, B.H. Clark : A Study of the Modern Drama. D-Appleton—Century Company, 1933.

5. Dryden : An Essay on Dramatic Poesy. Third Edition, W. T. Arnold, Clarendon Press, Oxford.

6. Clayton Hamilton : So You Are Writing a Play. Sir Issac Pitman & Sons, London.

7. Hudson : Introduction to the Study of Literature. Second Edition, G. G. Harrap & Co.

8. R. G. Moulton : Shakespeare as a Dramatic Thinker. Shakespeare as a Dramatic Artist. Clarendon Press, Oxford.

9. Commentaries on the Sanskrit plays mentioned above by various commentators like Rāghavabhaṭṭa (Rāgh.), Jagad-dhara (Jag.), Kāṭayavema (Kāt.), Rañganātha Dhundhirāja (Dh.), Rucipati, Virarāghava (Virarā.), Pṛthvīdhara, Ghana-śyāma, Abhirāma, and unpublished commentaries of Dharā-nanda, Balabhadra, Dhaneśvara, Naracandrasūri etc.

Chronology of the Works and Authorities referred to.

II. Texts :

1. NŚ. 2nd cen. B. C. or even earlier.

2. Abh. =C. 975-1015.

3. DR. =C. 974-995.

4. ND. = 1093-1175.

5. BP. =C. 1175-1250.

6. PR. =C. 1275-1325.

7. RS. =C. 1330.

8. SD. =C. 1300-40.

9. NLR. =May be as early as 13th Century, (M. Dillon p. 8);

II. Commentaries :

1. Jagaddhara : Between 1300-1450 A.D.

2. Kāṭayavema : Between 1381 and 1416 A.D.

3. Rāghavabhaṭṭa : Commentator of Śākuntala flourished between A.D. 1475-1500 Cal. Ori. Journal Vol. III pp. 177-184.

4. Prthvīdhar a : About the end of the 15th Century.

5. Ranganāth : 1656 A.D.

6. Dhundhirāja : Vyāsayajvan, son of Lakṣamaṇa wrote in A. D. 1713-14 his commentary on Mudrā-rākṣasa for King Shahāji of Tanjore.

7. Ghaṇaśyāma : Between 1729 and 1735. He was Minister to King Tukoji I, of Tanjore,

THE THEORY OF

THE SĀMDHIS AND THE SAMDHYĀNGAS

Introduction

Of the remnant of that part of the ancient Indian civilisation which suffered from the deluge of foreign invaders after the second century B. C., the Nāṭyaśāstra of Bharata might be regarded as one of the most important, if not absolutely the most important text for the study of the culture of ancient India. If by culture are understood the intellectual achievements of a people, then the Arthaśāstra of Kauṭilya, the Nāṭyaśāstra of Bharata and the Kāmasūtras of Vātsyāyana are the three most important works for a cultural study of ancient India, as they reflect fully the achievements of the ancient Indians. In all probability these great works are the product of an age which enjoyed political peace and not of an age troubled frequently by political disturbances. The contents of the Nāṭyaśāstra pre-suppose a high stage of development of literature and the fine arts, which again pre-suppose a long period of peace. The Nāṭyaśāstra discusses not only the technique of the play, but also music, acting, dancing, the

nature of the language to be used, the construction of the theatre and other such problems connected with the ancient drama. The very fact that these problems are discussed shows a considerable development and the method adopted of classification. definition and analysis also shows a long tradition and a continued development. Bharata was probably the last author to make a survey of the literature that preceded him and bases his observations on a study of those works. The chapters on music show a power of analysis hardly to be paralleled elsewhere. The classification of musical notes and melodies is perfect and the fact that it has not been improved upon is a tribute to the genius of Bharata. What is true about the chapters on music is also true about the chapters on dancing, acting etc. It is a great achievement for one man to have discussed the problems for the first time in such detail and- it may therefore be said that the work of Bharata pre-supposes the existence of a fullfledged and well-developed Indian theatre and the work, even though the earliest among those come down to us, is probably the last to be written in that ancient period.

Another point about the Nāṭyaśāstra is that while it is a compendium of literature and the fine arts it shows obvious signs of growth by accretions. For instance, the portion discussing the dialects occurs twice. Similarly the portion about the discussion of certain matters like Viṣkambhaka etc. also occurs twice at chapters 18 and 19. Besides portions or verses appear many times to occur out of context. The obvious conclusion is that there are later additions made by later writers.

As has been said before, the Nāṭyaśāstra appears to go back to the second century B. C, or even earlier; but the period from the second century B. C. to the second century A. D. was disturbed by invasions and the people were in no mood to think of literature and the fine arts. Consequently no works appear in this period and this period between the second century B. C. to the second century A. D. is a barren spot in the history of the literary activity of ancient India.

After the second century A. D. the conditions were changed. Foreign invaders now no more disturbed the peace of India and

The Samdhis and the Samdhyangas

she enjoyed prosperity under the Kuśānas and the Guptas With this return of prosperity and peace began the revival of the study of literature of the theatre and of the fine arts. The period from the second century A. D. onwards is a period of very prolific and rich literary activity. The ancient works were probably studied with zeal and enthusiasm and were restored in many cases. The Nāṭyaśāstra that we possess might be such a redaction made in this period of this revived literary activity. A parallel may be found in the case of the Kāmasūtras of Vātsyāyana, a work which was originally written for the prostitutes of Pāṭaliputra in the reign of the Mauryas and was rewritten in this period. Similarly the Nāṭyaśāstra of Bharata was also probably written in this period with the help of the older material. In the meanwhile, i. e. between the second century B. C. to the second century A. D., no books were produced and, if at all the Nāṭyaśāstra was studied and there were commentaries and notes on it, none of them are available. Thus a great work of the ancient period has to be studied without any help by way of commentary written by either a contemporary or by any one who came soon after the writer of the Nāṭyaśāstra. The absence of commentaries makes a study of Bharata very difficult. Bharata's own method is of classification, definition and analysis. He also gives us a fully developed terminology, but he does not illustrate his definitions and we have to grope in the dark in ascertaining the exact meaning of his definitions. The dramatic theory is also discussed in the Daśarūpa, the Nāṭyadarpana, the Sāhityadarpana and such later works, but they belong to a later period and even the earliest amongst them is removed from Bharata in point of time by at least a few centuries. Even Abhinavagupta, the author of the Abhinavabhāratī, a commentary on the text of Bharata, flourished as late as the ninth or the tenth century A. D. and thus there is a gap between Bharata and his earliest known commentator. Abhinavagupta has been taken as an authoritative and faithful guide for the cryptic and corrupt text of Bharata; but it must be remembered that an interval of seven to eight centuries is enough to give rise to new interpretations, even misrepresentations, Thus the Daśarūpa, the Naṭyadarpana and other works, in many cases do not interpret Bharata correctly and some times miss the point altogether. The Nāṭyadarpana

4

The Samdhis and the Samdhyangas

is more interesting. It tries to explain the dramatic theory,

especially of the construction of the plot; as it was propounded

by Bharata and in the course of discussion refers to many

divergent views held by different schools about Bharata's text.

From this it will appear that even Abhinavagupta is studying

a text which preceded him by many centuries, which had no

reliable commentary and for which there were many different

interpretations offered by different schools and hence it is quite

possible, that Abhinavagupta also represents a particular school,

or in any case there is also a possibility of Abhinavagupta

being as far away from the right meaning and correct inter-

pretation of Bharata as all the later writers are.

This being the state of affairs, a fresh study of Bharata

becomes necessary. Bharata's own terminology must be taken

as a clue to his definitions. Later interpreters, i. e. text-book

writers and even commentators like Rāghavabhatta or Dhundhirāja,

who follow these later text-book writers in many cases all like

blind men led by blind men, are of no use in fixing the meanings

of Bharata's terms. They do not attempt a critical study of

Bharata's theroy of dramatic construction, which has been

discussed in the brief space of 72 stanzas in chapter XIX

and which shows an insight, a mastery of analysis, hardly

to be met with in modern literary criticism. The theory of

the Samdhis and the Samdhyangas has remained very obscure

in spite of and in some respects on account of the later

interpreters of Indian dramaturgy, and neither the old commen-

tators nor modern scholars either in the West or in India have

so far studied this subject with the attention it deserved. The

following is an attempt to study in particular Chapter XIX

of Bharata and to give a fresh interpretation of Bharata's theory

of dramatic construction.

CHAPTER I

The Samdhis and the Samdhyangas

The entire dramatic action has been divided by Bharata in his Nāṭyaśāstra into five sections on two different principles of classifications; the sections, according to one of these principles, are called ‘Sandhis’ which, again, have been divided into 64 sub-sections, the Samdhyangas. According to the other principle, the five sections are called Avastāś. Dramatic incidents have also been sub-divided into five classes called ‘Arthaprakrtis’. Another set of 21 Samdhyantaras has also been enumerated. The later text-book writers have tried to establish an artificial and wholly unwarranted connection amongst the Samdhis, the Avasthās and the Arthaprakrtis, with the result that the original idea underlying the analytical study of dramatic action came to be completely obscured and a study of the Samdhyangas was treated as more or less an ornamental part of their commentaries by some of the commentators. This embellishment itself has been completely discarded by many other commentators, so that the later commentaries tend to become only instruments of textual interpretation rather than of dramatic appreciation.

A historical survey of the ancient Sanskrit literature on the Sanskrit drama will show clearly this process of deterioration. Bharata presupposes a long line of predecessors and there is a gap between Bharata and the next text-book writer,

Abhinavagupta, the commentator of Bharata, in a way bridges this gap and enables us to interpret Bharata properly. The later text-book writers have apparently not understood Bharata in some respects and have in some respects introduced changes in the old theory based mainly on textual interpretation and not on a study of the extant dramatic specimens. Only a few of the commentators have tried to appreciate the dramatic construction in the light of the Samdhyanga theory. A detailed study of the Samdhis and the Samdhyangas will include the following main heads —

1. Characteristics of the five Samdhis; 2. The Samdhis and the Avasthās and the Arthaprakṛtis; 3. The Samdhi theory and different types of drama; 4. The Samdhyangas; 5. The order of the Samdhyangas; 6. Number of the Samdhyangas; 7. Purpose of the Samdhyangas; 8. The Daśā view; 9. Rasa and the Samdhyangas; 10. The Samdhyangas and the Lakṣaṇas; 11. The Samdhyangas and the Samdhyantaras.

I Characteristics of the Five Samdhis

मुखं प्रतिमुखं गर्भो विमर्शश्च तथैव हि । तथा निर्वहणं चैव सन्धयो नाटके स्मृताः ॥ NŚ. XIX. 37.

In these words Bharata states his theory of the five Samdhis, which has been accepted by almost all the writers on Sanskrit dramaturgy. Later writers explained it and the commentators applied it to the dramas. It is necessary to understand the nature of these Samdhis before an approach is made to the Samdhyangas which are smaller and subordinate divisions of the Samdhis.

About the nature of the Samdhis there is very little difference of opinion among the text-book writers and Bharata's definitions have been verbally accepted by them

The Samdhis and the Samdhyangas

1. Mukha : Bharata defines it as

यत्र बीजसमुत्पत्तिरनोऽर्थरसम्मवः । काव्ये शरीरानुगता तन्मुखं परिकीर्तितम् ।। NŚ. XIX. 39.

( Mukha is that section of the play where the seed originates and the incidents are capable of display of the various Rasas. These incidents are inherently connected with the main plot ). Here only the beginning is made. Abhinavagupta explains this as

प्रारम्भोपयोगी यावानर्थेराशिः स मुखसन्धिः । BORI. MS. p. 297.

The description and explanation by DR, ND, RS, BP is not very different. The commentators rightly show these divisions.

Rāghavabhaṭṭa in his commentary on ŚK ( p. 15 ) points out that the beginning of the first Act up to the middle of the second Act, where both the King and the Vidūṣaka take a seat, forms the Mukha-Sandhi in the play. It is in this part of the play that the preparation of the whole drama is made. Thus in Mālavikāgnimitra also Kāṭyāvema ( p. 12 ) points out the preparatory stage in the very first Act with the remarks that the King's desire for Mālavikā is the Bīja and his eagerness to have a look at her is the Ārambha and by a combination of the two the first Act forms the Mukha-Sandhi.

2. Pratimukha : Bharata defines the second stage as

बीजस्योद्घाटनं यत्र हर्षनिष्ठमिव कवचित् । मुखन्यस्तस्य सर्वत्र तद्‌दृशे प्रतिमुखं भवेत् ।। NŚ. XIX. 40.

( That section of the play where everywhere there is a development of the seed sown in the Mukha, although it may be apparently lost sight of soon after its appearance, is the Pratimukha. )

Abhinavagupta comments upon the Drṣṭanāṣṭa character and remarks that the views held by others, viz.

1. That it is seen as an effect, but not seen as a cause, or

2. That it is seen as acceptable and not seen as fit to be abandonded, or

3. That it is seen in the incidents connected with the hero and not seen in the incidents connected with the sub-hero.

are not sound, as the unity of the plot cannot be marred by the introduction of something else, nor can the destruction of what has been undertaken in the Prārabha be shown to have started or occurred. This can only mean that the bursting of the Bīja is only a particular stage in its development towards the Phala. Hence, even though it is seen, it might possess certain opposing elements and hence, like a sprout appearing out of the dust with which it is covered, the Bīja also bursts out unexpectedly. According to him, there is a slight development in the stage action.

Rāghavabhaṭṭa (p. 69) in his commentary on the Śakuntala points out that the Pratimukha-Sandhi extends from the middle of the second Act up to the end of the third Act.

Kāṭayavema (p. 24) locates the Pratimukha-Samdhi in the second Act of the play, as he finds Prayatna on the part of the King in his decision to examine the disciple of Gaṇadāsa first. He places the Bindu at the end of the act and remarks that by the combination of the two, the second Act forms the Pratimukha Sandhi.

3. Garbha : Bharata defines the third division as

चृद्धदेतस्य बीजस्य प्रापिरप्राप्तिरेव वा ।

फलस्वान्वेषणं यत्र स गर्भ इति संज्ञितः ॥

NŚ. XIX. 41.

( That section of the play where the seed springs up and there is obtainment as well as frustration followed by renewed struggle is termed as the Garbha. )

It is a stage further than the Pratimukha, as ND ( p. 55 ) points out ‘औजस्स्तन्मुख्यवानङ्गं लामालाभविवेचनम् ?’ and explains this by saying that the Garbha shows the Bīja developing towards the Phala after having advanced through the two stages, viz. origin ( Utpatti ) and bursting forth ( Udghātana ). The Mukha gives

The Samdhis and the Samdhyangas

9

the Utpatti, the Pratimukha shows the Udghātana and the Garbha shows further development.

Rāghavabhaṭṭa ( p. 115 ) in his commentary on the Śakuntala points out that the Garbha-Sandhi in the play stretches over the fourth Act and the middle of the fifth, as there is in this portion 'loss ' due to the curse of Durvāsas and 'gain ' by the favour of Abhijñāna. Kāṭayavema on MA ( p. 38 ) points out that the Garbhā-Sandhi is in the third Act of the play as the Prāptyāśa is to be seen there.

4. Vimarsa : Bharata defines this fourth division as

गर्मे निर्मित्तविरोषार्थो विळोभनकृतोदथवा । किंचिदाश्लेषसंयुक्तो स विमर्श इति स्मृतः ॥

NŚ. XIX. 42.

( That section of the play where there is Vilobhana, following of a wrong cue or a plot by which the leading characters are deceived, or there is some entanglement ( Āśleṣa ) and thus where the development is arrested, is called the Vimarsa. )

The definition is not quite clear. The certainty of the issue is somewhat clouded here. As Abhinavagupta points out, the essence of Vimarsa is doubt. ( संदेहात्मको विमर्शः, जनकविशातकयोः तुल्यबलत्वात्। ) The forces favourable as well as the opposing have equal strength and naturally there is a doubt as to the ultimate success.

(i) अन्ये त्ववमर्यों विघ्न इति बदन्ति ।

(ii) अन्ये...बीजार्थफलं यस्मिन् विमर्शोदिकरणत्वात् विमर्शरूपं कथावयवः स विमर्शो नामेति ।

then he quotes Udbhata's view :

(iii) यासांन्वेषणभूमिरवमृष्टिरवमर्श इति ।

AB. MS. p. 298.

and that of Śaṅuka who thinks that in this part of the play the principal characters feel that their efforts have been futile and that they have been deluded. ' अहंनेन विफलायां क्रियायां विळोभ्य प्रवर्तितः '. The ND ( p. 56 ) makes it clear ' उद्दिन्नसाध्यविघ्नारम

विमर्शो व्यसनादिमिः 'and includes anger (Krodha) and curse (Šāpa) under Vyasana. He also thinks that here the development is arrested and the realisation is postponed. In the Garbha the seed undergoes ramification, but the end ever appears within reach and then recedes and after that there is a renewed search for it. In the Vimarsa there is the uncertainty about the end owing to the complications and some projects having been miscarried. Thus, here there is a pause after the continuous progress of action after the Garbha, where the plot is at its highest.

'अथ विमर्शः: नतु विमर्श इति कोऽर्थः। उच्यते, गर्भे संधिना उद्द्रियमस्य बीजारथेस्य लोभकारिण आक्षेषणसंयुक्तो [यो], भवति स विमर्शः। यदाह भरतमुनिः।

गर्मे निरमितच्नबीजारथां विडोभनकृतोडपि वा । तस्य वाक्षेषण संयुक्तः स विमर्श इति स्मृतः ॥

अन्यस्वाह ।

प्रक्रीणेस्यार्थेजातम्य विमर्शोयत्र संग्रुतिः । शत्रोरपचयो भूयान्निमर्शः: स च कथ्यते ॥

अन्यस्वाह ।

संपन्न रूपं यत्कार्यं प्रस्तावेनह किञ्चन । मनस्यायाति संदेहं विमर्शं केडपि तं विदुः ॥

अस्य विमर्शेस्विधा भवति । विळोभन समुद्रवः। क्रोधजः।व्यसनजश्च।

विलोभनकृतो यथा मायासीतापह्यनेन रामस्य राक्षसैर्जनितः संदेहः । रामास्नुदये रावणेन आरूढकूटसंधौ जाङ्ङिनां राक्षसी सीतारूपेण रामस्य दर्शयता रामस्य जनितो विमर्शः ।'

Inspite of this explanation given by the NLR ( p. 33 ) one cannot have a clear idea about Vimarsa as the word Vilobhana is very vague. It is doubtful whether Bharata had in his mind the situation where Rāma is tempted away by the wiles of Rāvaṇa and his demons, a situation which is frequently referred to as an illustration by the later text-book writers. Similarly, the word Āśleṣa is a problem. The only idea that can be formed from all these explanations is that Vimarsa is a hindrance and postponement of the realisation.

The Samdhis and the Samdhyangas

Rāghavabhaṭṭa in his commentary on the ŚK (p. 168) points out that from the scene where Gautamī tries to remove the veil of Śakuntalā in the King's presence upto the end of the sixth Act we have the Avamarśa-Sandhi as there is the calamity or Vimarsa due to the curse. Kāṭayavema, however, in his commentary on the MA ( p. 65 ) does not refer to this Vyasana, but finds a combination of Niyatāpti and Prakarī in the fourth Act and takes this to be the Vimarsa-Sandhi.

8. Nirvahana : Bharata defines this last phase as

समानयन्तमथोर्नां मुखाद्यानां सबीजिनाम् ।

फलोपसङ्गतानां च झटिति निर्वहणं तु तत् ॥

NŚ. XIX. 45.

( That section of the play where all the main incidents, each having potentiality of development, are connected with each other, approach the catastrophe and have a common end is called the Nirvahana. )

Rāghavabhaṭṭa ( p. 230) holds that the Nirvahana-Sandhi in the ŚK commences in the seventh Act and extends to the end and Kāṭayavema (p. 90 ) places the Nirvahana-Sandhi of the MA in the last Act.

To summarise, ( 1 ) in the Mukha the commencement is shown; ( 2 ) in the Pratimukha the development of the seed is sometimes visible and sometimes not, but all the while there is some progress; ( 3 ) in the Garbha the seed undergoes ramification, then it recedes and there is a renewed search for it; ( 4 ) in the Vimarsa the incidents of the Bija, fully developed in the Garbha, become doubtful in result due to either temptation or seduction, or due to some entanglement, or due to the following of a wrong cue; ( 5 ) in the Nirvahana the scattered threads are harmonised and knit together.

II The Sandhis and the Avasthās and the Arthaprakrtis

Closely connected with this theory of the five Sandhis and with a definite bearing on the structure of the plot of the play is the theory of the Avasthās, or stages in the dramatic action. They envisage primarily the movement of the plot and it is but

natural that they should be a sort of an under-current running through the Samdhis. Naturally there is a very close connection between the two. These stages also are five in number and have been termed as Prārabha, Prayatna, Prāptisāśā, Niyatāpti and Phalayoga. These have been defined by Bharata as follows :

आत्सुक्यमात्रविनिवेशस्तु यत्नोजस्य निबध्यते ।

महत: फलयोगस्य स किल्वारम्भ इष्यते ॥

अपर्ययत: फलप्राप्तिं व्यापारो य: फलं प्रति।

परं चौन्मुख्यगमनं स प्रयत्न: प्रकृतित: ॥

इष्टप्राप्तिसंशया का चिदर्थस्य परिकल्पते ।

भावमात्रेण स ज्येयो विधि: प्रापिसंभव: ॥

नियतां च फलप्राप्तिं यत्र भावेन पश्यति ।

नियतता ता फलप्राप्तिं सगुणं तु विधिदिशेत्॥

अभिप्रेतं समग्रं च प्रतिरूपं क्रियापलम् ।

यदू हृदयते निप्टिते तु फलयोग: स उच्यते ॥

NŚ. XIX. 9–13.

From this it will be seen that Ārambha is the beginning of the action, Prayatna is the effort for the achievement of the desired end, Prāptisambhava is the hope of realisation, Niyatāpti is the certainty of realisation and Phalayoga is full and complete realisation.

Bharata says :

सर्वस्यैव हि कार्यस्य प्रारब्धस्य फलार्थिभि: ।

यथानुक्रमशो होत: पञ्चावस्था भवन्ति हि ॥

NŚ. XIX. 14.

These Avasthās are necessary in each and every plot and they are connected with the Samdhis in such a way that each Samdhi gives or represents its corresponding Avasthā. In fact, the order of the Avasthās is settled and definite and it is the Samdhis that follow this order. Although Bharata has not stated anything about the inter-relations of the Avasthās and the Samdhis, the later writers have worked a good deal in

The Samdhis and the Samdhyangas

13

this very field. In this connection the ND tries to link the Samdhis and the Avasthās :

सन्धयो मुख्यवृत्तांशाः पञ्चावस्थानुगाः क्रमात्।

I. 37.

( The Samdhis are the divisions of the main plot and follow in due order the five stages. )

To make this clear it would appear according to the ND.

1. The Mukha gives the Ārambha;

2. The Pratimukha gives the Prayatna;

3. The Garbha gives the Prāptisambhava;

4. The Vimarsa gives the Niyatāpti; and

5. The Nirvahana gives the Phalayoga.

The DR seems to go a step further in bringing in the constituents of the plot or the Arthaprakrtis given by Bharata in

बीजबिन्दुप्रकाश्व प्रकरी कार्यमेव च ।

अर्थप्रकृतयः पञ्च ज्ञात्वा योज्या यथाविधि ॥

NŚ. XIX. 21.

and formulating a Yathāsamkbya for the Samdhis. According to the DR,

अर्थप्रकृतयः पञ्च पञ्चावस्थासमन्विताः ।

यथासंख्येन जायन्ते सुखाद्याः पञ्च सन्धयः ॥

DR. I. 22.

According to this theory, Avasthās combine with the corresponding constituents to form a Samdhi. From this it would appear that according to the DR,

1. Bīja and Ārambha combine to form the Mukha.

2. Bindu and Prayatna combine to form the Pratimukha.

3. Patākā and Prāptyāśā combine to form the Garbha;

4. Prakarī and Niyatāpti combine to form the Vimarsa;

5. Kārya and Phalāgama combine to form the Nirvahana.

This is the idea of the structure and the contents of the Samdhis as set forth in Bharata according to the ND and the DR.

Later writers do not differ from this view about the formation of the Samdhis and they have accepted the Yathāsamkhya of the DR. Not only text-book writers but also commentators like Kāṭayavema ( pp. 12, 24, 38; 65 ) and Dhunḍhirāja ( pp. 62, 83, 108, 148, 219 ) in their commentaries point out the Samdhis with their constituents. Thus, for instance, at the end of every Act Kāṭayavema remarks

अत्र बीजसम्भयो: समन्वयात् मुखसन्धिरित्यनुसन्धेयम् । अत्र बिन्दुप्रयत्नयो: समन्वयात् प्रतिमुखसन्धिः । प्राप्त्याशाया बिन्दो: ( ? ) समन्वयात् गर्भसन्धिः । अत्र पूर्व प्रकरीस्थानोक्तबीजस्य नियताप्त्यासमन्वयादवमर्शोनाम चतुर्थसन्धिः ।

As has been already said, Bharata has not said anything as regards the inter-relation of either the Samdhis on the one hand and the constituents of the plot, or the stages of the action on the other. On the other hand, Bharata, himself seems to suggest that the five elements of the plot may not be present in a play and that only the five stages of the plot are generally present. The lines

सर्वेष्यैव हि कार्यस्य प्रारब्धस्य फलार्थिभिः । यथानुक्रमशो हेताः पश्चावस्था भवन्ति हि ॥

NŚ. XIX. 14.

and

अर्थप्रकृतयः पश्चात् ज्ञात्वा योज्याः यथाविधि ॥

NŚ. XIX. 21.

seem to suggest some such idea, and if accordingly Patākā or the Prakari is absent, it is very difficult to see how the Sandhi which is contemplated in the DR would be formed in that case. It is moreover possible that a stage might stretch over and beyond a Sandhi. In that case also it is difficult to see the formation of a Sandhi according to the Yathāsamkhya principle. Probably the doctrine of the stages is a later addition to Bharata and the DR makes an unfortunate attempt to correlate them with the

junctures. For to look minutely into the problem, such a correlation cannot possibly exist. In the Garbha-Saṃdhi there are both Aprāpti and Anvēṣaṇa, which are inconsistent with the Prāptisaṃbhava. Similarly, there is uncertainty in the Vimarsa which is inconsistent with the Niyatāpti. It is, however, possible to say that the Avasthās are stages of the dramatic action and even a Saṃdhi like the Garbha, which, even though consisting of Aprāpti and Anvēṣaṇa, may still include the Prāptisaṃbhava towards the close. Similarly, the Vimarsa has uncertainty as its chief content, but suggests, towards its close before the story passes on into the final stage, also certainty.

There is another difficulty. The Patākā and the Prakarī may be absent altogether, or, if present, may stretch over into the other Saṃdhis. It has been actually said that Patākā runs on even into the Vimarsa (Āvimarśa)¹, but ends at any rate before the end of the main plot. In this case it is difficult to see how the Patākā would form the Garbha. Similarly, the elements of Prāptyaśā might appear even twice, as for instance, in the Mrch.,² where it is seen in the begining as well as at VIII. 46. Prāptyaśā depends upon the element of struggle and in this case also it is difficult to see the correctness of the Yathasaṃkhya theory. The view of Mātrgupta (as described by the NLR. p. 20) as regards the internal structure of the various Saṃdhis deserves notice. According to him, every Saṃdhi has three elements in it: The Mukha-Saṃdhi has Ārambha, the anxiety for the object, the begining of thought about measures, and some approach towards the Sādhya. Similarly, the Pratimukha has the three elements, Lābha or obtainment of the means for the Sādhya, Prasara or the increase in the effort, and employment of the means. The three elements of the Garbha are Saṃbhoga, (enjoyment), Udbheda (sight of success) and Patākā (help from friendly persons). The Vimarsa has the three elements, viz. Nāśa (frustrations), Śreyas (some betterment of the prospects), and Savighnatayā Sampattih (realisation

1. NŚ. XIX. 29.

2. Dr. V. G. Paranjpe. Mrch. edition, p. 115.

16 The Samdhis and the Sandhyangas

tainted with obstacles). The three elements of the Nirvahana are the Sampatti ( Realisation ), Siddhi, ( triumph over counter-heroes ) and Nirvāha, ( completion of the action ). Thus, the fifteen elements of the entire dramatic action are represented through the five Sandhis.

III The Theory of the Samdhis in the Different Types of Drama

Sanskrit dramaturgy recognises ten types of dramas, the distinction being based on the number of the Acts and the Sandhis, the status of the characters and the subject-matter which each of them contains. Bharata in 44–47, XIX. tells us 'that

1. Nātaka and Prakarana have five Sandhis;

2. Dima and Samavakāra have four Sandhis, the Vimarsa being absent;

3. Vyāyoga and Īhāmrga have three Sandhis, the Garbha and the Vimarsa being absent;

4. Prahasana, Vīthī, Aṇka and Bhāṇa have two junctures, the Pratimukha, the Garbha and the Vimarsa being absent.

Possibly this appears to be in conformity with his directions in

पूर्णेऽन्यस्यपि यत्कार्यं हीनसन्यस्यपि वा पुनः । नियमात्पूर्णसन्धिः स्यादीनसन्धिस्तु कारणात्॥ एकलोऽपे चतुर्थस्य द्विलोऽपे त्रिचतुर्थयोः । द्वितीयात्रिचतुर्थयोस्त्रिलोऽपे षोप इष्यते ॥

NŚ. XIX. 17–18.

The absence of the Sandhis would naturally mean the absence of the various Sandhyangas belonging to these Sandhis. It appears that the theory was over-developed and gave rise to various complications. The BP gives the following view held by Subandhu.1

The various types of Nātaka are Pūrṇa, Praśānta, Bhāsvara, Lalita and Samagra. The Sandhis present in these types are as follows —

1. BP. p. 238, L. 15 to p. 241, L. 15

The Samdhis and Samdhyangas

1. Pūrṇa has all the five Samdhis, but it is not clear whether the five Samdhis are the same as have been enumerated by Bharata. It is likely that these Samdhis of Subandhu are different; for while the Samdhis are common to both, the others are not of the Pūrṇa variety and have nothing in common with those described by Bharata.

2. Prāsānta has the following Samdhis, viz. Nyāsa, Nyāsa-samudbheda, Bijokti, Bījadarsana and Anuddista-sambhāra;

3 Bhāsvara has the Samdhis, Mālā, Nāyakasiddhi, Anga-glāni, Parikṣaya and Mārāvisṭasamhāra;

4. Lalita has the Samdhis, Vilāsa, Vipralambha, Viprayoga, Viśodhana and Uddiṣṭārthopasamhrti;

5. Samagra. This type is represented by the Mahānāṭaka.

Further, it is said that

1. Upakṣepa, Parikara, Parinyāsa and Vilobhana are present in all of these types.

2. Yukti, Prāpti, Samādhāna, Vidhāna and Paribhavana are present in Prāsānta only.

3. Ajnāpavāda, Sampheṭa, Prasanga, Vidrava and Samgraha are present in the Bhāsvara type.

4. Virodha, Praṇaya, Paryupāsana, Puṣpa and Vajra are present in the Lalita type.

Many of these names are found in Bharata, viz. Upakṣepa, Parinyāsa, Vilobhana, Virodha, Puṣpa, Vajra etc. But it is very difficult to know their nature as contemplated by Subandhu. The BP account shows that Subandhu's school held different views and had its own tradition to which there is no reference in the Nāṭyaśāstra. This distinct tradition is probably unknown or at least not recognised by the Nāṭyaśāstra, and this elaborate development, therefore, might be a later affair. But it appears that the Nāṭyaśāstra is conscious of many Samdhis besides the the principal five. For

पञ्चभिः सन्धिभिर्युक्तं प्रधानमनुकरीयते।

शेषः प्रधानमनुसन्धानमनुप्राह्यानुसर्तव्यः॥

NŚ. XIX. 38.

T. S. …2

It is not quite clear what these Śeṣasandhayah are. They have not at all been treated by Bharata. This will only show the elaboration which the theory received at the hands of later text-book writers and also will show the existence of variant traditions. The application of the theory, however, will be clear when full plays representatives of the ten types become available and are analysed according to the observations to be met with in these treatises. In what follows, the five principal Samdhis and their 64 Samdhyangas are discussed and hence there is in the main discussion of the theory as applicable to the Nāṭaka and Prakaraṇa types.

IV The Samdhyangas

The five Samdhis have been critically studied and the different situations which go to form a Samdhi have been enumerated by the Sanskrit theorists. These situations form sub-divisions of the Samdhis called the Samdhyangas. As has already been said, according to the DR and the later writers, an Avasthā and an Arthaprakrti combine to form a Samdhi. It remains to be seen whether the Samdhyangas bear out that idea. Every Samdhi has several Angas which should give the Avasthā which that particular Samdhi is said to represent. Thus, the Samdhyangas of the Mukhasamdhi should contain the Bīja and the Ārambha, those of the Pratimukha the Bindu and the Prayatna, and so on.

1. Mukha-Samdhi and the Samdhyangas : Viewed from this point of view, in the Mukhasamdhi the Upakṣepa, the Parikriyā, the Parinyāsa and the Samādhāna contain the Bīja; while Yukti, Prāpti, Udḍhēda and Karana constitute the Ārambha.

2. The Pratimukha and the Samdhyangas. : In the Pratimukha there is Drṣṭānāṣṭatva of the Bīja, so few of the Angas deal with the real development. The Parisarpa gives the search; while other Angas are of the nature of a mixture of tones and of entertainment; they nevertheless contribute to the Rasa of the play.

3 The Garbha and the Samdhyangas : The Garbha contains the Prāptyāśā, which is possibly indicated by the Ākṣepa.

The Samdhis and the Samdhyangas

Here is Prāpti as well as Aprāpti and therefore some of the Samdhyangas show these two facts. However, according to the DR, the Patākā combines with the Prātyāsā to form the Garbha, but the Samdhyangas have nothing to do with the Patākā. It has been expressly said that the Patākā should not have any Samdhyangas.1 From this it will appear that the Samdhyangas of the Garbha do not bear out the idea that a Samdhi is formed by a combination of an Avasthā and an Arthaprakṛti.

4. The Vimarśa and the Samdhyangas : The Vimarśa, according to the DR, contains the Vighna as well as the Niyatāpti. Naturally the Samdhyangas should indicate both these. The ND ( p. 56 ) remarks—

अवशेयमत्र सन्ध्या विप्रकृष्टव निबन्धनम् ।

From this point of view, Apavāda, Sampheṭa, Vidrava and Virodhana seem to be connected with Vighna, whereas Vyavasāya, Ādāna and Prarocanā seem to be connected with the Niyatāpti as these show Phalasāṃipya.

It has been said that at times Prātyāsā and Niyatāpti may go beyond the limits of the Garbha and Vimarśa respectively. But a consideration of the Angas shows that the Samdhis, even though their contents are different, towards the close have germs of the next stage. Thus Prāpti, Aprāpti and Anvesaṇa might be the contents, of the Garbha, but towards its close it might include the Prāptisaṃbhave. Similarly, in the Vimarśa, the progress of the story is checked; but towards its close, before the story passes on into the Nirvahana, is seen Niyatāpti.

8. The Nirvahana and the Samdhyangas : The Nirvahana is expected to give the Phalayoga and Kārya. From this

9. The Samdhis of the Prāsangika are called Anusamdhis ( ND p. 54 ), and are merely hinted at (लेशतो निबध्यन्ते ). ND.p.48. The remarks ‘ पताकाप्राप्त्याशानुगुण्येन गर्भसंघेरज्ञाने ’ Db. on MR ( p. 108. ) are indicative of the acceptance of the Yathāsaṃkhya theory Cf. Rāgh. on ŚK. ( p. 168 ) about Prakari and अज्ञानां प्रकृत्यनुगामित्वम्.

point of view Vibodha and Grathana seem to be connected with the Phalayoga, while Ānanda and Kṛti seem to be connected with the Kārya.

In this way the Samdhyangas seem to be connected with theavasthās, while it appears that the Arthaprakṛtis and the Samdhyangas are not connected in any way, as neither the Bindu nor the Patākā, nor the Prakari are in any way connected with the Samdhyangas. The ND is fairly correct in saying

सन्ध्यो मुख्यवृत्तांशाः पञ्चावस्थानुगाः ऋमात्।

This is borne out by the Samdhyangas, which are subdivisions of a Samdhi. It appears that the place of the various Samdhyangas in the different Samdhis and in the action was also a consideration in the mind of the theorists. At the same time they never thought about the Yathāsaṃkhya theory of the DR.

V. Order of the Samdhyangas

Closely related to the problem of the presence of the Samdhyangas is the question of the order in which they should occur in a particular Samdhi to which they are said to belong. Bharata bas said nothing about the order, but it is likely that he had in his mind the consideration of the Rāsa and the development of the Kārya. In XIX. 50 he says

सन्धीनां यत्नवत्यनु प्रदर्शयितुं परं च यत् । स्वसंपद्गुणयुक्तानि तान्यज्ञैरुपधाययेत् ॥

He seems to say nothing about the order and seems to suggest appropriateness as the only principle to be followed. Abhinavagupta in his comments on this verse makes this clear in his remarks

अनुपूर्वं हि मुख्यप्रयोजनसम्पादनबलोपनतेन क्रमेण न तु लक्षणनिरूपणप्रसङ्गपरिकल्पितेन ।

BORI. MS. p. 301.

The Samdhis and the Samdhyangas

21

( That is, due to order, sequence means the sequence required by the task of developing the main Kārya and not the sequence which has been resorted to in the definitions and discussions. ) Or, again,

आनन्तर्यनियमभ् सुनेरतस्मृत् एव चोद्यते । अन्यथा सन्ध्यन्तराणि लास्याङ्गानि एतेषां कुत् निवेशः स्यात्̄ ।

BORI. MS. p. 303.

( It appears that the sage did not desire any definite sequence; otherwise how can there be an inclusion of the Samdhyangas and Lāsyāngas ? )

The DR also has not considered the problem in detail. It only points out that in a Samdhi some of the Angas are principal ( Pradhāna ), while the remaining are subordinate.

1. In the Mukha, Upaksepa, Parikara, Parinyāsa, Yukti, Udbheda and Samādhāna are essential ( Avasyambhāvi ).

2. In the Pratimukha, Parisarpa, Prasāma, Vajra, Upanyāsa and Puspa are principal.

3. In the Garbha, Abhūtāharaṇa, Mārga, Toṭaka, Adhibala and Ākṣepa are principal.

4. In the Vimarsa, Apavāda, Yukti, Vyavasāya, Prarocanā and Ādāna are principal.

About the remaining Angas the DR says that they should be used if occasion requires them. ‘Itareṣām yathāsāmbhavi prayoga iti’. It is the ND which gives some suggestions in this matter and it has tried to locate the position of the Samdhyangas and has shown a possible order among some of them. Abhinavagupta also refers to certain Samdhyangas which belong to a particular Samdhi and cannot be transferred :

कानिचिदङ्गानि स्वरूपबळादेव नियमभाजि यथोपकॢप्ते |

BORI. MS. p. 303.

Perhaps these might be the Angas which produce the particular Avasthā to be represented in the Samdhi. It is but natural to expect that the ‘Niyamabhāji’ group will show some order, while the others may not. The observations of the ND in this connection are as follows —

1. Mokhasamdhi : Upakṣepa, Parikara and Parinyāsa form

a sequence. The Bīja sprouts only when it is sown or

scattered and it becomes definite only after sprouting. Therefore

the three form a sequence.

अनुक्तिस्वस्वार्थो न विस्तार्यते, अविस्तारितस्व न निश्चित्यित इति

त्र्याणामप्येषामुद्देशकमणौ एव निबन्धः। ND. p. 61.

Vilobhana comes after Parinyāsa ( Parinyāsāntarameva

ND. 64 ), while Samādhāna may be placed anywhere in the

Samdhi ( Racanāvasānmadhyāikadeśa eva. ND. 59 ).

Udbheda and Karana are to be placed towards the close

(Upāntve ), and Bheda is to be placed last ( Sarvasamdhīṣva-

mkānte pātrabhedarūpatvāt. ND. 59 ).

2. Pratimukhasamdhi : As the development in this Samdhi

is not very regular and the Samdhyangas are of the nature of

entertainment, naturally it is very difficult to expect any order.

And hence probably ND. says

‘ Uddesakrama nibandheṣu nāpekṣaṇīyaḥ.’ p. 69.

Vilāsa is to be placed at the beginning of the Pratimukha

and then should be placed the Angas which make clear or spread

Vilāsa ( Pratimukhasya ca ādau eva Vilāsaḥ ); after it come Angas

which manifest Vilāsa. These are Prārthanā, Narman, Narmā-

dyuti etc. These deserve to be used only in plays which are

Kāmapradhānā. ND. 70. The ND further states that Puṣpa,

Pragamana, Vajra, Upanyāsa and Upasarpaṇa are necessary

( Avaśya ) but does not say anything about their order.

3. Garbhasamdhi : Nothing is said about the order, but

it is said that Samgraha, Ākṣepa, Adhibala, Mārga, Asatyābaraṇa

and Toṭaka are important. ( ND. 82 ).

4. Vimarsā-samdhi : Here also the order is not suggested,

but some of the Angas, e. g. Śakti, Vyavasāya, Prarocanā and

Ādāna are said to be important.

5. Nirvahanasamdhi : Here Samdhi is Avaśya; so are

Paribhāṣā, Bhāṣaṇa and Kāvyasambhāra.

The Samdhis and the Samdhyangas

These are the views of the ND on this point. Taking these into consideration and also the view of the DR that the Samdhyangas should be connected with the Avasthā in the Samdhi, their order will be as follows :-

In the Mukha-Samdhi, the order will be : Upakṣepa, Parikriyā, Parinyāsa, Samādhāna (giving Bīja ), Udbheda and Karana ( Ārambha ).

In the Pratimukha Samdhi, Vilāsa will be followed by its contributory Samdhyangas and Parisarpa somewhere.

In the Garbha-Samdhi, the Ākṣepa and the principal group must be present.

In the Vimarsa-Samdhi, Virodha, Prarocanā, Ādāna and Vyavasāya must be present and in the Nirvahana-Samdhi Kāyya-Vibodha, Grathana, Kṛti, Ānanda, Upagūhana and Kāvyasamhāra are necessary.

This is the plan for a Kāmapradhāna play. The various commentators usually follow this order.

VI. Number of the Samdhyangas

Bharata in

चतुःषष्टिर्वृधैर्हेयेतान्यज्ञानी सन्धिषु। XIX, 67.

has stated that the number of Samdhyangas is 64, but on actually counting the Samdhyangas that he has enumerated it is found that they are 65. It appears that this inconsistency was seen by Abhinavagupta, who remarks in this connection —

‘केचिदत्र( अवमर्शोsandhau ) अन्य( नट्य ? ) तमझं प्ररोचनां नाद्रियन्ते। द्वादशाङ्गमेवैतं सन्धिमाहुः । अन्ये तु त्रयोदशाङ्गत्वस्य निर्वेहणसन्धौ प्रशस्तेः गणनम् अन्यत्रच्यम् । इति तस्यापि त्रयोदशाङ्गत्वात् चतुःषष्टि-संख्यापूर्ति: ।’ BORI. MS. p. 310.

According to Bharata, Mukha has 12 Angas, the Prati-mukha has 13, so also the Garbha has 13, the Vimarsa has 13 and the Nirvahana has 14. Thus, the total is 65. Abhinavagupta says that to remove this discrepancy, some drop the Prarocana in the Vimarsa which in that case has 12

Añgas, so that the number becomes 64. The other view referred to by Abhinavagupta is that the Praśasti in the Nirvahana should not be counted as an Añga and that Samdhi should be regarded as having 13 Añgas. Thus, the number becomes 64. The DR reduces the number to 64 by dropping Prārthanā of Bharata. The ND gives the number 65 but does not try to reconcile the discrepancy. On the other hand it remarks —

संख्यासंक्षेपवाक्यानां परस्परान्तर्योगेन प्रतिसंधिसूकरोडपि प्राचीनै-रुक्तत्वान् भणितिभङ्गिवाहुल्यस्य च चमत्कारित्वात् अस्माभिरपि कृतः ।

ND. p. 59.

The SD and the NLR take up the discussion, but have no independent views. The SD remarks ( p. 103–6 ) that Praśasti may be left out as there is no ‘Bhūtāvasaratva’, which has been explained as ‘Bhūtāni prāṇino nātyāpatrani tadavasaratvam’. Praśasti is a blessing for the spectators and as such affords no scope for the actors; while every Añga is an incident which gives scope to the characters in it ( Añgāni bhūtāvasarāṇi iti ucayante). It may be suggested that Prārthanā admitted by Bharata in the Garbha but dropped by the DR and its followers should be counted as a Samdhyanga instead of Praśasti and thus the number of the Samdhyangas will be 64.

YII Parpose of the Samdhyangas

Bharata tells us that the function of the Samdhyangas in a play is six-fold.

इष्टार्थस्य रचना वृत्तान्तस्यानुपक्ष्यम् ।

रोगप्राप्तिः प्रयोगस्य गुप्तानां च वृत्तौनम् ॥

आश्चर्यवदभिख्यानां प्रकाश्यानां प्रकाशनम् ।

अज्ञानां पतिषं श्रेतदुष्टं शासे प्रयोजनम् ॥

XIX. 51–52.

( Construction of the desired end, the expansion of the story, the obtainment of love, concealment of the secrets, picturesque description and manifestation of that which is to be shown—these are the six objects of the Añgas. ) All other writers agree with Bharata on this point.

The Sandhis and the Sandhyangas

VIII. The Daśa View

The Sandhyangas, as the name itself indicates, are the subordinate parts of the Sandhis which in their turn are broader divisions of the plot. These Sandhyangas are so many situations or parts of the dramatic action which go to make a distinct phase of it. The relation of a part to the whole exists between a Sandhi and its Sandhyangas. Abhinavagupta remarks ‘Itivṛttākhaṇḍalakānyèva sandhyangāni’ and Rājānaka Alaka says ‘Angāni sandhinām avayavāḥ’. The same has been more clearly explained by Abhinavagupta in his explanation of Bharata's

सन्धीनां यानि वृत्तानि प्रदेशेऽनुपूर्वेशः । स्वसंपद्गुणयुक्तानि तान्यज्ञानुपधाययेत्॥ XIX. 50.

Abhinavagupta points out that the Angas become parts of a Sandhi because of ‘Pradeśavartana and Sampattigunavattva’. Between them there is angāngibhāva. The Sandhyangas lie in a Sandhi and contribute to the general action that is presented in it. It is through the Sandhyangas that a Sandhi is worked out. For instance, the Mukhasandhi is, as Abhinavagupta tells us ‘Prārabdhopayogi artharāśiḥ’ and the Sandhyangas of the Mukha from upakṣepa up to Karana give us the working out of this ‘Artharāśiḥ’ and hence they are divisions of that Sandhi. This is the meaning of the ‘Sandhisampattigunavattva’ or ‘Sampādakatva’ and ‘Pradeśavartana’ and because of these the Sandhyangas belong to a Sandhi and are subordinate to it (Sandhiparatantra).

Abhinavagupta quotes a view which deserves consideration here. The relation of the Sandhyangas with the Sandhis, their nature and other like matters, were the subject of much discussion, as appears from Abhinavagupta's comments. He says — some hold that here every stage has three different sections : the beginning, the end and the middle (Upakrama, Upasamhāra and Madhya). Then every stage has the subtle five stages beginning with the Ārambha and in this way there arise 15 stages (Pañcadaśyo daśāḥ), occurring in fixed order one after the other; and here the first have been described as the basis of the stage, for in them is apprehended the relation

of the principal and the subordinate and all are shown in the Nirvāṇa, since the final fruit is to be secured there, while in other places like the Mukha some are suppressed. In that case there should not be the distinction like 12 etc.

' केचित् मन्यन्ते इह उपक्रम उपसंहारो मध्यमिति प्रत्यवस्थं स्थानमेदत्रयम्, तत्र प्रत्येकं सूदर्शनं आनन्दावस्थाविभक्तेन भाव्यामिति पञ्च-दशयो दशः क्रमभाविन्यः तत्नाद्यास्तावत् दशानां अज्ञत्वेन वर्ण्यन्ते । अज्ञिनुद्रयुदयात्। तत्नेति च निर्वहणे फलयोगबलात् सर्वो अवोपपच्यन्ते, अन्यत्र तु मुखादौ काशिद्विलीनकियन्ते, न द्वादशादिभेदानि तत्नजानि इति ।' BORI. MS. p. 302.

According to this view, an Upakrama, Upasainhāra and a Madhya and so also the Avasthāpañcaka will be seen everywhere. In this way, in every phase there would appear to be 15 stages indicated by the Aṅgas. Sometimes some of them are suppressed while in the last phase all the stages are to be shown. The arbitrary division into 12, 13, 13, 13 and 14 has, then, no significance or justification according to this view. The view has been refuted by Abhinavagupta as follows —

'But then this is not sound.' If it is as you say, there should be the same order, but that is not to be seen; the six-fold aim and the purpose would be of no use, as there would be only one purpose of detailing out ( Anupakṣaya ). And if in the matter of working out the seed etc. there is to be no regulation and consideration, how can there be the convention that the two Samdhis have 12 Aṅgas and two have 13 ?

' तदेतत् असत्। एवं हि वक्ष्यमाणेषु तेनैव क्रमेण भाव्यम्, न च असावस्ति । प्रयोजनशड्‌डष्टकं तत्नानुपपत्तं स्यात्। अनुपक्ष्य इत्येक-मेव हि प्रयोजनं भवेत्, बीजकरणेऽपि च नियमनिदानानुपपत्तौ द्वयोर्द्वारोद्भव प्रयोदशेति कुतस्त्यो विभाग इत्यास्तामदः ।'

Abhinavagupta rightly observes that in the case of the 75 Daśāh, the order he gives would have to be necessarily followed and that the division then would be meaningless, and he, therefore, rejects the view.

Udbhaṭa and some others, we learn from Abhinavagupta; held that the Aṅgas belong to the particular Saṃdhi where they are enumerated and that they are not transferable and moreover that they must occur in the particular order given and that they all must occur in a play (उद्भटादयस्तु अङ्गानां सन्धौ तावन्निबन्धनशोभानं....कथयन्ति स्वशास्त्रप्रतिपादिते क्रमेऽपि नियमप्रतिपादनात् ।). Abhinavagupta rightly points the flaw in the view and says, ‘This is also not sound for certain Aṅgas like Yukti can be used in all the junctures. Only some of the Aṅgas, by their very nature are subject to this rule, like the Upakṣepa, for example. When it is said that a play has 64 Aṅgas it is only suggested the possibility of the presence of these 64, and it is not a rule.’

तदुक्तमागमविरुद्धमेव......युक्तिः सर्वेषु सन्धिषु तावन्निबन्धनशोभानं....कथयन्ति स्वशास्त्रप्रतिपादिते क्रमेऽपि नियमप्रतिपादनात् । यतु उच्यते, चतुःषष्ट्यङ्गसंयुक्तमिति, तेन संभावमात्रमेषां उक्तं न तु नियमः । BORI MS. p. 302.

He rightly notices the very general nature of some of the Aṅgas and regards that the presence of all the Aṅgas is not necessarily required. About the order also, his view that on account of the inclusion of Saṃdhyantarās and Lāsyāṅgas, a close order cannot be maintained has been already referred to. Abhinavagupta’s comments are reasonable and this is the view generally accepted by the writers on dramaturgy. Śāradātanaya in BP refers to the view held by King Bhoja

यावन्नत्यज्ञानि पठ्यन्ते तावतामेव कोविदैः । निबन्धः कार्य इत्येव निर्णयो भोजमूर्जः ॥ 214·2·3.

but has stated earlier what his own view is,

नेत्रादिवशतोडमीषां प्राधान्यं च क्रमोदपि च । यथासंभवमाधेयो विकलपश्व समुच्यः ॥ · 213·7·8.

The commentators, however, seem to have followed the view held by Udbhaṭa, and Jagaddhara is the only exception among them. For he seems to have followed the other view.

28

The Samdhis and the Samdhyangas

IX. Rasa and the Samdhyangas.

Rasa is the soul, the essence of drama, as it has been observed 'Nahi rasādṛte kaścidarathah pravartate', while the Itivrtta or the Samvidhānaka is only the body (Śarīram) and hence is secondary in importance. Naturally the Samdhyangas which are the divisions of the plot (Itivrttākhyaṅalalakāṅi) are also subordinate to the Rasa. The idea that the Rasa is the chief consideration and nothing must be done which would spoil the impression, is always present before the mind of the author and the critic. The Samdhyangas, being parts of the Samdhis, must contribute their share of the Rasa.

Abhinavagupta raises the problem as to whether the Samdhyangas are subordinate to the Samdhi to which they belong or to the Rasa. Thus,

अन्यैः सन्धिपरतन्त्रैः भवितव्यं रसपारतन्त्र्यं पतेषां कुतस्त्यम् ।

BORI. MS. p. 312.

and then he points out that the Samdhis depend on the Avasthās (Samdhayo hi avasthāparatantraḥ) and the Avasthās are closely related to the Rasa and finally gives his opinion

तेन हि रसयैवायं विभावादिपरिकरो यदृच्छकचम् ।

The ND also says, 'Rasapraṇo hi nāṭyavidhiḥ' and while discussing the relation of the Samdhyangas with the Samdhi on the one hand and with the Rasa on the other, remarks, "The Samdhyangas are to be used in all the Samdhis to avoid a break in the continuity of the main plot. This continuity is to be secured for the development of the Rasa. For, if there is a break, there is also a break in the Sthāyibhāva and the like and hence there would be an impossibility of the enjoyment of the Rasa. Therefore only those Samdhyangas which easily contribute to the development of the Rasa and delight the heart of the Sahrdaya are to be used. For the Samdhyangas should be looked upon as of the nature of the Sthāyin or the Vibhāva, Anubhāva and Vyabhicāribhāva. When it is said that the Samdhyangas should be used whenever there is 'appropriateneess, or occasion for them, it is meant that they are contributive to the Rasa. Hence a particular Aṅga,

because of its nature to contribute to the development of a particular Rasa, may be used in a Sandhi twice or thrice, e. g. in the Venisamhāra, the Sampheṭa and Vidrava are frequently used to aid the derelopment of the Vīra-rasa and the Vilāsa is frequently used in the Ratnāvali to aid the development of the Śṛngāra.

The misuse of the Angas is also criticised. The ND referring to the Venisamihāra II, ( sc. 1, where Bhāumati and Duryodhana figure ) remarks, that it is out of place as the occasion is not proper (Vilāsa nāyakasya tadrśe avasare anucitah). This shows that the consideration of mere theory is to be subordinated to the consideration of Rasa. Completeness of form would never make amends for a flaw in the Rasa and hence Rājānaka Ānandavardhana said,

सन्धिसन्ध्यङ्गघटना रसादिन्यक्त्यपेक्षया । न तु केवलया शास्त्रस्थितिसंपादने च्छया ॥ III. 12

So also SD VI. 138,

कुर्यादनियते तस्य सन्धावपि प्रवेशानम् । रसाद्गुणता वीक्ष्य रसस्यैव हि मुख्यता ॥ 'यतु रुद्रटादिभिः नियम एवं चोक्तं तत्सूक्ष्मयविरुद्धम् ।'

The sthāyibhāvas are eight : rati, hāsa, śoka, krodha, utsāha, bhaya, jugupsā and vismaya. It will be seen that many of the Samdhyangas are closely connected with them.

1. Vilāsa, Prārthanā and Paryupāsanā are connected with Rati;

2. Narma and Narmadyuti are connected with Hāsa;

3. Udvega and Vidrava are connected with Śoka;

4. Vajra, Sampheṭa and Toṭaka are connected with Krodha;

5. Parisarpa and Vyavasāya are connected with Utsāha;

6. Udvega is connected with Bhaya; and

7. Upagūhana is connected with Vīramaya.

Similarly Śrama, - Vridā, Vitarka and Nirveda of the Vyabhicāribhāvas are represented by Kheda, Apavāda, Rūpa,

respectively. Even the ‘Niyamabhānji’ group, viz. Upakṣepa and others are connected with the Bhāvas. For, we have the Upakṣepa in the Venisamhāra in the verse ‘Lakṣāgrhānala’ etc. which is, as Abhinavagupta points out, Krodhātmā and the Upakṣepa in Rāmābhyudaya is Bhayātmā. In this connection the views of the ND are clear. These situations, according to it, might serve, also as exciting causes, i. e. Uddīpanas of a Rasa. Hence Abhinavagupta’s pronouncement about the Sandhyangas that they are the Vibhāvādiparikara is absolutely correct.

X. The Sandhyangas and the Lakṣanas

Along with a discussion of Abhinaya there is to be found a discussion of Kāvya also in Bharata’s Nāṭyaśāstra and he gives us a list of 36 Lakṣaṇas in Chapter XVI. There was a time when the Sandhyangas were considered as Lakṣaṇas, both being regarded as Alamkāras, as is to be seen in the remark by Abhinavagupta ‘अन्ये मन्यन्ते इति द्वितीयखण्ड-कोन्यासंलक्ष्यैककृति लक्षणानीति ब्यपदिश्यते ।’ Danjin also is seen to include the Sandhyangas in the Alamkāras, e. g. in यथा सन्ध्यङ्गत्वेन लक्षणाङ्गमन्तरे। व्यावर्णितमिदं चेष्टमलङ्कारतयैव नः ॥ KD. II. 367.

The phraselogy being rather vague, it is difficult to say whether the Sandhyangas were regarded as Alamkāras in the technical sense or as simply embellishment in a generic sense, the distinction between the two being that the Alamkāras are mere poetical embellishments, while the Sandhyangas are constructional ones. The very fact that Bharata enumerates them separately is an indication that at least for him they were not identical. The Sandhyangas are situations or parts of dramatic action while the Lakṣaṇas are embellishments which only beautify the play. Rājānaka Alaka distinguishes them as “Angāni Sandhīnām avayavāḥ, lakṣaṇāni vibhūṣaṇām ityādi kāvyavyavasthāpakāni”, while Bhoja clearly remarks, ‘Sandhyanggeṣu tu guṇālamkārayogo nāpekṣyate’.

From this it is clear that the Sandhyangas are different from Alamkāras. Thus Vilobhana is different from Guṇānuvāda

and Anumāna should be distinguised from the Anumāna Alamkāra, and in many cases a nearer approach to Bharata's ideas behind the Samdhyangas will be possible if they are understood as parts of the dramatic action and not as Alamkāras.

XI. The Samdhyangas and the Samdhyantaras

Bharata in Chapter XIX gives a list of 21 Samdhyantaras

सन्ध्यन्तराणि सन्धीनां विशेषास्वेवकवि: शंसति: ।

साम भेदस्तथा दण्ड: प्रदानं च वध एव च ।

प्रत्युत्पन्नमतित्वं च गोन्रस्खलितमेव च ।

साहसं च भयं चैव हीर्मोया क्रोध एव च ।।

ओज: संवरर्णं आान्तिस्सथा हेतुवधारणम् ।

दूतो लेश्सतथा स्वप्नश्रितं मद इति स्मृतम् ।।

XIX. 107-109.

These Samdhyantaras and the Samdhyangas should naturally have some relation between them and different views have been held about this relation. Abhinavagupta has mentioned two views which are as follows :

"A Samdhi is an internal division, related to the incident occurring there, so the Samdhyantaras are related to the Angas, for they fill up the gap between the Samdhyangas. Moreover, the main purpose of the dramatic action serves to unite them and the Samdhyantaras do an important service to the Samdhyangas in this respect".

तत्र. केचिदाहुः अन्तरं छिद्रं सन्धिरिति । तदङ्गमात्रं तात्स्थ्याच्च तत्स्थान्य ।

BORI . MS. p. 313.

According to this view, the Samdhyantaras help the action of the Samdhyangas and are their subordinate parts.

Another view is that they are but varieties of the Samdhyangas, of the nature of Upakṣepa and others. It can be shown from different plays like the Veṇīsaṃhāra, the Rāmābhyudaya and the Pratimāniruddha, where the Upakṣepa is Krodhātmā, Bhayātmā, and Svapnarūpaḥ respectively,

that they are of the nature of the Vibhāvas, Anubhāvas or the Vyabhicāribhāvas.

This would link the two by still closer relations. The ND rightly points out that the list of the Samdhyantaras which we get in NS. XIX. 107-109 is a heterogenous list of dramatic devices, certain feelings and certain Āngas already being described in the text. It mentions the following reasons —

1. Sāma or Dāna both are identical with the Samgraha of the Garbha-Samdhi.

2. Mati and the like are identical with the Vyabhicāribhāvas, and

3. Dṛṭa, Lekha and others form the very plot of the play.

CHAPTER II

Critical Material Relating to the Samidhyangas

It has already been said that a survey of the ancient Sanskrit literature, especially of the Sanskrit dramatic literature, shows a progressive deterioration. There is a gap between Bharata and the earliest text-book writers and these later text-book writers have apparently not understood Bharata in some respects and have in some respects introduced, in the old theory of Bharata, without entering into the spirit of his observations, changes based mainly on mere textual interpretation. The theory of the Samdhyangas has become very obscure in spite of, and in some respects on account of, these later interpreters of Bharata. Hence, the complete critical material about the Samdhyangas has been collected and a detailed examination of them has been made in this Chapter. An attempt has also been made to fix the meaning of the technical terms, after an examination of the various definitions together with the illustrations of each of the Samdhyangas as given by the authors of text-books such as the DR, the ND, the NLR and others, as well as by the commentators in their commentaries on the different dramatic works.

T. S. …3

Angas of the Makha-Saṃdhi

Upakṣepa

Definitions :

१. काव्यार्थस्य समुल्पत्तिरुपकक्षेप इति स्मृतः। NŚ XIX. 69.

२. बीजन्यास उपक्शेपः। DR I 27.

३. बीजस्योपकक्षेपः। NDI I. 43.

४. बीजन्यास उपकक्षेपः। BP 208. 12.

५. बीजन्यास उपकक्षेपः। PR 109.

६. उपकक्षेपसु बीजस्य सूचना कथ्यते बुधैः। RS III. 32.

७. काव्यार्थस्य समुल्पत्तिरुपकक्षेप इति स्मृतः। SD VI. 69.

८. काव्यार्थो|त्पत्तिरुपकक्षेपः। NLR 24.

Illustrations :

१. ' द्वीपादन्यासमादपि ' इत्यादिना यौगन्धरायणो वत्सराजस्य रत्नावलीप्राप्तिहेतुभूतमनुकूलदैवं स्वच्यापार बीजत्वेनोपाक्षेपस्व-नित्युपकक्षेपः। DR p. 27.

२. ' जन्म यस्य ' इत्यादिना तां दृश्यामि ' इत्यन्तेन मुखसन्धेरुपकक्षेप:इति प्रथममुपकक्षिप्यते। तथा लक्षणमादिभरते ' काव्यस्यार्थे-समुल्पत्तिरुपकक्षेप इति स्मृतः ' इति। SK p. 23.

३. ' सोऽहुम्... शरं धारयाभि ' अयं बीजन्यास उपकक्षेप: अज्ञम् । ' काव्यार्थस्य समुल्पत्तिरुपकक्षेप इति स्मृतः ' राक्षससंग्रहरुपकार्य-बीजस्य स्वोद्योगस्य बीजस्यासादुपकक्षेपात्। MR p. 64.

४. ' राजा-आप व्या|घ्रितं ते प्रजहि:'। अत्र गुप्तमानस्य मालविका-रुपस्य बीजस्य विन्यासादुपकक्षेपो नाम संध्यङ्गमुक्तं भवति। MA p. 12.

५. ' अस्या: सर्गोविधौ... पुराणो मुनि: ' मनोहरामिदं रुपमित्यनेन यौतमनस्य राजाभिलाषस्य बीजस्य विन्यासादुपकक्षेपे नाम संध्यङ्गमुक्तं भवति। VK p. 10.

६. ' सर्वेथा ऋषयो... श्रेयो विधास्यन्ति '। एष ऋषिकरटकश्रेयो-विषयरुपबीजन्यासादुपकक्षेपो नाम संध्यङ्गमुक्तम्। UR p. 14.

७. 'राजा-आयुष्मत्यौ सीतोरिमिळे ... कौशिक: श्रद्धाशानेन चेतसा वत्साभ्यां प्रणन्तव्य:।' अत्र श्रद्धाशानेतननेन विश्वामित्रकर्तृक-सीतारामपरिणयादिप्रयत्नरुपबीजन्यासादुपक्शेपो नाम मुख्यसंध्यङ्गमुक्तम्। बीजन्यास उपक्शेप: इति। MV p. 10.

The word Upakṣepa means 'throwing near,' i.e. 'mention or suggestion' and hence this sub-section of the dramatic action appears to be one in which the start of the action—'Kāryārthasya Samautpatti'—is mentioned or suggested. With the definition of Bharata all the writers of the text-books agree in substance and they illustrate it with the incident in R 1-3, when Yaugandharāyaṇa gives out his plans and describes the favourable working of fate. In ŚK a similar incident forms the starting point of the action. Samdhyangas are so many incidents or sub-sections of the dramatic action and hence any one of these Angas will not only import an abstract idea but also a concrete incident or incidents, and hence this Anga may mean not only the mere mention of the start of the action, but may be taken to mean also the circumstance which has started the action.

2. Parikara (Parikriyā)

Definitions :

१. समुत्पन्नार्थैवाहुल्यं झेझ: परिकरस्तु सः। NS XIX. 70.

२. तद्वाहुल्यं परिक्रिया। DR I. 27.

३. स्वल्पन्य्यास: परिक्रिया। ND I, 43.

४. तद्वाहुल्यं परिक्रिया। BP 208·12.

५. बीजस्य बहूपकरणं परिकर:। PR 109.

६. परिक्रिया तु बहुलीकरणं मतम्। RS III. 33.

७. समुत्पन्नार्थैवाहुल्यं झेझ: परिकरस्तु सः। SD VI. 70.

८. समुत्पन्ने अर्थे अर्थानां बाहुल्यं स परिकर:। NLR 25.

Illustrations :

१. यथा रत्नावल्याम् 'अन्यथा कुसुमितेभ्रद्रुहित: ... फुल्लकासार इत्यादिना 'सर्वथा संरम्भान्ति स्वामिनमभ्युदया:' इत्यन्तेन बीजोत्तरेब बहूकरणात्परिकर:। DR पृ: 27.

२. उपक्षिप्तार्थस्य पुष्टौ विशेषवचनैरलत्पं विस्तारं परिकरः । यथा वेणीसंहारे भीमसेनः सहदेवमाह 'प्रहृष्टं यद् वैरं मम खलु... यूयं घटयत' इति । ND p. 60.

३. 'शान्तमिदमाश्रमपदं' अनयार्थेया परिकर इति द्वितीयमञ्जुप्तिर्थाम् । तथाहि नु 'गदत्प्रयार्थबहुलं वचेयः' परिकरोस्तु सः । इति । SK p. 25.

४. 'पिं वा स्थैयेमुपादितं...इदं बीजस्य बहुलीकरणं परिकरः' चन्द्रगुप्तमूलक्ष्मीस्थैयोत्पादनहेतोर्‌ब्ज्जस्यावश्यकर्तव्यव्यतिरेकेण प्रचुरीकरणाद्द्वितीयमञ्जुम् । MR p. 65.

५. 'ईदृशानी' इत्यादिना 'सहायवानेव' इत्यन्तेन बीजस्य बहुलीकरणात्परिकर इति सन्ध्यङ्गसुक्तं भवति । MA p. 13.

६. 'यदयं रथसंक्षोभात' अत्र 'सरोमवाक्त्रयं सृष्टः' इत्यनेन बीजस्य बहुलीकरणात्परिकरो नाम सन्ध्यङ्गसुक्तं भवति । VK p. 12.

७. एतद् ऋषिप्रेयोवधानभूतवसिष्ठानुमहरूपबीजस्य बहूकरणात्परिकरः । तदुक्तम् 'बीजस्य बहूकरणं परिकरः' इति । UR p. 17.

८. 'भवानेव क्षाधयो जगति' एप ऋषिप्रयत्नरूपबीजस्य बहूकरणत्परिकरो नाम सन्ध्यङ्गसुक्तम् । यदुक्तम् 'बीजस्य बहूकरणं परिकरः' इति MV p. 12.

Parikara means in early texts like the Mbh (i) girdle, (ii) service, or (iii) retinue, attendants, collectively. In early Pali and Ardhamāgadhī texts also the root 'parikar' means 'to serve or wait on'; and from this, Parikara, does not appear to have anything in its literal sense which suggests Bahulya, which is the meaning attributed to it by Bharata. A likely explanation is that from its sense 'girdle' or 'attendant', it came to denote an attending circumstance, which forms as it were a girdle or does some service to the development of the plot. In later usage also, it means amplification. Cf. Dhvanyāloka with the Locana, (p. 34) 'परिकरश्लोकात्— परिकरार्थं कारिकार्थस्य अधिकावापं कर्तुं श्लोकः'. Bharata defines Parikara as the development of the start and the later text-book writers give an identical explanation. The illustration from R 1-41, given by Dhanika

and others, contemplates the development, since in that incident the events referred to, viz. the catching of a plank in the ocean, the recognition and the safe-landing, are all the attending circumstances of the ship-wreck and serve to develop the plot. The illustration from the ŚK also suggests development by the auspicious throbbing of the King's arm, which presages some good-happening.

8. Parinyāsa

Definitions :

१. तत्रिष्पत्त्या तु कथनं परिन्यास: प्रक्रीर्तित: । NŚ XIX. 70.

२. तत्रिष्पत्तिः परिन्यासः । DR I 27.

३. विनिश्रय: परिन्यास: । ND I. 43.

४. तत्रिष्पत्तिः परिन्यासः । BP 208. 13.

५. तस्य निष्पत्तिनिर्यामः परिन्यासः । संशयाद्विपरीतजल्पनमात्रः । PR 109

६. बीजनिष्पत्तिकथनं परिन्यास इवोच्यते । RS III 33.

७. तत्रिष्पत्तिः परिन्यासः । SD VI. 71.

८. भाषणं यत्परिन्यासः । NLR p. 25.

Illustrations :

१. 'यथा तत्रैव प्रारम्भेऽस्मिन्नस्वामिनो वृद्धिहेतौ, दैवे चितयं दत्तहस्तावलम्बे ।... भीत एवास्मि भर्तुः ।' इत्यानेन यौवनधरायणः स्वव्यापारदैवयोनिष्पत्तिमुक्तवानिति परिन्यासः । DR p. 7.

२. उपक्षिप्य विस्तारितर्थस्य विशेषेण निश्चयः सिद्धतया हृदयेऽवस्थापनं परतो न्यसनं परिन्यासः । यथा वेणीसंहारे 'चक्राद्‌भुज-श्रभित... ।' ND p. 61.

३. 'असंशयं क्षत्रपरिप्रहक्षमा यदार्यमस्यामभिलाषि मे मनः' अनेन परिन्यसे इत्थंमुपक्रमम् । तल्लक्षणं तु 'तत्रिष्पत्तस्तु कथनं परिन्यासं प्रचक्षते' इति । ŚK p. 33.

४. 'अस्मत्तः न किञ्चिद्विपरिहास्ते' इयं बीजनिष्पत्तिः परिन्यासः ! न किञ्चिद्विपरिहास्त्यनेन सङ्कल्पेनैव बीजं निष्पन्नम् इति । प्रवृतः संशयापगमैरबीजसंन्यासनू । MR p. 71.

The Samdhis and the Samdhyangas

५. 'फलमप्यचिरेण द्रक्ष्यसि' अत्र बीजस्य दृढीकरणात्परिन्यासो नाम संध्यङ्गमुक्तं भवति । MA p. 13.

६. 'प्रियमाचरितं ळते त्वया मे गमनेद्यः क्षणविच्छेदमाचरित्या...।' अत्र बीजस्य दृढीकरणात्परिन्यास इति संध्यङ्गमुक्तं भवति ।

VK p. 16.

७. 'चक्रान्तमुज्झप्रहितचण्डगदाभिघात...उत्संसविष्यति कवांस्तव देवी भीमः ।' इह परिन्यासरूपो 'मुखसन्धिः । यदुक्तं तत्ैव 'परिन्यासस्तु कार्यस्य भाविनो निश्चयाद्‌चः ।' VS p. 21.

Parinyāsa means 'planting (of the step, or of the seed) completely' and Bharata's definition of it as a statement of how it, i. e. the seed, has completely come into being agrees with this etymology. Hence this third situation would mean completion of the Bija. The V. L. 'Niṣpattyā' in the editions is very unsatisfactory. Rāghavabhaṭṭa's reading 'Niṣpatteh' appears to be better. All the text-book writers agree with Bharata and the illustrations also indicate a completion of the Bīja. It is because of this completion which naturally comes after the 'start' and the 'attending circumstance' that the ND has justified its third place in the list.

५. Vilobhana

Definitions :

१. गुणनिर्वर्णनं यतु विळोभनमिति स्मृतम् । NŚ XIX. 71.

२. गुणावल्यानं विळोभनम् । DR I. 27.

३. विळोभनं सुतरेगार्थ्यम् । ND I. 44.

४. गुणावल्यानं विळोभनम् । BP 208. 13.

५. बीजगुणवर्णनं विळोभनम् । PR 109.

६. नायकादिगुणानां यद् वर्णनं तद् विळोभनम् । RS III. 34.

७. गुणावल्यानं विळोभनम् । SD VI. 72.

८. अर्थस्य गुणनिर्वर्णनं विळोभनम् । NLR 25.

Critical Material Relating to the Samdhyangas

Illustrations :

१. यथा रत्नावल्याम् 'अस्त्यापास्तसमस्तभासि' इति वैतालिकमुखेन चन्द्रतुल्यवत्सराजगुणवर्णनया सागरिकाया: ससागरहेतुनुराग- बीजानुरूण्येनैव विळोभनाद्विलोभनम् । DR p. 7.

२. यथा वेणीसंहारे 'चक्रवसुज' इत्यादिश्लोकान्तरं द्रौपदी 'नाष किं दुष्करं त्वया...अनुग्रहन्तु देवताः' इत्यन्तेन सुयोधनस्यध्वगुणवत्वख्यापनाद् भीमस्य गाथ्योपदं विळोभनम् । ND p. 64.

३. 'राजा-चथमीयम्' इत्याचेतदन्तेन (आत्मगतो मनोरथः) विळोभनं नामाक्षरुष्क्षिप्तम् । तल्लक्षणं तु 'गुणानां वर्णनं तज्जैरविळोभनमतीरितम्' इति । SK p. 32.

४. 'चाणक्य:-भक्त्या कार्येधुरं वहन्ति बहुवास्ते दुर्लेभास्त्वाहशा:' इदं बीजगुणवर्णनं विळोभननामाक्षम् । कार्यगुणवर्णनेन कारण- गुणवर्णनस्यार्थेसिद्धत्वात् । MR p. 68.

५. 'परित्राजिका-सर्वाङ्गशोभस्वाभिव्यक्तये...प्रवेशोडस्तु' अत्र गुणवत्वस्य गम्यमानत्वाद्विलोभनं नाम सन्ध्यङ्गमुक्तं भवति । MA p. 22.

६. 'लौफिकानां हि साधूनामर्थे वागनुवर्तते ।' पतत् ऋषिभिर्यो वितरणहरपबीजगुणवर्णनात् विळोभनं नाम सन्ध्यङ्गसुक्तम् । UR p. 18.

७. 'प्रसन्नानां वाच: फलपरिमेयं प्रभवते ।' अत्र बीजगुणवर्णना- द्विलोभनं नाम सन्ध्यङ्गसुक्तम् । MV. p. 13.

Vilobhana means 'allurement or fascination;' and this explains Bharata's definition that it is the exposition of the good points, naturally, of the fruit. Here would be seen the particular attraction or fascination which the principal characters feel towards the Phala, and it is this allurement or fascination which actuates them. In this sense, it would appear to be vitally connected with the Bija and as the ND observes, it might occur somewhere near or after the Parinyāsa. The DR appears to follow Bharata, but seems to have missed Bharata's point. The illustration cited in it, being a verse sung by the bard, in praise of the King

shows that it understands this Aṅga simply as praise. The

RS seems to follow this view. Vilobhana in certain cases

might have meant the attraction which the hero has for the

heroine and this may further result in praise or description

of personal charms and beauty; and this is how ‘Nāyakā-

diguṇa-varṇana’ view must have come in. It is likely that

Bharata thought of the attraction of the Artha. The ND has

understood this rightly and cites as an illustration the situation

from the Veṇīsaṃhāra where Draupadī shows her intense desire

for Duryodhana’s death. It also remarks that this is not praise

but it is the stabilisation ( Sthirīkaraṇa ) in the minds of the

principal characters of the attainment of the Artha undertaken.

All other texts agree with this. That Vilobhana is not any

general praise is also made clear by the remark of Sāhitya-

darpana ( p. 294 ), that in the ṢK the verse ‘Grīvābhaṅgā-

bhirāmam’ is not an instance of Vilobhana as it is not vitally

connected with the incident that forms the Bīja.

8. Yukti

Definitions :

१. संप्रधारणमर्थानां युक्तिरित्यभिधीयते। NŚ XIX. 71.

२. संप्रधारणमर्थानां युक्तिः DR I. 28.

३. युक्तिः कृत्यविचारणा। ND I. 45.

४. संप्रधारणमर्थानां युक्तिरित्यभिधीयते। BP 208·14.

५. बीजानुकूलसंघटनप्रयोजनविचारो युक्तिः। PR 109.

६. सम्यक् प्रयोजनानां हि निर्णयो युक्तिर्यते । RS III. 34.

७. संप्रधारणमर्थानां युक्तिः। SD VI. 73.

८. अर्थानां संप्रधारणं सा युक्तिः। NLR 26.

Illustrations :

१. यथा रत्नावल्याम् ‘मर्याद चेतां देहि हस्ते...निक्षिपता युक्तिमेव-

दुष्ट्रितम्...गलद्मि हृणयतोऽ घटितः।’ इत्यादेन सागरिकाया अन्तः-

पुरस्थया वत्सराजस्य सुखेन दशोनादिप्रयोजनावधारणाद्वाऽभ्य-

सिंहलेश्वरामात्ययोः स्वनायकसमागमहेतुप्रयोजनत्वेनावधारणा-

युक्तिरिति । DR p. 7.

२. 'राजा-वयमपि' इत्यादिना 'अनुरूपप्रदाने संकल्पः' एतदन्ते युक्तितनोमाझ्नुपक्षिप्यम्। सम्प्रधारणमर्थो नां युक्तितरिलभिधीयते' इति। ŚK. p. 45.

३. अत्र तावत् 'वृत्तम्' इत्यादि 'प्रमार्ड्टमिच्छया' इत्यन्तः संदर्भे: बीजानुकूलसंघटनप्रयोजनविचारो युक्तिः। MR p. 69.

४. 'एष पिण्डनार्थं उपदेशदर्शनान्त्रिणय' इति' अत्र माळविका-दर्शनसंदेहनिर्णयायुक्तिनां सन्ध्यङ्गसुक्तं भवति। MA p. 18.

५. 'अष्टावक्र:-... ननान्दुः पत्या च देव्या: संदिष्टम्। बल्ले, कठोर-गर्भेते मानीतासि। वरतोऽपि रामभद्रस्योदिनोदार्थमेव स्थापितः' एतत् बीजानुगुणप्रयोजनविभावना रूपा युक्तितनां सन्ध्यङ्गसुक्तं भवति। तदुक्तं 'बीजानुगुणप्रयोजनविभावना युक्तिः'। UB p. 18.

६. 'विश्वामित्र:-रक्षोघ्नानि च मञ्झानि सुदिने कुल्यानि दारक्रिया .. व्यपाः प्रमोदामहे।' अत्र बीजानुगुणप्रयोजनविभावना रूपा युवितनां सन्ध्यङ्गसुक्तम्। MV p. 14.

७. 'अरुणावाळावळीढ ... ताते चापद्वितीये वहति रणधुरां को भयस्यावकाशः।' इह श्लोके युक्तितरङ्कारः। अर्थो बाधारणं यत् प्रमा णायुक्तितरुच्यते। इति भरतः। VS p. 61.

The usual meaning of the word Yukti is 'ingenuity or reasoning.' It is quite likely that Bharata had this meaning in his mind and hence Yukti is skill, especially as shown in a minute survey or examination of the incidents or circumstances ( Sampdhāraṇam ). This should be different from the Anu-māna which is an Alamkāra and as such must be distinguished from the Sandhyanga. That Yukti is such a survey can be seen from the various illustrations. The illustration from the R I. shows Yaugandharāyaṇa surveying the measures he has taken. All the text-books agree with Bharata in understanding this Anga as a careful survey of the facts and it is in this sense that Rāghavabhaṭṭa has illustrated it in the ŚK where the King proceeds to collect information about Śakuntalā.

6. Samādhāna

Definitions :

१. बीजार्थस्योपगमनं समाधनमपिध्यते । NŚ XIX. 72.

२. बीजागमः समाधनम् । DR I. 28.

३. पुनर्न्यस्त समाहितिः ND I. 43.

४. बीजागमः समाधनम् । BP 208·15

५. बीजसंनिधानं समाधनम् । PR 109.

६. बीजस्या पुनराधानं समाधनमिहोच्यते । RS III. 35.

७. बीजस्यागमनं यतु तत्समाधानमुच्यते । SD VI. 75.

८. बीजार्थस्योपगमनं यत्समाधानम् । NLR 26.

Illustrations :

१. यथा रत्नावल्याम्-वासवदत्ता-' तेन हृदयं म उपकरणानि...’ सागरिका ... 'अलक्षित प्रेक्ष्यस्थे' इत्यनेन वासवदत्ताया रत्नावलीभत्सराज्योदर्शनप्रतीकारात्सागरिकाया: सुधंगतार्पणेनालक्षितप्रेक्षणेन च: वरसराजसमागमहेतोर्यस्योपादानात्मसंधानमिति । यथा च वेणीसंहारे 'भीम...पञ्चाङ्गराजत्वये... कचांस्तव देवी भीम:' इत्यनेन वेणीसंधारहेतवो: क्रोधबीजस्य पुनरुपादानात्मसंधानम् । DR p. 9.

२. यथा वेणीसंहारे 'भो भो:...क्रोधज्योतिः यौधिष्ठिरं जृम्भते । 'स्वस्था भवन्ति' इति यद् बीजं तदिदानीं प्रधाननायकगतत्वेन सम्यक् पोषं नीतमिति । ND. p. 62.

३. 'भव हृदय साभिलाषम्' अननेन समाधननामकमझसुपक्षिसम् । तल्लक्षणं तु 'बीजार्थस्योपगमनं तत्समाधानमुच्यते' इति । ŚK p. 46.

४. 'मयापि नशयाननेन स्थीयते' इदं बीजसविधानं समाधानमझंमुविधानात् । MR p. 69.

५. 'धैर्यावलम्बनमपि त्वरयति' अत्र बीजस्य पुनरावर्तनात्मसमाधानं नाम संध्यझमुक्तं भवति । MĀ p. 23.

६. 'अथो नु खलु दुष्टेभाभिनिवेशी मदनः' इत्यत्र बीजस्यादु-

सन्धानात्समाधानं नाम सन्ध्यङ्गम् । VK p. 16.

७. 'अनुगृहीता स्मः' एतन्मनुष्यानुग्रहलुपबीजाङ्गीकरणरूपं समा-

धानं नाम सन्ध्यङ्गमुक्ततम् । तदुक्ततम् 'बीजाङ्गीकरणं समाधानम्'

इति । UR p. 18

८. अत्र 'साधुसुते' त्यादिमा ऋषिप्रयत्नरूपबीजाङ्गीकरणरूपसमाधानं

नाम सन्ध्यङ्गयुक्ततम् । MV p. 12.

Samādhāna ( sam +āi+dhāna) means "approach or recurrence ( punarupagamanam ) of the germinal circumstance ( Bījārthasya )" of course now with added intensity. The ND explanation 'Samyak āsāntāt dhānām poṣanam ' may be slightly artificial, but is on the whole not unsatisfactory. The illustrations given in it and the DR from the VS relate to the restatement of Bhīma's fury which is the Bīja. The other text-books agree with Bharata. Rāghavabhaṭṭa and Kāṭayavema give instances which reiterate the 'autsukya' of the heroes, which is the Bīja.

७. Prāpti

Definitions :

१. सुखार्थस्योपगमनं प्राप्तिरित्यभिसंस्कृतम् । NS XIX. 72.

२. प्राप्तिः सुखागमः । DR I. 28.

३. प्राप्तिः सुखसंप्राप्तिः । ND I. 45.

४. प्राप्तिः कौडपि सुखागमः । BP 208. 15.

५. बीजसुखागमः प्राप्तिः । PR 109.

६. प्राप्तेः सुखस्य संप्राप्तिः प्राप्तिरित्यभिधीयते । RS III. 35.

७. प्राप्तिः सुखागमः । SD VI. 74.

८. सुखार्थस्य च हुपगमनं सा प्राप्तिः । NLR 26.

Illustrations :

१. यथा वेणीसंहारे 'चेटी- भटृ्टिनि, परिकुपित इव कुमार लक्ष्यते..

...मदनाभे कार वशत... 'द्रौपदी-पुनः पुनर्भण । इत्यनेन भामक्रोध-

बीजान्वयेनैव सुखप्राप्त्या द्रौपदी: प्राप्तिरिति । यथा च रत्नावल्याम्

'सागरिका-कथंमयं स उदयनः... जीवितं . बहुमतं संजातम् ।1 इत् सागरिकाया: सुखागमात्रप्रासिरिति । DR p. 8.

२. यथा वेणीसंहारे 'कृचचुकी- कुमार, एष भगवान्वासुदेवः ... कुमारं दृष्ट्वामच्छति ।' अयं द्वार्थो भीमसेनस्य कुरुभिः सह सन्धि-भेदमापादयंश्वान्तः सुखयतीति । ND p. 66

३. (अ) 'वयं तत्त्वान्वेषात् ।' यद्यपि 'हता' इत्युक्तं तथाप्यभिलाष-चाटुकप्रवणत्वेन तत्त्वज्ञःगमस्य भावात्प्राप्तिरित्यनुपक्षिप्तम् । यतो ध'निर्देशेनोक्तं 'साक्षात् परम्पर्येण वा विधेयानि' इति । तदक्षणं तु 'सुखार्थस्योपगमने प्राप्ति:तारित्यभिधीयते' इति । (ब) वाचं न मिश्रयति...पूर्वोक्तं प्राप्तिलक्षणमज्ञमनन चोपक्षिप्तम् । SK p. 36, 50.

४. अथवा 'राज्यं सुखयति' अयं बीजसुखागमः प्राप्तिरोमाSSम् । बीजेन सवनीतिप्रयोगेण दृष्टस्य सुखागमसुखप्राप्तेः । MR p. 70.

५. 'ध्येयावलोकनमपि' सुखागमस्य गर्भमनित्वाद्‌प्राप्तिरिन्द्रियसन्ध्याद्‌मुक्तं भवति । MA p. 23.

६. 'प्रियमाचरितं ऋते...' अर्थात्कूल्येन सुखाप्रेर्गर्भ्यमानत्वात् प्राप्तिरिन्द्रियं मुक्तं भवति । VK p. 16.

७. 'अरिष्टतातिमाशास्महे' इति बीजसुखागमरूपप्राप्तिरुक्ता । MV p. 88.

Prāpti means, 'approach, i.e. realisation of the barest fringe of the end' and hence according to Bharata means 'the approach of a pleasurable circumstance'. The DR and the text-book writers give an identical meaning. The DR illustrates from the R and the VS two incidents of good promise, viz, Sāgarikā's first sight of Udayana and Draupadi's delight at the overhearing of Bhīma's vow of wreaking revenge on Duhśāsana and Duryodhana. The ND gives the identical instance from the VS and adds another, viz, Kṛiṣṇa's overpowering the Kuru forces by his supernatural power while his mission of peace fails which renders, the prospect of peace impossible. The ND, in distinguishing this from Vidhāna says that Prāpti is after some search, while Vidhāna is sponteneous

and relates to a single character; but this distinction is not satisfactory. Rāghavabhaṭṭa gives two instances, one is in Duṣyanta's contemplation of Śakuntalā as she is attacked by the bee, where, although he envies the bee he really derives pleasure; and the second is in I. 27, where Duṣyanta describes the coyness of Śakuntalā in indicating her love for him.

8. Vidhāna

Definitions :

१. सुखदुःखकृतो योडर्थस्तत्रिधानमिहोच्यते । NS XIX. 73.

२. विधानं सुखदुःखकृत् । DR I. 28.

३. विधानं सुखदुःखासिः ND I. 45.

४. विधानं सुखदुःखकृत् । BP 208, 16.

५. बीजसुखदुःखहतुविधानम् । PR 109.

६. सुखदुःखकरं यतु विधानं बुधा विदुः । RS III. 36.

७. सुखदुःखकृतो योडर्थस्तत्रिधानमिति स्मृतम् । SD VI. 76.

८. सुखदुःखयुक्तो योडर्थस्तत्रिधानम् । NLR 26.

Illustrations :

१. यथा मालतीमाधवे ‘माधवः— यान्या मुहुर्वलितकंधरममनं व्य थमानमाम्ते ।’ इत्यनेन मालत्यवलोकनस्यागुरागस्य समागमहेतोर्यीजानुगुण्येनैव माधवस्य सुखदुःखारित्वात् विधानामिति। यथा च वेणीसंहार ‘द्रोपदी—नाथ पुनरपि त्वया...न पद्यसि भ्रूकोदरम् ।’ इति संग्रामस्य सुखदुःखहेतुत्वादिविधानामिति । DR p. 9.

२. एकत्र पात्रे सुखदुःखयोः प्रासिर्यथा मालतीमाधवे ‘माधवः—, हृदयं मदीयं व्यथमानमास्ते ।’ इत्यनेन साजुरागमालत्यवलोकनान्माधवस्य सुखदुःखासिः| अनेक्त्र यथा तापसवत्सराजे काञ्चनमालया ज्ञातिगृहवातोर्विशेषापदेशात् वासवदत्ताया वियोगदुःखडपह्नुते राजा स्मित्वाऽऽह ‘हृदि प्रेमभरालसां...तास्यसि’ अन्र च वासवदत्ताया: प्रवासाम्युगगणाद् दुःखं हृद्न्वत्सराजस्य चाविदितार्वप्रवासघृतान्तस्य सुखम् । एकस्य सुखस्य आक्षिर्यथा रत्नावल्या ‘काञ्चनमाले, प्रतिष्ठाप्य...प्रद्युम्नम्...’

इत्यारंभ्य वासवदत्ता राजानं पूजयति इति यावत् । 'एकस्ख दुःखस्य यथा...निर्मेयभीमे...भीमः...चयं पराभववृत्तस्तत्प्राप्त

वर्तोमहे 1' ND p. 68.

३. 'विदूषकः-अद्यापि तस्य तामेव चिन्तयतेऽदक्ष्णोः प्रभातमासीत्'। चिन्तनेन सुखम्, निद्राच्छेदेन दुःखमिति । अनेन विधानं नामाझुमपकर्षितम् । तल्लक्षणं तु 'सुखदुःखकृतो योडर्थस्तत्रविधान-

मिति स्मृतम्' इति । SK p. 56

४. 'शत्रुप्रयुक्तां' इत्यादि 'तत्राप्तपुरुषाः' इत्यान्तं बीजसुखदुःख-

हेतुर्विधानम् । सुखदुःखहेतोरविचारस्यात्र विधानात् । तीसृष्णरस-

दायिनो दु:खहेतवः तत्प्रतिविधानं प्रति अप्रमादिनः सुखहेतवः t. MR p. 69.

५. 'रामाय पुण्यमहसे सहशाय सीता दतेव दाशरथिचिन्द्रमसे-

भाविष्यन्ती । पण यत्न मोकार्षीत् । इह तत्र बीजसुखदुःखसङ्गुलि-

विधानमुक्ततम् । MV p. 88.

The usual sense of the word Vidhāna is 'doing or enjoining something with reference to something' and so Vidhāna according to Bharata's definition, might 'mean a step or something done in order to procure pleasure or to avoid pain.' The textbook writers emphasise the 'Sukhaduhkha' rather than the 'Sukhaduhkhakrtarthah'. The DR cites as an illustration MM 1. 29, where what was pleasurable in the presence of Mālati becomes like a hot bed of coals. The ND gives four cases, (i) as in MM 1. 29, a thing is alternately pleasurable and painful to one and the same person or (ii) as in TV, where it is pleasurable to one but painful to another or (iii) exclusively pleasurable and (iv) exclusively painful. The distinction between Prāpti and Vidhāna is that while Prāpti is the earliest glimpse of the realisation of the Phala, spontaneously obtained, Vidhāna is something done to procure pleasure or to avoid pain. Rāghavabhaṭṭa cites SK. II. where Duṣyanta's tortures are described by Mā lhavya. Virarāghava cites MV. T. 27 without any point. As already stated , the ND has distinguished between Vidhāna and Prāpti, the latter being deliberate (अन्वेषणपूर्वकम् ) and the former taneous (सप्रेहितसुखात्मकम् ) !! 'Bharāta'~ definition.

Critical Material Relating to the Samdhyangas

47

would signify a deliberate step to gain or avert Sukha or Duhka respectively, then the text-book writers and the commentators following them have lost sight of the etymological sense of Vidhāna as well as the explicit definition ‘Kṛtor thaḥ’. The SD alone has given the definition of Bharata correctly.

9. Paribhāvanā

Definitions :

१. कौतूहलोत्तरावेशो भवेतु परिभावना। NS XIX. 73.

२. परिभावोद्भुतावेशः। DR I. 29.

३. विस्मयः परिभावना। ND I. 45.

४. परिभावोद्भुतावेशः। BP 208. 16.

५. बीजविषयाश्रयोद्वेशः परिभावनम्‌। PR 109.

६. स्थाय्यौद्भवित्तचमत्कार्ते गुणायैः परिभावना। RS III. 36.

७. कृतूहलोत्तरा वाचः प्रोक्ता तु परिभावना। SD VI. 77.

८. कृतूहलान्तरदायी स्वादर्थः परिभावना। NLR 26.

Illustrations :

१. यथा रत्नावलस्यां ‘सागरिका-कथं प्रत्यक्ष एव अनङ्ग. पूजयिष्यामि ।’ इत्यनेन वत्सराजस्यानङ्गरुपतयाप्रहवदनङ्गस्य च प्रत्यक्षस्य पूजाग्रहणस्य लोकोत्तरत्वाद्दुत्तरसावेशः परिभावना। यथा च वेणीसंहारे द्रौपदी ‘किमिदानीमेष प्रलयजलधरस्तनितमांसल...दुन्दुभिस्ताड्यते।’ इति लोकोत्तरसमरदुन्दुमिश्रवनेविस्मयरसावेशाद्दुपचारः परिभावना । DR p. 10.

२. जिज्ञासातिशयेन किमेतादिति कौतुकानुबन्धो विस्मयः परिभावना । यथा नागानन्दे मधयवर्त्ती दृश्य नायकः ‘स्वर्गेऽपि यदि तत् कृतार्थमभवच्चकुसहस्रं हरे...प्रसिद्धास्ततः ।’ ND p. 68.

३. ‘अनुभावेन पुलिनतां सहसा विकोच वारितप्रसरः...गत्वैव पुनः निःसृतः ।’ अनेन परिभावनेत्यङ्गमुपक्षिप्तम्‌ । तदक्षणं तु ‘कृतूहलोत्तरावेशो विज्ञेया परिभावना’. इति । SDK p. 47.

४. 'चाणक्य:- अहो राक्षसस्य नन्दवंशे निरतिशयो भक्तिगुणः ।' इदं बीजविपये आश्चर्यावेशः परिभावना वृत्यमङ्गम् । राक्षसभक्तिगुणविषयकाश्चर्यावेशस्य तत्सङ्ग्रहबीजविषयत्वोपपत्तेः । MR p. 67.

५. 'रजा-कथामप्रमेयानुभावसामध्ये अथ वैकर्तनकुटकुमारः ।' इत्यत्र बीजविषय आश्चर्यावेशरूपपरिभावनोक्ता । MV p. 88.

Paribhāvanā means 'meditation or contemplation with the presentative faculty of the mind.' Jainism uses this word in connection with the twentyfive Bhāvanās and so also the Mīmāṃsā literature understands by the word the idea of the agent. It is likely that Bharata has used the word in this sense and this Aṅga is a situation in which a character being possessed by an idea (Āvéśa) is following the first impulse of curiosity (kutūhala). Paribhāvanā means 'constant brooding or pondering. and has nothing to do with surprise or Vismaya and the explanations of the later writers are clearly incohrent. Their explanation, moreover, destroys the organic connection between the Samidhi and the Aṅga. As surprise, it may occur anywhere, whereas pondering or brooding before the action is taken to secure a thing, it rightly belongs to this Samdhi. The various illustrations from the plays have an element of surprise and also are contemplations leading to action, especially so is the illustration from the MR.

10. Udbheda.

Definitions :

१. बीजार्थस्य प्ररोहो य उद्भेदः स तु कोप्तितः । NS XIX. 74.

२. उद्भेदो गूढमेदनम् । DR I. 29.

३. उद्भेदो गूढमेदनम् । BP 208, 17.

४. स्वल्पप्ररोह उद्भेदः । ND I. 44.

५. गूढबीजप्रकाशनमुद्भेदः । PR 109.

६. उद्भाटनं यदु बीजस्य स उद्भेदः प्रकृतितः । RS III. 37.

७. बीजार्थस्य प्ररोहः स्यादुद्भेदः । SD VI. 78.

८. बीजार्थस्य प्ररोहो यः स उद्भेद इति स्मृतः । NLR 27.

Critical Material Relating to the Samdhyangas 49

Illustrations :

१. यथा रत्नावल्यां वत्सराजस्य कुसुमायुधवृ्यपदेशगूढस्य वैताढ़िकवचसा 'अस्तापास्त' इत्यादिना 'उदयनस्य' इत्यन्तेन बीजानुगणेनैवोदेद्दनादुद्देद: । यथा च वेणीसंहारे- 'आये, किमिदानीमध्यवस्यति..आर्येम्य कोधज्योति:' इत्यन्तेन च्छल्नस्य द्रौपदीकेशसंयमनहेतोरुद्दिष्टरकोधस्योद्रेद: । DR p. 10.

२. यथा वेणीसंहारे 'नाथ पुनरपि त्वयाड्गतयाहं समाश्वासितनस्या' इति द्रौप्याडभिहितो भीमः प्रत्याह 'अयि किम्वाप्यलीक- श्वासनाभिः... न पश्यसि वृकोदरम्' इति कुरुनिधनारम्भहपस्य बीजार्थस्यामुद्रेद इति । ND p. 62.

३. 'मोचितासि...महाराजेन गच्छेदानीं'... 'शकुन्तला-'यद्वात्मनः प्रभविष्यामि' । अनेकार्थद्योतनामकर्मसुपोषितं तद्रक्षणं तु 'बीजार्थस्य प्ररोहो यः स उद्देद इति स्मृतः' इति । दशरूपके तु 'उद्देदो गूढमेदानम्' इति । राजभावस्य गूढस्योदेदानत् ।

४. 'अस्माभिः...घातितः सर्वोर्थसिद्धिः' । इदं गूढबीजप्रकाशन- मुद्रेदः । पूर्व गूढतया कृतस्य बीजस्य प्रकाशनात् । MR p. 66.

५. 'देवी-यदि राजकार्येष्वीदृशयुपायानिपुणतार्यपुत्रस्य ततः शोभनं भवेत् ।' अत्र गूढार्थोदेदानादुद्रदो नाम सन्ध्यङ्गमुक्तं भवति ।

६. 'वत्स अचिरादेव सेपादनीया दौहृद इति संप्रतीव...संदिष्टम् ।' एष गूढप्रकाशनादुद्रेदः । UR p. 37.

७. बीजप्ररोह उद्देदो यत्निक्रत्प्रभवात्कः ।' इति भरतादुद्रेदरूपं मुखसन्धिमाह' चत्वारो वयमृत्निजे: स भगवान्कर्मोपदेशो हरिः...।' VS p. 25.

Udbheda means 'breaking out, manifestation or display' and is probably used in this sense, so that this Anga would be an incident in which the Bija becomes manifest. According to Bharata, it is the development of the Bījārtha and the DR changes this by taking it to mean mere 'bursting forth of something

T. S. 4

The Samdhis and the Samdhyangas

secret or hidden' and illustrates it from the R and the VS, where the identity of Udayana and the anger of Yudhiṣṭhira, so far controlled, burst out. The DR, the ND and Jagaddhara give different illustrations from the VS. Kāṭayavema apparently follows the DR in understanding the Anga as a disclosure by some one else. The BP and the PR agree with the DR, while the RS, the NLR. and the SD agree with Bharata in understanding Udbheda as manifestation.

11. Bheda

Definitions :

१. संघातभेदनार्थो यः स भेद इति संज्ञितः | NS XIX. 75.

२. भेदः प्रोत्साहना मता | DR I. 29.

३. भेदनं पात्रनिर्गमः | ND I. 44.

४. भेदः प्रोत्साहना | BP 208-18.

५. बीजानुगुणप्रोत्साहनं भेदः | PR 109.

६. बीजयोद्देशदं भेदो यद्वा संघातभेदनम् | RS III. 37.

७. भेदः संघतमेदनम् | केचित्तु भेदः प्रोत्साहनेति वदन्ति | SD VI. 80.

८. संघातेन मिलितस्य अर्थस्य भङ्गो भेदः | NLR 27.

Illustrations :

१. यथा वेणीसंहारे 'नाथ मा खलु याज्ञसेनीपरिभव...संग्रामे विचरतुं पण्डिताः पाण्डुपुत्राः' इत्यनेन विषण्णाया द्रौपद्याः क्रोधोत्साहबीजानुगुण्येनैव प्रोत्साहनाद्द्वृ इति | DR p. 11.

२. यथा वेणीसंहारे 'संग्रामे विचरितुं पण्डिताः पाण्डुपुत्राः' एतेन हि संग्रामावतरणाभिप्रायः सहदेवस्य चातुर्वर्ण्य संघातभेदनार्थ एवोपदर्शित इति भेदोदाहरणम् | अन्ये तु संघतानां प्रतिपक्षाणां बीजफळोत्तपत्तिनिरोधकानां विशेषकं भेदरुपमुपायं भेदनं मन्वते इति | ND p. 64.

३. 'मृगयाविहारो दुष्यन्तः' दुष्यन्त इति राजनामश्रवणाच्चकुन्तलाया: प्रोत्साहनाद्दलक्षणमझुपक्षिप्रम् | 'भेदः प्रोत्साहना मता' इति तल्लक्षणस्य धनिकेनोक्तत्वात् | ŚK p. 51.

४. ‘ते भृत्या नृपते: कलत्रमितरत् संपत्सु आपत्सु च’। इदं बीजगुण-प्रोत्साहनं भेद: अज्ञम्। कार्यगुणै: स्वोयोगस्य बीजस्य प्रोत्साहनादुपबृंहणात्। MR p. 67.

५. ‘...सीताया: शिवानुप्रवेशो भव’ एतद् बीजानुगुणप्रोत्साहन-रूपं भेदो नाम सन्ध्यङ्गमुक्तम्। तदुक्तम्-‘बीजानुगुणप्रोत्साहनं भेद:’ इति। UR p. 29.

६. ‘विश्वामित्र:-वत्स हन्तामियम्।’ इत्यत्र बीजानुगुणप्रोत्साहनरूप-भेद उक्त:। MV p. 88.

The usual meaning of the word Bheda is ‘dissolution or disclosure,’ and the word Sanghāta which appears in Bharata's definition means ‘an aggregate or integration or complex, a meaning which is to be seen in the literature of the Sāṅkhyas and the Buddhists. So this would mean that Bheda is an incident which amounts to a disintegration or elucidation of what was inexplicable so far, i. e. a complex of facts which now breaks up and elucidating itself, develops the germinal action. The text-book writers have clearly abandoned the meaning of Bharata, and have given other interpretations which are not warranted either by the term Bheda or by Bharata's definition of it. The DR understands it as encouragement and has illustrated it from the VS (Draupadi's receiving encouragement from Bhīma). The ND changes this further and understands it as the exit of the characters to some other place and cites as an illustration the same situation from the VS, referred to by the DR. The ND notes the view held by the DR, cites the same illustration and also mentions a third view according to which Bheda is a situation in which, a breaking up of the forces that oppose the Bijotpatti shows itself, a meaning which is clearly nearer to Bharata's definition, but this is not illustrated. The BP and PR agree with the DR. The NLR by its ‘Saṅghātena militāsya arthasya bhedah’ interprets Bharata correctly, but its illustration is obscure. Coming to the commentators, Rāghavabhaṭṭa has adopted ‘protsā-hanā’ as the meaning. But this is unsatisfactory as it is difficult to see any encouragement in the announcement of the presence of Duṣyanta in the forest. In fact, this is only a

corroboration of what the girls have already learnt from the signet-ring given to them, on which they have read the king's name. This would have been encouragement of some sort had the identification of the king been made for the first time now. However, the incident of the elephant breaking loose may be taken as a 'Pātranirgama' but this in itself can never be a distinct Samdhyanga because the close of an act need not figure in the analysis of the dramatic action. The commentators have followed the DR and not Bharata.

12. Karana

Definitions :

१. प्रकृतार्थसमारम्भः करणं परिचक्षते। NS XIX. 75.

२. करण प्रकृतारम्भः DR I. 29.

३. करणं प्रस्तुतक्रिया। ND I. 44.

४. करण प्रकृतारम्भः BP 208·17.

५. वीथ्याङ्गःनप्रस्तुतकार्यारम्भः करणम्। PR 109.

६. प्रस्तुतार्थसमारम्भं करणं परिचक्षते। RS III. 38.

७. करणं पुनः प्रकृतार्थसमारम्भः। SD VI. 79.

८. प्रकृतार्थसमारम्भः करणम्। NLR 27.

Illustrations :

१. यथा रत्नावल्यां 'नमो ते कुसुमायुध रष्ट्र यत्प्रेक्षित रङ्गम्... गामिष्यामि।' इत्यनेनानन्तरादर्शप्रकृतिनिर्वहणदर्शनारम्भणात्करणम्। यथा च वेणीसंहारे 'तत्पाङ्गालि गच्छामो...विक्रमानुरूपमाचरितम्'। इत्यनेनानन्तरप्रस्तूयमानसंग्रामारम्भणात्करणमिति। DR p. 10.

२. अन्ये तु विपदां शमनं करणमाहुः शमनं चाशीरवादवचनं यथा वा वेणीसंहारे-भीमं प्रति 'त्रैलोक्यं यदसुरसमराभिमुखस्य हरेःकर्मेङ्झितं तद् युष्माकं भवतु'। ND p. 63.

३. प्रियवेदा'-शकुन्तलां निरुद्ध्य इत्यादिना (अङ्कुलीयकं दातुं) इच्छतीत्यन्तेन करणं नामाङ्गसुपक्षिणाम्। तदक्षणं तु 'प्रकृतार्थस्य चारम्भः करणं नाम तद्वदेत्' इति। SK p. 49.

४. 'यथाशक्ति क्रियते तमहणं प्रति यत्नः । ' इत्यारभ्य 'तेनेदंर्मी महत्वप्रयोजनमनुप्रेक्ष्यं भविष्यति' इत्यान्तं बीजानुरणप्रस्तुतकार्योरम्भः करणम् । MR p. 69.

५. 'विश्वामित्र:—( स्वगतम् ) अस्यायमवसरः, दिव्यास्त्रझलानां दानस्य वर्तते मझल्यो मुहूर्तः । ' इत्यादौ बीजानुरणप्रस्तुतकार्योरम्भरूपकरणसूचकम् । MV p. 88.

६. 'इह देवि गच्छामः ' इत्यानेन करणरूपो मुखसन्धिः । यदाह— 'उद्यमः प्रस्तुतार्थस्य करणं परिकीर्तितम् । ' VS p. 25.

Karana is an instrument. (Cf. Panini I. 2.42., II. 3. 18. 33.) Thus Bharata's idea would be that Karana is a situation in which there is actual beginning of the matter in hand or a step which is the cause of the beginning of the matter in hand. All the text-book writers agree with Bharata and the DR cites as illustrations the situations from the R and the VS, where the actual plot begins. The ND agrees with the DR but mentions another view, which takes Karana to be the avoidance of difficulties either by reason of a benediction or something else and refers to Draupadi's speech in the VS. I, 'yuṣmākam maṅgalam bhavatu' in which she wishes good luck to Bhīma and others. From the illustrations from the plays it appears that all represent by it the beginning of the action or a first step towards the realisation of the purpose., cf. the illustration from ŚK by Rāghavabhaṭṭa.

Angas Of the Pratimukha-Samdhi

1. Vilāsa

Definitions :

१. समीहा रतिभोगार्थो विलास इति संज्ञितः । NS XIX. 76.

२. रत्यर्थेहा विलासः स्यात् । DR I. 32.

३. विलासो नृत्तियोरीहा । ND I. 48.

४. रतिचेष्टाविलास: स्वाहम्पत्योर्नवसङ्ग्रहे । BP 209.10.

५. संयोगविषयमनोरथो विलासः । PR p. 110.

६. विलास: सङ्गमार्थस्तु व्यापार: परिक्रीडितः। RS III. 41.

७. समीहा रतिमोगार्थो विलास इति कथ्यते। SD VI. 82.

८. समीहा रतिसंभोगार्थो विलास:। संभोगो वा सुरतोत्पन्नो विलास इति संब्ित:।। NLR p. 28.

Illustrations :

९. यथा रसनावल्यानां 'सागरिका-हृदय, प्रसीद किमनेनायासमात्रफलेऽन' इत्युपक्रमे 'तथापि आढेलव्यगतं तं जनं कृत्वा यथा समीहितं करिष्यामि...अन्यो दर्शानोपाय: इति।' इत्येतैर्‌वत्सराज-समागमरति चित्रादिजन्यामुपदिश्य सागरिकायाश्चेष्टाप्रयत्नोज्झु-रागवीजानुगतो विलास इति। DR p. 12.

२. यथा अभिज्ञानशाकुन्तले मुखसन्ध्यादुपलभ्यधां नायिकायां प्रतिसुवे तादृश्र्यो विलास: इति। तत् हि राजा आह 'कामं प्रिया न सुहृदा मनस्तादृश्वादर्शनेनाभ्वासी।.....सर्वे मल्परायणमहो ! कामसी स्वप्नं परयति।' इत्यादिना राझो रतिसमीहा। ND p. 69.

३. 'चिन्त्य' इत्यादिना 'तपःश्छमाभागमक्ष्यं ददत्स्यारण्यक हि नः !' पतदनन्तन विलासो नामाङ्गसुपकर्षणम्।। तत्क्षणं तु 'विलास: सङ्गमार्थस्तु व्यापार: परिक्रीडितः' इति। SK p. 77.

४. 'चाणक्य: - ( सहेर्षमात्रंमगतम्) गृहीतो जयशब्द:।' अयं कार्यसिद्धिविषयमनोरथो विलास: प्रथममदृप्। MR p. 82.

५. रा जा —वयस्य...नेपथ्यपरिगतयाश्चकुः दर्शानसमुत्सुकं तस्या:। सेहन्तुं...व्यवसितामिव मे तिरस्कारिणीम्।' अत्रेष्टार्थेविषयेच्छाया सञ्जायमानत्वाद्विलासो नाम सन्ध्यङ्गमुखं भवति। MA. p. 25.

६. 'राजा — इदमसुलभमेवसुप्रेक्षणीयादुत्पन्नो मे पत्न-वाण: क्षिणोति।' अत्रेष्टार्थविषयेहास्यनुच्छायासञ्जायमानत्वाद्विलासो नाम सन्ध्यङ्गवाणं भवति। VK p. 28.

९. 'राम: — हन्त, हन्त, उत्कटस्य तपःपराक्रमविधेरस्य:...। वैदेहापरिरम्भ एष च मुहु:श्वेतनियमामीलितानन्दी हरिचन्दने-न्दुशिशिरररिङ्गध्‌ ।' इत्यादिना च संभोगविषयमनोरथरूपविलास उक्त:। MV p. 38.

Vilāsa is ‘manifestations of love’ and Bharata defines it as an effort to secure the gratification or the satisfaction of love. The word ‘Ihā’ which appears in Bharata’s definition means Vyāpāra, i. e. activity or effort. The DR and all the later text-book writers have interpreted Bharata rightly, as is to be seen from the illustrations which they have given. The ND discusses the presence of this Anga in the plays having the Vīra-rasa as the dominan’ Rasa, and changes the con-notation to ‘Utsāhādisampat’ It is according to this view that Dhundhirāja points out this Anga in the MR. The inclusion of this Anga, in its natural aspect, in the Vīra-rasa plays, is unnatural and the Duryodhana-Bhānumatī scene ( VS. II.) has been attacked as improper by the Sanskrit theorists.

2. Parisarpa

Definitions :

१. हस्तनष्टानुसरणं परिसर्पस्तु वर्ण्यते । NS XIX. 76.

२. दृष्टनष्टानुसरणं परिसर्पः । DR I. 32.

३. नष्टे ष्टेहानुसर्पणम् । ND I. 50.

8. परिसर्पस्तु बीजस्य दृष्टानष्टानुसर्पणम् । BP 209.11.

५. हस्तनष्टपदार्थानुसरणं परिसर्पः । PR p. 110.

६. पूर्वोदीष्टस्य बीजस्य तद्‌च्छेदादिना तथा । नष्टस्यानुसृतिः शाश्वत् परिसर्प इति स्मृतः । RS III. 42.

७. च(इ)ष्टनष्टानुसरणं परिसर्पश्च कध्यते । प्रथमं दृष्टस्य पश्चाद् दृष्टस्यानुसरणं परिसर्पः । NLR p. 28.

Illustrations :

१. यथा वेणीसंहारे ‘कचुकुचि— योद्धुमुचेतेषु बलवत्सु...प्रीतोऽ-भिमन्योर्‌वेपथात्’ इत्यनेन भीष्मादिवधे दृष्टस्याभिमन्युबन्धान्नष्टस्य बलवतां पाण्डवानां वासुदेवसहायानां सम्मार्गणबिन्दुबीज-प्रयत्नान्वयेन हरचुकीमुखे बीजानुसर्पणं परिसर्प इति । यथा च रत्नावल्यां सारिकावचनचित्रदर्शनाभ्यां सागरिकानुरागबीजस्य दृष्टनष्टस्य ‘कासौ कासौ’ इत्यादिना वत्सराजेनानुसरणात्परिसर्प इति । DR p. 12.

२. 'यावदेनां' इत्यादिना 'गच्छामि ' इत्यन्तेन परिसर्पो नामाझ-मुपचर्यते । तल्लक्षणं तु 'दृष्टनष्टानुसरणं परिसर्पे इतीरितः ' इति ।

SK p. 87.

३. 'चाणक्य: - शाङ्गेरव, उच्चन्तामस्माक्षणाद्विभावसुप्रभृततयरायो

ब्रातः। ' इहं दृष्टनष्टाजीजनासरणांं प्रतिसर्पः पूर्वसन्ध्यौ दृष्टस्य मध्ये नष्टस्य बीजस्यानुसन्धानात्। MR p- 84

४. 'राजा-एवमेव भवान्सुहृदर्थे त्वरतात्' अत्र दृष्टनष्टस्य बीजस्य-

नुसर्पणात् परिसर्पो नाम सन्ध्यङ्गसुक्तं भवति । MA p. 33

५. 'डवशी-सखि क नु खलु स आपन्नानुकम्पी भवेत्' । अत्र दृष्ट-

नष्टानुसर्पणात् परिसर्पो नाम सध्द्यङ्गसुक्तं भवति । VK p. 32

६. 'अव्येतत्तपोवनम्' ...इत्यारम्भे दृष्टनष्टपदार्थानुसरणरुपपरिसर्पे

उक्तः । UR p. 58

७. 'सख्य:-कथयत तत् ।' इत्यत्न दृष्टनष्टपदार्थानुसरणरूप: परिसर्पे

उक्तः । MV p. 88

Parisarpa means 'going about in search of something' and Bharata defines it so as to indicate a following up of the basic dramatic action* of which the working was seen for sometime and which has temporarily remained in abeyance. There is agreement between Bharata and all the text-book writers. Among the illustrations cited, those of the DR refer to the apparent recrudescence of Udayana's love for Sāgarikā in act II of R and the revival of the hatred of the Pāṇḍavas for Duryodhana, which has lain dormant, after the killing of Abhimanyu as referred to by the Kaṅcukin in act II of VS. In both these cases, however, the description of ' Drṣṭanaṣṭa ' is hardly applicable to the incidents as described by Dhanika. Rāghavabhaṭṭa sees this Saṃdhyaṅga in ' Yāvad enām anviṣyāmi ' etc. but the King's love for Ṣakuntalā has never been dormant. Kātyāyavema finds it in ' evameva bhavān suhrdarsthe tvaratām ' against which also the same strictures would apply. Parisarpa would be only possible where the Bīja has temporarily been lost sight of on account of an under-plot as in the case of Mrch. II etc. and .it does not appear that Parisarpā can figure in every kind of play.

Critical Material Relating to the Samdhyangas 57

3. Vidhūta

Definitions :

१. कृतस्यानुनयस्यादौ विधूतमपरिग्रहः | NS XIX. 77

२. विधूतं स्यादरतिः | DR I. 33

३. धूननं साम्नयानादरः | ND I. 48

४. विधूतमरतिर्यूनोऽसुरताप्रसभसंभवा | BP 209. 12

५. अनिष्टवस्तुविक्षेपो विधूतम् | PR p. 110

६. नायकादेरप्सितानामर्थोनामनवाप्तिः | अरतिर्यों भवेत्सिद्धि-

वितृप्तिदृश्विर्धूतं मतम् || RS III. 43

७. अथवानुनयोऽर्क्षे विधूतं स्यात्तिर्यक्कृतेः | RS III. 44

८. कृतस्यानुनयस्यादौ विधूतं त्वपरिग्रहः | SD VI. 48

९. आदौ अनुनयस्य कृतिस्थापरिग्रहो विधूतम् | NLR p. 28

Illustrations :

१. यथा रत्नावल्यों ‘सागरिका-सखि, अधिकं मे सन्तापो बाधते... मरणं शरणं केवलमेके’ इत्यनेन सागरिकया बीजान्वयेन शीतोपचार-

विधूननामृष्टविधूतम् | यथा च वेणीसंहारे भानुमत्या दुःखप्रदर्शनेन

दुर्योधनस्यानिष्टशङ्कया पाण्डवविजयशङ्कया वा रतेर्विधूननाभिति |

DR p. 12

२. ‘सख्यौ- हला शकुन्तले अपि सुखयति ते नलिनीपत्रवातः |

शकुन्त-नंकी विलासिता मां सख्यौ |’ अनृतं विधूतं नामाङ्गसंधिस्थितया |

तत्क्षणं दशारुपके विधूतं स्यादरतिः | इति | ŚK p. 89

३. ‘चाणक्यः ( विचिन्त्य ) अथवा न लिखामि ‘:-इदमनिष्टवस्तु-

निक्षेपारूपं विधूतम् | अनिष्टवस्तुनि नामलेखने क्षेपात्रिषेधात् |

'विक्षेप:' इति पाठे स एवार्थः: | MR p. 84

४. ‘राजा-अहं हि-भाम्यस्तमयमिवाक्षणोहृदयस्य महोत्सवावसानमिव |

द्वारपिधानमिव धृतेः क्षयम् |’ अत्रार्तेरग्न्यममानत्वा-

द्विधूतं नाम सन्ध्यङ्गमुक्तं भवति | MA p. 31.

५. ‘राजा- मम कुलमितस्त्वां सखे सोपप्लवमहतामु

चक्षुबन्धनाति धृति तदूपालोकदुर्‌लक्षितम् |’ अत्रार्तेरग्न्यममानत्वा-

द्विधूतं नाम सन्ध्यङ्गयुक्तं भवति | VK p. 30.

६. 'रामः ( कथंचित् प्रहृत्य ) कृतं रामसखं करमे ।' अत्रानिष्टवस्तु-

विक्षेपाद्धृतूतम् । UR p. 59.

७. 'राम:-नोत्सवा: परावधीरर्णवैरसम्हन्ति ' इत्यादौ अनिष्ट-

वस्तुविक्षेपरूपविधूननमुक्त्तम् । MV p. 88.

Vidhūta means 'spurring off or rejection' and Bharata has used this word in this very sense in his definition, which means the rejection of a request in the first instance. It is very difficult to see the exact situation which Bharata has before him. For rejection of a request is possible in two circumstances: firstly, when the hero and the heroine meet, the heroine may not accept the advances due to shyness, and secondly, when the senior queen or some such senior character is enraged and is not in a mood to accept the 'anunaya' made by the guilty character. It is clear that 'Arati' which is the explanation of the DR and, following him, of the BP and the RS, is not a right interpretation. Dhanika in fact tries to stick to Bharata's definition in his two illustrations, and these illustrations, taking into consideration the Vidhūnana, are tolerably to the point. The ND, the SD and the NLR have followed Bharata. Rāghavabhaṭṭa and Kāṭayavema have followed DR and have given up Bharata. The meaning of Bharata is absolutely explicit and it is no use finding a new meaning for it simply because the dramatic action does not call for this Samdhyanga in a particular play.

4. Tapana

Delinitions :

१. अपायदर्शनं यनु तपनं नाम तद्रवेत् ।। NS XIX. 77.

२. तच्चमः श्रमः । DR I. 33.

३. अपायदर्शनं तपः । ND I. 49.

४. यूनो रतस्युपशमः श्रम इत्युच्यते बुधैः ।। BP 209. 13.

५. अत्युपशमनं श्रमः । PR p. 110.

६. अरते: 'शमनं तज्ज्ञा: शममाहुर्मनीषिण: । RS III. 44.

७. उपायादर्शनं यतु तापनं नाम तद्रवेत् । SD VI. 85.

८. अपायादर्शनं यत्तत्तापनम् । NLR p. 29.

Illustrations :

१. यथा रत्नावलस्यां 'राजा-वयस्य अनया लिखितोऽहं...सागरिका...मनोरथोपि एतावर्ती भूमिं न गत:' इति किंचिदतयुपशमाच्छम इति । DR p. 13.

२. यथा पार्थिविजये 'कञ्चुकी—परित्रायध्वम्... परषा दुर्योधनस्य महिषी गन्धर्ववीरपशुभि: परिभूयते स्म । युधिष्ठिर:- ( अपाय-शङ्कामाविष्कुर्वन् ..) क: कोडत्र चापं चापम् ' इति । ND p. 76.

३. ' शकुन्तला तयादि वामनुमतं तदा तथा वर्त्तेथां यथा तस्य राजर्षे-रतुकम्पनीया भवामि । अन्यथावश्यं मे तिलोदकं शिब्बतम् । ' अननेन शमो नामाङ्गुपक्शिमम् । तल्लक्षणं तु 'तस्योपशमनं यतु शमनं तदुदाहतम् ' इति । ŚK p. 95.

४. 'चाणक्य: (सहर्षमातमगतम्)-हन्त गृहीतो राक्षस: । अयमरत्युप-शमनं शम: पञ्चसमञ्जम् । MR p. 88.

५. 'राजा-न सुहृभा सकलेऽनुमुखी च सा...अभिमुखीषिव काङ्क्षित-सिद्धिषु ब्रजति निःश्वितिमेकपदे मनः । ' अश्नातिशान्ते: शमः इति सुन्याधरमुक्तं भवति । VK p. 30.

६. 'वासन्ती-वज्ञादिप कठोराणि । ...इत्यत्र अरत्युपशमनात्मक: शम उक्तः । UR p.58.

७. 'राम:- किंमेकदेशिन महाज्ञाननिधे: । ' इत्यादिनारत्युपशमनरूपं शर्मोक्तम् । MV p. 88.

Tāpana means ' distress ' and Bharata has obviously this idea when he uses this term to indicate a situation in which there is harm within sight. In this sense it might be the forerunner of Nirodha which is Vyasanasamprāpti. Here also, as in the case of Vidhūta, there are two groups in which the text-book writers are ranged, the Bharata group, and the DR group, consisting of the DR, BP, PR and RS who take a

different view from that of Bharata. The DR changes Tāpana into Sama and connects it with Vidhūta as would appear from the word ‘tat’ referring to Vidhūta and its illustration from the R, the disappearance of Sāgarikā's yearning, accords with this explanation. The ND understands Bharata rightly and illustrates from the PV where Yudhiṣṭhira at the cry of alarm raised by the chamberlain, takes up his bow seeing some harm. It also mentions the view, held by the DR, which takes Sama as Anunayagraha or Arati-nigraha. Both these explanations are attempts to connect this Aṅga with Vidhūta, which according to Bharata is ‘Anunayasya apargrahaḥ’. But it is very difficult to see how the Aṅga can have this sense when Bharata defines it as Apāyadarśana. The illustration in PR is ill· chosen as it is neither sight of harm nor disappearance of restlessness. Among the commentators Virarāghava, Kaṭayavema and Rāghavabhaṭṭa follow the DR as the illustrations from the SK and the VK refer to the love-lorn condition of the characters and are instances of Sama. Rāghavabhaṭṭa's, illustration from the SK is surprising. He points it out as Sama, but it is difficult to see Sama there as Śakuntalā's speech ‘Anyathā avaśyam me tilodakam’ etc. is clearly Apāyadarśana and not Sama.

5. Narmam

Definitions

१. क्रिडार्थ विहितं यत्नं हस्यं नर्मे तु संख्यितम्।

NS XIX. 78.

२. परिहासवचो नर्मे

DR I. 33.

३. क्रीडायै हसनं नर्मे

ND I. 49.

४. परिहासवचो नर्मे

BP 209-14.

५. परिहासवचनं नर्मे

PR p. 110.

६. परिहासप्रधानं यद् वचनं नर्मे तत् विदुः।

RS III. 46.

७. परिहासवचो नर्मे

SD VI. 86.

८. नर्मे identical with नर्मयुक्ति।

NLR p. 29.

Illustrations :

१. यथा रत्नावल्यों ‘मुसंगता-सखि यस्य कुटिले रवमागता सोडयं पुरतः.... नतु चित्रफलकस्य । इत्यनेन बीजान्वितं परिहासवचनं नर्म ।

यथाच वेणीसंहारे 'दुर्योधनभ्र्रेटीहस्तादर्शपात्रमादाय...पुष्पाणि पतन्ति ।' इत्यनेन नमणा दुःखप्रदर्शनोपशमार्थ देवतापूजावित्र-कारिणा बीजोद्घाटनात्परिहासस्य प्रतिमुखाङ्कल्वं युक्तमिति । DR p. 13.

२. 'चाणक्य:-भोःश्रेष्ठिन् मा नैवं संभावितमवेदमस्मादृशः भवत्-। एतदादि चन्दनदासातिसंधानार्थ परिहासवचनं नर्म । MR p. 91.

३. 'विदूषक:- प्रथमोपदेशदर्शनेन प्रथमं ब्राह्मणस्य पूजा कर्तव्या सा ननु वो विस्तृता ।' अत्र परिहासस्य गम्यमानत्वात् नर्मेति सन्ध्यङ्गमुक्तं भवति । MA p.30.

४. 'विदूषक:- भवति राज्ञः प्रियवयस्यः ब्राह्मणः किं न वन्यते ।' अत्र परिहासस्य गम्यमानत्वात् नर्मेति सन्ध्यङ्गमुक्तं भवति । VK p. 41

५. 'अयं स किञ्चिद्... ' इत्यादिना परिहासवचनरूपेण नर्मोक्तम् । MV p. 88.

According to Bharata Narman is laughter caused in sport. There is complete agreement between Bharata and all the text-book writers. The illustration from the VS, as given in DR, however, is of Śṛṅgāra and not of Hāsya.

6. Narmadyuti

Definitions

१. दोपप्रच्छादनार्थ तु हास्यं नर्मयुति स्मृतम् । NS XIX. 78.

२. धृतिस्तत्ज्ञा शृङ्गारिता । DR I. 33.

३. अनुरागोद्घटनोल्था प्रीतिरनर्मयुति: । PR p. 110.

४. क्रोधस्यापहवार्थ यद्वास्यं नर्मयुतिर्मता । RS III. 45.

५. दोपाछादनौ तु तत्सुति: । ND I. 49.

६. शृङ्गारिता शृङ्गारिता । BP 209-14.

७. धृतिस्तु परिहासजा नर्मयुति: । SD VI. 87.

८. क्रिडाविलोमनार्थ हास्यं नर्मयुति: । NLR p. 29.

Illustrations :

१. यथा रत्नावल्यां 'मुसंगता-सखि अतिनिष्ठुरा इदानीमसि... सागरिका...न विरमसि ।' इत्यनेनानुरागबीजोद्घटनान्वयेन धृतिनर्मजा शृङ्गारिता दर्शितमिति । DR p. 14.

२. यथा रत्नावल्यान् 'विदूषकः-मो अद्याप्येषा चतुर्वेदीव ब्राह्मण ऋचः पठितुं प्रवृत्ता...राजा - कोऽन्यो ऋचामभिज्ञः ।' अत्र मौर्ख्यदोषं छादयितुं यत् विदूषकेणोच्यते तद् राज्ञा हास्यहेतुत्वान्नर्मश्रुति । ND p. 75.

३. 'चन्द्रनन्दाशः-शारदानिशासमुद्रतनेन पूणिमचन्द्रेण नन्दत्रियाधिनं नन्दनित प्रकृत्या: ।' इयमनुगुणोद्घाटनार्थो प्रीतिरनर्मस्तुति रष्टम-मङ्गम । MR p. 93.

४. 'राजा देवी नेदं मया श्रृग्यते । स ब्लु परस मन्वेषणार्थमारम्भोड यम् ।' अत्र राज्ञा दोष प्रच्छादनान्नर्मश्रुतिरनोऽ सन्ध्यङ्गयुक्तं भवति । VK p. 47.

५. 'सख्यः -कुमार...प्रेक्षस्व तावत् त्वराविगृहीटलमरालवधूदू श्रान्त-गमनान् भर्तृदारिकाम् ।' इत्यादिनानुरागोद्घाटनार्थे प्रीतिरुपयुति रुक्ता । MV p. 88.

Narman means 'humour' and Dyuti means 'splendour' or 'brightness,' hence Narmadyuti would be brightness of Joke, but Bharata makes it out as laughter used to conceal a flaw. Bharata evidently distinguishes this Anga from the preceding one by an important qualification, while the DR and its followers the BP, PR, SD and NLR, by understanding this Anga as joy felt as a consequence of the preceding Anga, i.e. Narman, make it out as a sort of supplement to Narman. The word Dhṛti is ambiguous, it may mean joy or fortitude, which latter itself presupposes fear or nervousness; in this latter case the definition in DR would make out this Anga as a feigned fortitude and not as a contributory joy. As an illustration, the DR refers to the R, where Susangitā is teasing Sāgarikā and the latter replies apparently in anger but with a smile and is clearly delighted at heart on account of the assurance of the King's love. The ND follows Bharata but the illustration appears to convey an entirely different idea, as the Vidūṣaka says something to conceal his folly and that gives rise to laughter. In 'all probability Bharata's idea seems to be that a character laughs away his or her weakness; it is intentional and the character is conscious of its weakness. The illustration from the R as given by the ND does not bring out this. The RS and the Kāvyendu. make

it out as concealment of anger. This is right in so far as it

shows that the laughter is intentional and the attempt is to

hide some weakness, but why that weakness should be only

anger is very difficult to be seen. It may be conjectured that

in the text before those works the reading was Roṣa instead

of Doṣa. The PR agrees with the DR and makes this out

as satisfaction or inward delight at the sight of love or

devotion and as an illustration shows King Pratāparudrīya's

bashfulness and delight at the praise by a servant.

7. Pragayana

Definitions :

१. उत्तरोत्तरवाक्यं तु भवेत्प्रगयणं बुधा: | NS XIX. 79.

२. उत्तरी वाक्यप्रगमनम् | DR I. 34

३. प्रगम: प्रतिवाक्यश्रेणी: | ND I. 50.

४. युक्तोत्त(न्त्) रं प्रगमनम् | BP 209.

५. उत्तरोत्तरवाक्यैरतुरागबीजप्रकाशनम् | PR p. 110.

६. तत्तु प्रगमनं यत्स्यादुतरत्तरभाषणम् | RS III. 43.

७. प्रशंसनं वाक्यं स्यादुतरत्तरम् | SD. VI. 88.

८. उत्तरोत्तरवाक्यं प्रगमनम् | NLR p. 29.

Illustrations :

१. यथा रत्नावल्यां 'विलषक:-भो वयस्य दिष्टया वर्धसे...तत्राविष्कार-

भवतः किमुस्यात। ' इत्यनेन राजविदूषकसागरिकामुसंगतानाम-

न्योन्यवचनेनोत्तरोरतरानुरागबीजोद्घाटनात्प्रगमनमिति|DR p.14.

२. ' सख्यौ-सहर्षं स्वागतम्। ' इत्यादिना ' निष्ठुरते स्व: ' एतदन्तेन

प्रगयणं नामाझमुपक्षितम्। तल्लक्षणं तु 'उत्तरोत्तरवाक्यं तु

भवेत्प्रगयणं पुनः ' इति | SK p. 106.

३. 'वाणक्य: ( साइरुलिमुद्रं )...गम्यताम्। ' उत्तरोत्तरवाक्यै: कार्य-

सिद्धिबीजप्रकाशनादिं प्रगमनम् | MR p. 88.

४. ' राजा - नितान्तकठिनां हृजं मम न वेद यो मानसीं । '

अत्र प्रथमार्थे यथोत्तरवचनकरणात् प्रगमनं नाम सन्ध्यङ्गमुक्तं

भवति | VK p. 36.

५. ‘आत्रेयी- हिरण्मयी सीताप्रतिकृतिगृहीत्कता । ‘सीता प्रतिकृति:' इत्यादिनानुरागप्रकाशनरूपप्रगम उक्तः । UR p. 58.

६. ‘जामदग्न्य:- राम राम नयनाभिरामतामाश्रयस्य सदृशीं समुन्नहनु...हृदयंगमोडसि मे ।' इत्यादिना चोत्तरोत्तरवाक्यै-रनुरागोज्ज्वलप्रकाशनरूपः प्रगमः उक्तः MV p. 88.

७. यथा ‘वेणीसंहारे- भानुमति- आर्यपुत्र अतिमात्रं मे शङ्खा बाधते । ...न हि मे किश्चित् शङ्खा युध्मासु सत्रीहेतषु इति । ND p. 78.

The reading Praśamana is not well supported and the definition of Bharata goes against it. It has therefore to be abandoned. Abhinavagupta reads Pragayaṇam and gives an elaborate etymology, which unfortunately is not intelligible from the MS as it stands.

९. ‘प्रागयं इति रूढशब्दः: अन्ये तु प्रजाशब्दादृष्टिचिकित्सायां अनाशब्देन सता किना व्युत्पत्ति कल्पयन्ति । प्रागयं इति अन्ये पठन्ति । प्राक् इति पूर्व वचनं ततः अयनं प्राप्ति यस्य उत्तरवचनस्य इति ।

Rāghavabhaṭṭa has also quoted Bharata with the same reading. Other variants are Pragayana, Pragamana. The DR reads Pragamana in the current editions but Hall and Vidyāsāgara have given Pragayana as the reading. The consensus of authority is, therefore, clearly in favour of the obscure term Pragayana. All the definitions except that of the BP make it out as a series of replies and therefore as a repartee. Whatever the intentions of the DR, Dhanika explains it in a manner calculated to bring out Bharata's meaning as a brilliant repartee contributing to the progress of the passions. If it is taken to be merely a series, the organic connection between the Aṅga and the Sandhi is destroyed, for a series of questions and answers may occur anywhere, while a repartee indicating progress in love may very well be a natural stage after Vilāsa. BP by its Yuktottara seems to make this out as a fit reply but it has not illustrated the definition. All the illustrations quoted are series of questions and answers but are not significant and dramatically effective.

Critical material relating to the Samdhyangas

65

8. Nirodha

Definitions :

१. या तु व्यसनसंप्राप्तिनिरोधः सः प्रकृतितः । NS XIX. 79.

२. हितरोधो निरोधनम् । DR I. 34.

३. रोधोऽर्ति: । ND I. 48.

४. निरोधः स्थानिरोधनम् । BP. 209. 15.

५. छद्मनााहितागमनिरोधनं निरोधः । DR p. 110.

६. यत्र व्यसनमायाति विरोधः स निगद्यते । RS III. 46.

७. विरोधो व्यसनप्राप्तिः । SD VI. 89.

८. या तु व्यसनसंप्राप्तिनिरोध इति कीर्तितः । NLR p. 29.

Illustrations :

१. यथा रत्नावल्यां ‘राजा- घिङ्‌कुरवै । प्राप्ता कथमपि दुर्घट-मनीतैव सा प्रकटरागा । रक्तावलीव कान्ता मम हृस्ताद् भ्रंशिता भवता ।’ इत्थेन वत्सराजस्य सागरिकासमागमरुपहितस्य वासवदत्ताप्रवेशसूचकेन विदूषकवचसा निरोधनानिरोधनमिति । DR p. 14

२. ‘चक्रवाकवधू: आमन्त्रयस्व सहचरम्। उपस्थितता रजनीविटपा-न्तरितो भव ।’ अनेन निरोधो नामाङ्गुपक्षिप्तम् । तल्लक्षणं तु या तु व्यसनसंप्राप्तिनिरोध स तु कीर्त्यते इति । अत्र स्वाभीष्ट-च्छ्यितिरेव व्यसनम् । SK p. 110.

३. ‘चाणक्य:- उच्यतां दुर्गपालको विजयपालकः। (चन्दनदासं)... संयम्य तावद्रक्ष ॥ वृषलः एव... दण्डमाज्ञापयिष्यति ।’ इदं छद्मना-हितागमनिरोधनं निरोधः । छद्मना कपटेन हितागमनाय स्वेष्ट-सिद्धये चन्दनदासनिरोधात् । यद्वा हितं राक्षसामगमयतीति हितागमः । हितागमनस्य हितराक्षसागमनहेतुभूतस्य चन्दनदासस्य निरोधनात्। MR p. 101.

४. ‘देवी- आर्य गण्डास, नतु दर्शितोपदेशा ते शिष्याः ।’ अनेन मालविकानिर्गमनहेतुना देवीवचनेभ रात्र्रो हितरोधनानिरोधो नाम सन्ध्यङ्गसुक्तं भवति । MA p. 31.

T. S. ...5

8. 'Sītāḥ - दा गतिः (धनुषि धारयन्ती) आर्यपुत्र. न तावद्युष्माभिगन्तव्यं यावत् तातो नागच्छति ।' इत्यादिना च च्छद्याना हितागमननिरोधनरूपनिरोध उक्तः । MV p. 88.

Nirodha means suppression, control or frustration of hopes, and Bharata's Vyasana-samprāpti is vitally connected with this sense. It is the appearance of difficulty, and thereby the progress of the intrigue is checked or suppressed and consequently hopes are frustrated. All the text-book writers agree with Bharata. In ŚK the appearance of Gautamī, which arrests the developement of the love-affair, is Nirodha. So also in the R, the arrival of Vāsavadattā acts in a similar manner. The Hitarodha of the DR makes clear the way in which the Vyasana acts; and it illustrates it from the R, where the meeting of Sāgarikā and Vatsarāja is abruptly ended by Vidūṣaka's words announcing the arrival of Vāsavadattā. The PR cites as an illustration the situation where King Pratāparudrīya postpones the coronation ostensibly for the expedition of the world.

9. Paryupāsana

Definitions :

१. कुदृष्टयानुनयो यतु भवेत्‌तत्र्युपासनम् । NS XIX. 80.

२. परिपाकस्थितरुनयः । DR I. 34.

३. सान्त्वनं साम । ND I. 48.

४. अनुनीतिः पर्युपास्तिः । BP. 209-16.

५. इष्टजनानुनयः पर्युपासनम् । PR p. 110.

६. रुष्टस्यानुनयो यः स्यात्‌पर्युपासनमोरितम् । RS III. 47.

७. कुदृष्टयानुनयः पुनः स्यात्‌पर्युपासनम् । SD VI. 90.

८. कुदृष्टयानुनयः पर्युपासनम् । NLR p. 29.

Illustrations :

१. यथा रत्नावल्यान् 'राजा - प्रसीदेति क्रुध्यामि मसति कोपे न घटते ...न वेद्मि प्रियतमे ।' इत्यनेन चित्रगतयोर्‌नायकयोर्दर्शनेनाल्लुप्तिताया वासवदत्ताया अनुनीतं नायकयोर्नागोद्घाटनान्वयेन पर्युपासनमिति । DR p. 14.

२. 'चाणक्यः - करिस्माश्चिदामज्जअनुप्रेक्ष्ये कम्माणि त्वां व्यापारयितुमिच्छामि ।' अयमितरजनानुनयः पर्युपासनम् । MR p. 86.

३. 'विदूषकः-गृहीतदक्षिणोडस्मि । किं तु मेघावलोकिनिरुद्धा ज्योत्स्नेव पराधीनदर्शना तत्क्षणभवती मालविका । भवानपि...आमिषभोलुपः भीरुकक्ख । अत्यन्तातुर इव...प्रार्थयमानो मे रोचसे ।' अत्र सान्त्वनस्य गम्यमानत्वात्पर्युपासनं नाम सन्ध्यङ्गमुक्तं भवति।

MA p. 34

४. 'राजा -अपराधी नामाहं प्रसिद्ध रस्मोह विरम संबम्भाव् । सेच्यो जनस्व क्रुपितः कथं तु दासो निरपराधः ।' अत्रैव सान्त्वनान्तर्युपासनमिति सन्ध्यङ्गमुक्तं भवति । VK p. 49.

५. 'रामः:-भगवता पण्णवट्ट, गुरुजनादेशापरिपालक्षणं क्षम्यतामिति क्रो रामस्य ।' अत्रेष्टजनानुनयात्पर्युपासनं नाम सन्ध्यङ्गमुक्तम् । UR p. 65.

६. 'सीता-हा धिक् हा धिक्। परागत एव [ अज्जआलिं बद्धा ] आबेआ-पुत्र । परित्रायस्व साहसिक' इत्यादिना चेष्टजनानुनयरूपपर्युपासनमुक्तम् । MV p. 88.

Paryupāsana means waiting upon another and it appears that Bharata uses the term with this very idea. He defines it as the appeasement of the enraged, obviously to secure friendliness. It has been observed that in the theory of dramatic construction Bharata is thinking primarily of love intrigues, so Paryupāsana as a necessary element may very well figure in the drama as contemplated by him. The beloved or the senior queen might be upset and angry and the consequent wooing by the king or the principal character would be Paryupāsana. All the text-book writers agree with Bharata. The PR drops 'Kruddhasya' altogather and makes it out as Anumaya. The illustrations from R and the VK are appropriate, while the illustration from MA appears to be besides the point. It is indeed styled as 'Sāntvana' by Kāṭayavema, but there is really no appeasement of the enraged, but rather absence of nervousness on the part of the King that is urged by the Vidūṣaka.

18. Puṣpa

Definitions

१. विशेषवचनं यतु तत्पुरुषमिति संक्षितम्। NS XIX. 80.

२. पुष्पं वाक्यं विशेषवत्। DR I. 34.

३. पुष्पं वाक्यं विशेषवत्। ND I. 49.

४. पुष्पं सातिशयं वचः। BP 209-16.

५. अनुरागप्रकाशनविशिष्टवचनं पुष्पम्। PR p. 110.

६. यद् विशेषाभिधानार्थं पुष्टं तदिति संक्षितम्। RS III. 47.

७. पुष्पं विशेषवचनं मतम्। SD VI. 91.

८. विशेषवचनं पुष्पम्। अन्यत्र क्रियामितरकारियाधिक्यं विशेष- वचनं पुष्पम्। NLR p. 30.

Illustrations :

१. यथा रत्नावलीखम् 'राजा- [सागरिका हस्ते गृहीत्वा ]...श्रीरेषा पाणिग्रहणस्या: पारिजातस्य पदवः ...स्वेदच्छद्रामृतद्रवः।' इत्थनेन नायकयोः साक्षादन्योन्यदर्शनादिना सविशेषणुरागोद्‌घाटना- त्पुष्पम्। DR p. 15.

२. 'राजा -तस्या: पुष्पमयी शरीरलुलिता शक्या शिलायामियम्... निर्गतम् सहसा न वेतसगृहाच्छक्रोमि शून्यादपि।' अस्य तुर्थचरेण पुष्पं नामाङ्गसुपक्षितम्। तल्लक्षणं दर्शयति- 'पुष्पं वाक्यं विशेषवत्' इति। SK p. 113.

३. (अ) 'चाणक्य:- अधि च आस्वादितद्रिदशोणितशोणशोभाम्। इति पूर्वोक्तं पठति।' पतत्स्वाभ्यनुरागप्रकाशविशिष्टवचनं पुष्पम्। MR p. 97.

(ब) 'चाणक्य:-सुलभेष्वर्थलाभेषु परसंवेदने जने। कुर्यादिदानीं शिविना विना।' इदमपि पुष्पम्। P. 100.

४. 'राजा - अहो सर्वोऽस्त्रवस्थासु चरतु शोभान्तरं पुष्यति । तथाहि वामं सन्ध्यास्वमितवङ्गयं नयस्य हस्तं नितम्बे ।' अत्र वाक्यस्य विशिष्टत्वाद्‌पुष्पं नाम सन्ध्यङ्गयुक्तं भवति । MA. p. 28.

5. 'राजा - तुल्यानुरागिणुं ललितार्थबन्ध.. समागतमिवान-मानेन' अत्र विशेषप्रतिपादनायुषुं नाम सन्ध्यङ्गमुक्तं भवति । VK p. 39.

६. 'रामः-प्रियारामा हि वैदेहीसीत् । 'इत्यारभ्य 'पापः पञ्जावर्ती विडोकयतु वा गच्छत्वसंभाव्य वा' एतच्छ्लोकपर्यन्तमनुराग-प्रकाशनविशिष्टवचनरूपं पुष्पं नाम सन्ध्यङ्गमुक्तम् । UR p. 65

७. 'सख्यः - सखि, सुराजोऽसुरसमस्तत्रैलोक्यमङ्गलं...विजयाभिमुखे कुमार उत्कम्पितालि । 'इत्यादिना चानुरागप्रकाशवचनरूपं पुष्पमुक्तम् । MV p. 88.

Puṣpa means flower, i. e. flowery 'speech or gallantry. It appears that Bharata intends by it a dramatic action where flowery, i. e. courtly language is used. There is agreement between Bharata and the text-book writers. The DR as an illustration refers to the situation in the R where the king takes Sāgarikā's hand into his own and describes her. The ND develops the idea and says that it is a statement which significantly states something over and above a former statement made by the character itself or another and that this adds to the beauty of the form as does the flower enhance the beauty of the braid. It may even be, according to the ND, a corroboration, as is to be seen in the illustration drawn from the Satyahariścandrá. The illustration in the NLR is a description of Rāma's victory over Paraśurāma and is not quite clear.

11. Yajra

Definitions :

१. प्रत्यक्षरूपं यद्वाक्यं तद्ज्ञाभिति संज्ञितम् । NŚ XIX. 81.

२. वज्रं प्रत्यक्षनिष्ठुरम् । DR I. 35.

३. वज्रं प्रत्यक्षकर्र्कशम् । ND I. 50.

४. प्रत्यक्षनिष्ठुरं वज्रम् । BP. 209–17.

५. प्रभुशान्तिर्जरावचनं वज्रम् PR p. 110.

६. वज्रं तदिति विशेष्यं साक्षान्निष्ठुरभाषणम् । RS,III. 48,

७. प्रत्यक्षनिष्ठुरं वज्रम् । SD VI. 91.

८. रक्षप्रायं वचनं वज्रम् । NLR. p. 30

Illustrations :

१. यथा रत्नावल्यां' वासवदत्ता - [ फलकं निर्दिश्य ] एषापि या तवसम्पे... किं वसन्तकस्य विज्ञानम् ! ... शीर्षवेदना समुत्पन्ना ' इत्येनं वासवदत्तया वत्सराजस्य सारिकानुरागोद्रेदनात् प्रत्यक्ष- निष्ठुराभिधानं वज्रमिति । DR p. 15.

२. यथा वेणीसंहारे अश्वस्थामा- 'रेरे राधागर्मेभारभूत,... शिरसि- चरण एष न्यस्यते वारयैनम् ।'

ND p. 79.

३. ' शकुन्तला - तव न जाने हृदयं मम पुनः कामो दिवापि रात्रावपि । निर्हीण तपति...। 'णिकिब' इत्यवेनं वज्राक्षुपक्षिसम् । ' विरूक्षवचनं यतु वज्रमित्यभिधीयते ' इति भरतोक्तेः ।

ŚK p. 102.

४. ' चन्दनदास:- कोधेन्यो राघा बिरुद्धो... वाणिक्यः - अवशोक तावत्थम्मु ।' इदं प्रतिमुखनिष्ठुरवचनं वज्रम् ।

MR p. 94.

५. ' राजा - अलंघफलनीरसन्नम् विधाय तस्मिन् जने । समागम- मनोरथान्भवतु पक्वाणः कृतो ।। ' गन्मथाधिक्षेपस्प गम्यमान- त्वाद्रामिति सन्ध्यङ्गमुक्तं भवति ।

VK p. 36

६. ' वासन्ती-... हा रामभद्र ! । अथवा अलं त्वया ' इति प्रमुख- निष्ठुरवचनरुपं वज्रमुक्तम् ।

UR p. 58.

७. ' जामदग्न्यः - साधु, राजपुत्र, साधु ! । सत्यमेकस्वाकः खल्वसि । अन्वयतः: प्रमथनीय ममाप दूतः । कुत्रापि पाण्डुपुत्रौ हेतव्य यथा मुगारे: ! ' इत्यादिना च प्रमुखनिष्ठुरवचनरुपं वज्रमुक्तम् ।

MV p. 88.

Vajra means thunderbolt, which suggests something hard or adamantine. The definition of Bharata appears to be 'Pratyakṣarūpṣam yad Vākyam ' and not 'Pratyakṣarūpam'. The word Pratyakṣa, itself is obscure; but is attested to by the words Pratyakṣa, Pramukha and Sakṣāt in the definitions of the textbook writers; the word Rūpa is without any sense and must be

a corruption for ' Rūkṣa,' attested by the NLR as well as by the renderings 'karkaśa' and 'niṣṭhura.' Rāghavabhaṭṭa quotes a definition ostensibly by Bharata which is different from that in the current text of the NS, but it supports the reading Rūkṣa proposed above. 'This appears to be a situation in which a hard remark is made to another's face. The DR understands this as 'Pratyakṣaniṣṭhura' and illustrates from the R, where Vāsavadattā takes the King to task and after a cutting remark goes away under the pretext of a headache. The ND says that it is Rūkṣa and at the same time Pradhvamsaka (a crushing reply) and illustrates it from two plays. The PR cites as an illustration a remark made in anger by the Minister of the King. The NLR says that it is Rākṣaprāyam and cites Sita's remark with an unknown context but which appears to be a cutting remark levelled at Rāma. The illustrations from the plays are all appropriate.

12. Upanyāsa

Definitions :

१. उपपत्तिकृता योडर्थे उपन्यासस्तु स स्मृतः । NS XIX. 81.

२. उपन्यासस्तु सोपचारम्। DR I. 35.

३. उपपत्तिरुपन्यासः । ND I. 50.

४. उपन्यासः प्रसादनम् । BP 209–17.

५. अनुरागहेतुवाक्यरचनोपन्यासः । PR p. 110.

६. युक्तिभिः सहितो योऽर्थ उपन्यासः स उच्यते । RS III. 48.

७. उपन्यासः प्रसादनम् । SD VI. 93.

८. उपपत्तिकृता दोर्थे स उपन्यासः । NLR p. 30.

Illustrations :

१. यथा रत्नावल्या 'सुसंगता- भर्तः, अलं शड्कया । ... कुपिता मे प्रियसखी सागरिका ..तत्प्रसाद्यताम् ।' इत्यनेन सुसंगतावचसा सागरिका मया लिखिता सागरिकया च त्वमिति सूचयता प्रसादोपन्यासेन बीजोद्घेदादुपन्यास इति । DR p. 15.

२. अर्थ विधातुं उपपत्तियुक्तिः स उपन्यासः । यथा ऋतुसंहारणे 'रावणः-सीते, आरुह्यतां पुष्पकम् । सीता – न आरक्ष्यामि ।

रावणः - त्वत्सुरो बद्धशिरःकमलोपहारः आरभ्यते, समधिरोह शिवाय तावत् । सीतां ... बरमालमनः शरीरस्यात्याहितं न पुनः तपोधनानाम्...।' (हरती धारोहं नाट्यति ). ND p. 80.

३. (अ) 'राजा-किं शीतलः कुमविनोदिभिराद्रैवातन्...संवाह्यामि जरणावतु पद्मताशो ।' अनेकोपन्यासो नामाङ्कुपक्शिष्रम् । तदक्षणं वरारुपके- 'प्रसादनुपन्यास ' इति। SK p. 107.

(ब) 'इतस्तृष्णः कुपुमरायनं.....कथमातपे गमिष्यसि ।' अनेक उपन्यासो नामाङ्कुपक्षिष्रम् । तदक्षणमादिभरते - 'उपपत्ति-कलो योत्स्य उपन्यासस्तु स स्मृतः ' इति । p. 108.

४. 'बन्धनवासः - शारदनिशामुखरूढतेनैव पूर्णिमाचन्द्रेण चन्द्र-भ्रियाधिकं नन्दन्ति प्रकृतयः ।' इयं राजानुरागहेतुरुच्यारचनोपन्यासः । MR p. 93.

५. 'वासदास:- मन्दोदर्यमन्दततामेति सेत्सर्गेण विपश्चितः ।' अस्य वाक्यस्योपपत्तिमत्‍वादुपन्यासो नाम सन्ध्यङ्गमुक्तं भवति । MA p. 29.

६. 'राजा [वाचयति ]-स्वामिन्, संभाषिता यथाहं त्वया अज्ञाता...नन्दनवाता अप्यत्युष्णका: शरीरके ।' अत्र स्वानुरागप्रकाशकस्य वाक्यस्योपपत्तिमत्‍वादुपन्यास इति सन्ध्यङ्गमुक्तं भवति । VK p. 38.

७. 'रामः - प्रिये, स्वस्था सती: निवर्तस्व । आतक्राश्रमसाद्धवसव्यतिकरोत्कम्पः कथम् सब्वताम्... ।' इत्यादिना चानुरागहेतु-निवेदनाहुपन्यास उक्तः । MV p. 88.

Upanyāsa means something newly introduced, a suggestion or an allusion. The word Upapatti in the definition of Bharata also has a variety of meanings including that of bringing about or happening. 'Upapattikṛtorthaḥ' probably means a matter actuated by the accomplishment or the encompassing of an end in view. (For this meaning of Kṛta cf. the interpretation of 'Sukhaduhkhakṛta' under Vidhāna ). The word has been interpreted differently by the text-book writers. The DR understands it as 'Upāya', the BP and the SD as 'Prasādana '

while the ND and the RS explain it by 'Yukti'. The DR in the illustration from the R treats it as a device through which the Bīja is again made to manifest itself. The ND makes this clear by saying that it is a device to accomplish something and cites as an illustration the situation in the KR where Rāvaṇa utters a terrible threat to accomplish his end. The BP and the SD explain it as Prasādana and give it an altogether new turn. The illustration of the PR is worthless as it is a statement of good omens at the start of an expedition, and the nature of the Aṅga as a device has disappeared altogether in it. Rāghavabhaṭṭa also understands it as Prasādana relying on DR which he misquotes and gives. SK-III. 18 'Kim śitalaih' etc. as an illustration.

18. Varṇasamibāra

Definitions :

१. चातुर्वर्ण्योपगमनं वर्णसंहार इष्यते। NS XIX. 82.

२. चातुर्वर्ण्योपगमनं वर्णसंहार इष्यते। DR I 35.

३. पात्रौषो वर्णसंहति:। ND I. 48.

४. वर्णसंहार इत्युक्तो नामजातीयसंघमः। BP 209-18.

५. चतुर्वणनिर्वर्णनं वर्णसंहारः। PR p. 110.

६. सर्ववर्णोपगमको वर्णसंहार उच्यते। RS III. 49.

७. चातुर्वर्ण्योपगमनं वर्णसंहार इष्यते। SD VI. 94.

८. वर्णितस्यार्थस्य तिरस्कारो वर्णसंहारः। NLR p. 30.

Illustrations :

१. यथा वीरचरिते तृतीयेऽङ्के 'परिषदियमृषीणामेष युद्धो युधाजित् सहनृपतिरमात्यैः लोमपादश्व वृद्धः...' इत्यनेन ऋषिक्षत्रियामात्या-दीना सज्जतानां वर्णानां वचसा रामाविजयाशंसिनः परशुराम-दुर्णयस्याद्रोहयाल्च्छारणेादेदानाद्वर्णसंहार इति। DR p. 15.

२. पृथक् स्थितानां पात्राणां संघः करकरेर् मीलनं वर्णान्त इति वर्ण- [ तेषांवर्णो ] नां नायकप्रतिनायकनायिकासहायादिपात्राणां संधातिरेकत्रकरणम्। यथा रत्नावल्यों 'राजा-कुसंगते, कासो'

इत्यारम्भः 'स्वेदच्छामृतद्रवः:' इति यावत्। अत्र राजसागरिकाविदूषकसुसज्जतानामेकत्र मीळनम्। एके तु वर्णितार्थोतिरस्कारं वर्णसंहारमममनन्ति। उदाहरणान्त च यथा वेणीसंहारे कञ्चुकिना रथकेतनपतत्ननिवेदिते 'भानुमती -अन्तरीयतां तावदेतत् समस्त-ब्राह्मणानां वेदघ्वनिमझ्ळोद्घोषेण' इति। ND p. 73.

३. 'चाणक्य:-अलं विषादेन। पदय ये याता किमपि प्रथार्ये हृदये पूयं माता एव ते'। अयं चतुर्वर्णनिर्वर्णनं वर्णसंहारः। ब्राह्मणादि-चतुर्वर्णोन्तःपातिनीना प्रकृतिनां 'ये याता:' इत्यादिना निर्पणानिर्देशात् त्रयोदशमङ्गम्। MR p. 103.

४. 'विसृष्टश्व वामदेवतुमनन्त्रितः' इत्यारम्भ 'जनस्थान एव तप-श्रतिते' इत्यन्तेन ब्राह्मक्षत्रियशूद्राणां कीर्तनात् वर्णसंहारः उक्तः। UR p. 53.

Varṇa means caste and Varnasamihāra is grouping of the castes and the picturesque effect of contrast obtained from it. In India, with its wealth of ethnic elements, it was inevitable that such an effect of contrast should have been turned to good purpose by the dramatist (eg. Mrch. II) as well as by the painter, notably in the Ajanta frescoes. A picturesque effect as such amounts only to an embellishment and is not an essential part of the dramatic action. Among the Angas, however, not all form essential parts of the dramatic action. Even though not directly referable to dramatic action, these Augas, being used as contributaries to direct ε...ments of dramatic action, further it. For instance, in connection with Pragayaṇa we had occasion to see, that not a repartee as such but a repartee as contributory to love will be an Aṇga. Such contributory Aṇgas may be placed in any Samdhi, and althoigh they may be mentioned in a ṇ...ṭiṣ...ar Samdhi it does not mean either that they must be used in to or cannot be used outside it ( Cf Classification of Niyamabhāñji and Aniyambhāñji groups of Aṅgas-Chapter I ). Bharata mentions this Aṅga here because in the Bratimukha Samdhi the action moves slower and there is scope for pittes apparently extraneous to the action, which however, are as

vital to it, as others; probably Bharata had before his mind a scene, which figured as an Anga in the second Samdhi. Among the text-books the DR, BP, SD and the PR follow Bharata while the ND understands by this Anga a situation in which many characters are brought together ( Cf. the illustration from R ). It also mentions Bharata's proper view of ' a bringing together of the four castes' which it illustrates from the MV, and also a third view which understands this Anga as a situation in which there is contempt ( Sanhāra ) shown for the events described ( Varṇa ) and as an illustration reference is made to an incident in the VS, where Bhānumatī desires the news brought by the chamberlain to be drowned by the auspicious recital of Vedas. The illustration from the PR, is a verse containing a mere reference to the four castes; the NLR follows the ND in giving an alternative, explanation as 'Varnitārthatiraskārah.' Among the commentators only two, Dhuṇḍhirāja and Virarāghava, have illustrated it, but the group of 'men referred to is of men who have gone away, and not of men who appear on the stage. Neither this illustration nor those given by the DR, ND and the PR can be regarded as appropriate.

III. Angas of the Garbha-Samdhi

1. Abhūtāharaṇa

Definitions :

१. कपटोपाश्रयं यत्तदभूताहरणं विदुः । NS XIX 82.

२. अभूताहरणं छद्म । DR I. 38.

३. असत्याहरणं छद्म । ND I. 55.

४. अभूताहरणं तत्स्यादक्यं यत्कपटाभ्रयम् । Bp. 210–21.

५. प्रस्तुतोपयोगिच्छद्माचारणमभूताहरणम् । PR 111.

६. अभूताहरणं तत्स्यादक्यं यत्कपटाश्रयम् । RS III 52.

७. तत्र व्याजाश्रयं वाम्यमभूताहरणं विदुः । ND VI 96.

८. कपटाश्रयं वचनमभूतोदाहरणम् । NLR 31.

Illustrations :

१. यथा रत्नावल्या ' साधु रे अमात्यवसन्तक…सन्धिविग्रहचिन्तया । इत्यादिना प्रवेशकेन गृहीतवासवदत्तावेशाया: सगरिकाया वत्स-

राजाभिसरणं छद्मा विदूषकसुहृसंगताकलहकाज्जनमालानुवादद्वारेण दर्शितमित्यभूताहरणम् ।

२. यथा मालविकाग्निमित्रे 'यथोपवीतपद्धतेः शुण्डो विदूषकः [प्रविश्य] ...दो दंष्ट्रानगौ ।' अत्र राजप्रसादपरीक्षार्थं विदूषकेण केतकीकुसुमवत्स्त्रियाः सर्पोदंशता प्रकाचितेति ।

३. 'अनसूया-द्वयोरेव...मुख एष वृत्तान्तस्तिष्ठतु' इत्यादिना 'नवमालिकां सिक्रति ।' एतदन्तेन शब्देन्तरां प्रति शापाकथनच्छलनामूताहरणमझ़ुपक्षियम् । तल्लक्षणं तु - 'कपटाश्रयं यत्कथ्यमभूताहरणं विदुः' इति ।

४. आहितुण्डिकच्छद्माधारीणो विराधगुमस्य सर्वं प्राकृतं वचनं प्रस्तुतोपयोगिच्छद्माचरणसमूताहरणम् । प्रस्तुतस्य राक्षसं प्रति कुमारपुरवृत्तान्तकथनस्योपयोगे छद्माचरणात् ।

५. 'विदूषकः...साधनीयं कार्यं कृतो उपायोऽक्षेपः ।' अत्र 'कृतः विदूषकः...साधनीयं कार्यं कृतो उपायोऽक्षेपः ।' इत्यनेन कपटोपायकल्पनाया गम्यमानत्वेनामूताहरणं नाम सन्ध्यङ्गमुक्तं भवति ।

६. 'चित्रलेखा....क्रीडिष्यामि तावदेतया...एष मनोरथडिण्डिप्रियासमागम...तिष्ठति ।' अत्र कपटकल्पनाया गम्यमानत्वादभूताहरणं नाम सन्ध्यङ्गमुक्तं भवति ।

७. 'तमसा-संभावितजनस्थानं...उपागता ।' केनचिदिव गृहाचारव्यपदेशेनैत्र प्रस्तुतोपयोगिच्छद्माचरणरूपं अभूताहरणं नाम सन्ध्यङ्गमुक्तम् ।

८. 'दूरं हतभ्रातृसुगुण रामः ।' अत्र प्रस्तुतोपयोगिच्छद्माचरणद्वभूताहरणं नाम सन्ध्यङ्गमुक्तम् ।

९. 'सूतः - अश्वस्थामा हत इति पृथासूनुना स्पष्टमुक्त्वा ।' इहाभूताहरणरूपं गर्भेसन्धिः । यदाह 'उक्तं युक्तं तु यद्राक्ष्यमभूताहरणं तु तत्' इति ।

Abhūtāharaṇa means resort (Āharaṇa ) to fraud (Abhūta). The use of 'ā hr' in this sense may be illustrated by that in the shlirya abhinaya when ā and hr is used in the sense of things

carried on the person or used. The text-book writers agree with Bharata, and the DR gives an illustration from the R where Susangattā and Vidūṣaka concert a plan for securing a meeting of the King with Sāgarikā. The ND draws the illustration from the MA, where the Vidūṣaka in order to secure the ring with the serpent seal from the Queen gives out that he is bitten by a serpent. Both these are resorts to fraud, and it appears that this fraud is utilised either by the hero himself or men acting in his interest. The NLR has its illustration from the VS where Aśvatthāman says that Yudhiṣṭhira has uttered a falsehood when questioned about the death of Aśvatthāman. The illustrations quoted by the text-book writers are appropriate.

3. Marga

Definitions :

१. तत्त्वार्थवचनं चैव मार्ग इत्यभिधीयते । NS XIX. 83.

२. मार्गस्तत्त्वार्थकीर्तनम् । DR I. 38.

३. मार्गस्तत्त्वार्थशंसनम् । ND I. 55.

४. तत्त्वार्थकीर्तनं मार्गे: । BP. 210–22.

५. तत्त्वार्थानुकीर्तनं मार्गः । PR 111.

६. वास्तविककथा मार्गः । RS III. 52.

७. तत्त्वार्थकथनं मार्गः । SD VI. 97.

८. तत्त्वार्थकथनं मार्गः । NLR 31.

Illustrations :

१. यथा रत्नावल्यां 'विदूषक: - दृष्ट्या...वर्धसे कार्यसिद्धय...[कर्णे] एवम् ।' इत्यनेन यथा विदूषकेण सागरिकासमागमः सूचितः, तथैव निश्चितरूपो राज्ञा निवेदित इति तत्त्वार्थकथनान्मार्गे इति । DR p. 16.

२. यथा मुद्राराक्षसे - 'राज्यं हि नाम...श्रीदुःखोपचर्या ऋश्रम् ।' यथा वा रत्नावली-- 'प्रेम्णां विचारंबेमुखः खुलु कोपि पन्थाः ।' एतत्तत्त्वार्थकथनं सामान्येनोक्तमपि प्रकृतेन संबध्यते इति । ND p. 90.

३. 'दुष्पत्तेनाहितं तेजो दधानां भूतये सुवः ।' अननैन मार्ग- लक्षणमञ्जसुपक्षि॑म् । तल्लक्षणं तु - 'भूतार्थवचनं चैष मार्ग इत्यभिधीयते' इति । SK p. 126:

४. 'राक्षः- नदं विस्मृतभक्तिना न विषयव्यासञ्जमूढात्मना... नीतो मनो दीयते ।' इदं तत्त्वानुकीर्तनं मार्गः । MR p. 111.

५. 'चित्रलेखा-सुग्धे, का पुनरन्या चिन्ता प्रियासमागमस्य ।' अत्र यथार्थकथनेन मार्गो नाम सन्ध्यङ्गयुक्तं भवति । VK p. 61.

६. 'मुरला-मुष्टु चिन्तितं...अव्यग्रस्य शोच्यमात्रद्वितीयस्य पङ्खवटी- प्रवेशो महानर्थः स्यात् ।' एष तत्त्वार्थानुकीर्तनरूपो मार्ग उक्तः । UR p. 69.

७. 'संप्राप्तिः - स्वसुः सोदर्योःः कथं मित्र निकारं दशमुखः । अत्र च तत्त्वानुकीर्तनरुपो मार्गः । MV p. 185.

Mārgā means way or the correct and traditional way ( Cf. Mārgi as opposed to Deśi in music.) Bharata defines it as a statement of facts that brings the correct way. It is perhaps a statement showing the steps taken to achieve a thing or a statement of the way in which events are expected to happen. This apparently is the sense, the DR suggests it, since it refers to the R incident where the Vidūṣaka tells the King the precise steps he has taken to bring about the meeting with Śāgarikā. The ND seems to go against this and understands Bharata too literally and makes this out as a general statement of truth which becomes applicable to particular case at issue as is to be seen from the illustration from the MR where the King describes the hardship of Kingship, and also from that from the Rāghuvilāsa where there is an Arthāntaranyāsa which embodies really a statement of fact by Rāvana concerning himself. All the remaining text-books follow Bharata, except the PR which follows the ND in not taking this Anga as a disclosure of steps taken.

3. Rūpa

Definitions :

१. चित्रार्थसमवाये तु वितर्को रूपमिष्यते । NS XIX. 83. २. रूपं वितर्कवद्वाक्यम् । DR I. 39.

Critical Material Relating to the Samdhyangas 79.

३. रूपं नानार्थसंशय: । ND I. 53.

४. वितर्कप्रतिपादनवाक्यं रूपम् । PR III.

५. रूपं सन्देहकृत्सव: । RS III. 52.

६. रूपं वाक्यं वितर्कवत् । SD VI. 98.

७. रूपं सन्देहकृत्सव: । BP. 210.22.

८. चित्रार्थसमायुक्तना वितर्को रूपम् । NLR. 31.

Illustrations :

१. यथा रत्नावल्यां 'रास्ता- अहो किमपि... किं तु खलु विदितः स्यादयं हृत्तान्तो देव्या:' इत्यनेन रत्नावलीसामगमप्राप्त्याशां गुणयेनैव देवीशङ्करयाश्र वितकादूपपाति । DR p. 17.

२. 'सख्यौ - यदि नाम स राजा प्रत्यभिज्ञानमन्त्रो भवेत् ... अदृष्टीकं दर्शय ।' 'अनेन रूपलक्षणमझुपक्षिषिमम् । तल्लक्षणं तु दशरूपके 'रूपं वितर्कवद्वाक्यम्' इति । यदीति वितर्कोऽस्ते: । ŚK p. 146.

३. 'राक्षः- भगवति कमलालये भूरिमगुणज्ञासि ।' इत्यादि राक्षसस्य वितर्कप्रतिपादनं वाक्यं नामाङ्गम् । MR p. 112.

४. 'संपातिः - स्वसुतः सोदर्योया: कथमिव निकारं दशमुखः' वितर्कप्रतिपादकवाक्यात्कं रूपम् । MV p. 185.

५. यथा सृक्तेऽत्र - ' मनस्वी प्रकृतौ च दुःलेख्यं च तथापि मे । कामेनैत्कथं विद्रु समं सर्वैः शिलीमुखैः ।' NLR p.. 31.

Rūpa means delineation, mental picturing and thus the term can be harmonised with Vitarka in the definition of Bharata, which, therefore, would mean a conjecture where diverse matters are mixed up together. The later writers are agreed in understanding Rūpa as conjecture where doubt or uncertainty prevails. The DR makes this a simple guess by dropping the word 'citra' altogether and as an illustration refers to the R where the King wonders whether the Queen has come to know of his love affair. The ND is nearer to Bharata when it interprets this as 'Nānārthasamśaya'. It remarks that Rūpa is here something like rūpa, i.e. an indefinite form. Its 'nānā

artha,' merely explains Bharata's 'citrārtha' and the illustration which shows Rāma having various guesses about Jatāyu shows indefiniteness. The ND gives view of the DR with the same illustration and also a third view that this is 'citrārtham-rūpakam' i. e. a scene in which there is a striking description and illustrates it by the battle-scene described by Sundaraka in the VS. All the other text-books agree with the DR, while the NLR understands 'citra' as wonderful and illustrates it with reference to the R. III.2. Thus it will be seen that the only point of difference is in connection with the sense of 'citra' while all are agreed about Vitarka.

५. Udāharana

Definitions :

१. यतु सातिशयं वाक्यं तदुदाहरणमिष्यते । NS XIX. 84.

२. सोत्कर्षं स्यादुदाहृति: । DR I. 39.

३. उदाहृति: समुत्कर्ष: । ND I. 54.

४. यतु सातिशयं वाक्यं तदुदाहरणं भवेत् । BP 211. 1.

५. प्रस्तुतोत्कर्षोभिधानमुदाहृति: । PR 111.

६. सोत्कर्षं वचनं यतु तदुदाहरणं मतम् । RS III. 53.

७. उदाहरणोत्कर्षयुक्तं वचनमुच्यते । SD VI. 99.

८. सातिशयं वचनसुदाहरणम् । NLR 31.

Illustrations :

१. यथा रत्नावल्यां 'विदूषक:- ही ही ओ- कौशाम्बीराज्यङ्गडमेनापि... परितोष: ...तर्कयाभि ' इत्यनेन रत्नावल्टीप्रास्तनिवातोपि कौशाम्बी- राज्याभादतिरिच्यत इत्युत्कर्षोभिधानुदाहृतिरीदृशी । DR p.17.

२. रत्नावल्यां ' राजा- अहो महदाश्चर्य- ' मनः प्रकृत्यैव वयं... ' अत्रैतरघ्निवाच्यो मन्मथस्य युगपत्सर्वे: शरै: स्वभावचपलतुलेक्ष- मनोवेधेन समुत्कर्ष: । ND p. 85.

३. 'प्रविश्योपायनहस्तौ' इत्यादिना ( IV. 4 ) एतदन्तेनोदाहरणमख- सुप्रेक्षितम् । तल्लक्षणं तु 'यतु सातिशयं वाक्यं तदुदाहरणं-

स्मृतम्' इति। दृश्यानां चेतनवद्ललदेवताहस्तैरलब्धैरदानवचन-त्सातिशयत्वप्राप्त्याशयानुगमत्वं प्रकटमेव।

४. 'राक्षस: -' चन्द्रगुप्तशरैरमित्रोध्नुसमत्प्रयुक्तानां…'इदं प्रकृतो-त्कर्षोविधानानुदाहरनं राक्षसन प्रकृतकोत्कर्षोविधानाद्।

५. 'राजा - अयं तस्या रथक्षोभाद्सेनांसो निपीडितः।', अत्र वाक्यस्योत्कर्षवस्त्वदुदाहरनं नाम सन्ध्यङ्गयुक्तं भवति।

६. 'तमसा-अथि वत्से, सर्वदेवताभ्यः प्रकृष्टतममैश्वर्यं मनदाकिन्या:।' अत्र प्रस्तुतोत्कर्षोभिधानरूपोदाहतिरुक्ता।

७. 'तथाहि आसुमत्सृकुटीविटङ्घटना'...... अत्र कोपोत्कर्षो-भिधानात्मप्रस्तुतोत्कर्षोभिधानसुदाहतिरनाम सन्ध्यङ्गमुक्तम्।

लक्षण: - न लोकोत्तरकर्मोऽस्त्वादृशः कुत्रचिद् प्रपुष्यन्ति।

८. 'अश्वत्थामा-ताते चापदृतित्ये वहति रणधुरं को भयस्यावकाशः!' अन्यदीयप्रौढ्यतिशयरूपो गर्भसन्धिरयम् यदाह-स्वीयानदीयमेदेन प्रौढिवाक्यमुदाहृतिः।

Udāharaṇa means declaration of excellence. cf. Jayodāharaṇa and the word Atiśaya in the definition of Bharata also means excellence or distinction. Bharata, therefore, by Udāharaṇa, means pre-eminent or supernatural excellence. The DR saying that this is Utkarṣābhidhāna illustrates it by remarks of the Vidūṣaka in the R that the acquisition of Sāgarikā is superior to that of Kaūśāmbī. The ND is in agreement with this and illustrates by the verse in the R which describes the superiority of Cupid over the rest of the archers, which the NLR, however, regards as an instance of Rūpa. The remaining text-books are also in agreement. In ŚK the Utkarṣa has been shown by the fact that not only the living beings but the trees also are giving the dress and ornaments to Śakuntalā, while in the VK, the King describes his shoulder which was fortunate enough in being rubbed against Urvaśī's shoulder.

b. Krama

Definitions :

१. भावकत्रोपलब्धिस् तु कम इत्य अभिधीयते । NŚ XIX. 84.

२. कमः संचिन्त्यमानस् तु भावविज्ञानमथापरे । DR I. 39.

३. कमो भावस्य निर्णयः । ND I. 54.

४. कमः संचिन्तितार्थस् तु भावविज्ञानमथापरे । BP 211. 3.

५. संचिन्तितार्थप्राप्तिस् कमः । PR III.

६. भाववान् कमो यत्र चिन्त्यमानार्थसंश्रितः । RS III. 53.

७. भावतत्त्वोपलब्धिस् तु कमः स्यात् । SD VI. 100.

८. भविष्यतत्त्वोपलब्धिः कमः । NLR 32.

Illustrations :

१. यथा रत्नावल्यां ‘राजा- उपनतक्रियासमागमोत्सवस्यापि ... निवेदयामि तस्मै तवागमनम्’ इत्य न्तेन वत्सराजस्य सागरिकासमागमम् अभिलषत एव आन्तरसागरिकाप्राप्तिर् इति कमः । यथा रत्नावल्यां ‘राजा -[उपसंहृत्य ] प्रिये सार्वजनिके, ‘शीतांशुसुरुक्मुत्पले’ इत्यादिना ‘इह तद्‌व्यस्तय्‌एव बिम्बाधरे ।’ इत्य न्तेन वासवदत्तया वत्सराजभावस्य ज्ञातत्वाल् कमान्तरम् अपि । DR p. 17.

२. यथा देवीचन्द्रगुप्ते ‘चन्द्रगुप्तः- इयम् अपि देवी...छज्जाकोपविषादभीतय्‌अरतिभिः क्षेत्रीकृता ताम्यति,’ अत्र ध्रुवदेव्य् अभिप्रायस्य चन्द्रगुप्तेन निश्वयः । तथा रत्नावल्यां ‘प्रिया प्रायेणास् ते हृदयचन्द्रगुप्तेन निश्वयः । तथा रत्नावल्यां ‘प्रिया प्रायेणास् ते हृदय-निहितेतिवृत्तवधूः ।’ अत्र राजा भाव्यम् अनाया; सागरिकाया: निर्णयः । ND. p. 86

३. ‘काश्यपः - याते रिव शर्मिष्ठा...सुतं सम्राजं...अवाप्नुहि ।’ अननेन कमलक्षणम् अप् उपक्षिप्तम् । ‘तत्त्वे प्लवङ्‌गिर् इष्टस्य कम इत्य अभिधीयते’ इति । ŚK p. 133.

४. ‘राक्षःः- अये, कुसुमपुरवृत्तान्तज्ञो भवत्‌स्‌णिग्धिर् इति गाथार्थः ।’ इयं संचिन्तितार्थप्राप्तिस् कमः । पूर्व द्वारि कस्तिगृदृतीति कुसुमपुरवृत्तान्तहर चारागमनस्य संचिन्तितस्य प्राप्तेः । MR p. 119.

५. ‘राजा - त्वदुपलभ्य समीपगतां प्रियां हृदयसुच्छ्वसितं सम विच्छवम् ।’ अत्र संचिन्त्यमानार्थस्य प्राप्ते: कमो नाम सन्ध्यङ्ग-मुक्तं भवति । MA p. 43.

६. राजा ‘अद्भुतमनोज्ञ दृष्टिं सुखयदेन्या न मे करुणाश्रुणी ।’ अत्र संचिन्त्यमानार्थसिद्धे: कम इति सन्ध्यङ्गमुक्तं भवति । VK p. 71.

७. ‘तमसा-[स्वगतम् ] इह तावदाशङ्कितं गुरूजनेभ्य: ।’ एष संचितार्थ-प्रामुख्यपक्रम उक्तः । I after Rama's ‘अनेन पञ्चवटीदर्शनेऽ .. उत्पीड इव घूमस्य मोह: प्राग्भ्रूणोति माम् । हा प्रिये जानकि ।’ UR p. 73.

Krama comes from the root Kram which means 'to prove effective' or 'to gain foothold' and may signify a bold manner of proceeding. It is difficult to see how this came to mean Bhāvakatvopalabdhi. From the consensus of the later textbooks like the SD, the NLR which invariably follow Bharata it appears that the reading must have been Bhāvatattvopalabdhi, from which this Anga can be a situation where there is a bold manner of proceeding for gaining an insight into the state of another's mind. The second view which the DR mentions, i.e. that this Anga is Bhāvajñāna, a view which is followed by the ND, appears to be the original view. The DR, however, understands Krama as the accomplishment of the desired end and illustrates it from the R where the Vidūṣaka takes Vāsavadattā as Sāgarikā to the King; here is, as it remarks, Bhranta-Sāgarikāprāpti, but this cannot be taken as the desired end. In fact, the King and the Vidūṣaka are being led into a trap and finally fooled. As observed above the DR gives another view, according to which this Anga is Bhāvajñāna, and derives illustration from the next part of the same situation, where Vāsavadattā comes to know the King's intentions. In fact, the whole situation might be looked upon as one in which Vāsavadattā and Kāñcanmālā boldly proceed to gain an insight into the King's mind. The ND follows the Bhāvajñāna view and, as illustrations. refers to the R and DC, where the King and Candragupta know the feelings of Sāgarikā and Dhruvadevī. It also mentions another view according to which this Anga is

the knowledge of the events to come, but the illustration from

the VS, viz. the description of Aśvatthāman's might by Krpa as

capable of routing the Pāṇḍavas is not Bhaviṣyadaratha. Among

the other text-books BP and RS give both the views, the PR

only the DR. view, while the SD and NLR follow Bharata as

interpreted by the ND. The illustration from ŚK is the fore-

knowledge of the events for the sage, while in MA and VK

the Kings secure what they desire, the meeting with the beloveds

and are acquisitions of desired events.

6. Samgraha

Definitions :

१. समदानार्थसंयोग: संग्रह: स तु कीर्तितः । NS XIX. 85.

२. संग्रह: सामदानोक्तः । DR I. 40.

३. संग्रह: सामदानादि: । ND I 53.

४. संग्रह: सामदानोक्तः । BP. 2II-4.

५. प्रस्तुतोपयोगिसामदानवचनं संग्रह: । PR :11.

६. संग्रह: सामदानार्थसंयोग: परिकीरितत: । RS III. 54.

७. संग्रह: सामदानार्थसंपन्न: । SD VI. 101.

८. सामदानादियुक्तं वाक्यं संग्रह: । NLR 32.

Illustrations :

१. यथा रत्नावल्यां 'साधु वयस्य, साधु.. कटकं ददामि । ' इत्याभ्यां

सामदानाभ्यां विदूषकस्य सागरिकासमागमकारिण: संग्रहात्संग्रह

इति । DR p. 18.

२. काश्यप: - ' अभिजनवतो भर्तुः श्रद्धये स्थिता गृहिणीपदे ।

अनेन संग्रहलक्षणमञ्जुप्रविष्टम् । तल्लक्षणं तु- 'सामदानार्थसंयोग:

संग्रह: परिकीरितत:' इति । ŚK p. 145.

३. ' कटचुकि [ भूषणानि परिधाप्य ] निष्क्रान्तः ' इदं प्रस्तुतोपयोगि

सामदानवचनं संग्रह: । प्रस्तुतस्य रक्षस्स्योत्साहस्योपयोगित्वात् ।

यद्वा प्रस्तुतस्य चाणक्योपायरूपस्य बीजस्योपयोगि इदं भूषणदानं

समाधानवचनम् । MR p. 116.

४. 'राजा - किसलयमृदोरविलासिनि कठिने निहतस्य पादपस्कन्धे' अत्र प्रसक्त्या संग्रहो नाम सन्ध्यङ्गयुक्तं भवति। MA p. 57.

५. 'राजा - अनेन कल्याणि मृणालकोमलं व्रतेँ गात्रं ग्लपयस्य- कारणमू।' अत्र सान्त्वनस्य कथनात्संग्रहो नाम सन्ध्यङ्गयुक्तं भवति। VK p. 66.

६. 'जटायु - पौलस्त्य, भवतः स्नातस्य वेदत्रतैः - जाता कथा दुर्मतिः।' अत्र प्रस्तुतोपयोगिप्रशमावचनात्संग्रहो नाम सन्ध्यङ्गसुक्तमू । MV p. 187.

Sangraha means winning over and Bharata explains it as including appeasement, propitiation, inducement etc. and the text-book writers agree with this. The DR illustrates this Anga from the R where the King gives the Vidushaka an armlet and with this gift secures his help in the matter of securing Sagarika; the ND adds Bheda and Danja as ways of winning over other persons and illustrates the use of these by Ravana to intimidate Sita in the play Raghuvilasa. The NLR illustrates it from the VS by the old blind King's attempt to persuade his obstinate son; Kātayavema's illustration from the MA is not very satisfactory as there is neither Sama nor Dana and is simple Catuada.

7. Anumāna

Definitions :

१. रूपानुरूपगमनमनुमानमिति स्मृतम्। NS XIX. 85.

२. अभ्यूहो लिङ्गतोऽनुमान्। DR I. 40.

३. अनुमा निश्चयो लिङ्गात्। ND I. 53.

४. अभ्यूहो लिङ्गतोऽनुमान्। BP 211-4.

५. लिङ्गादभ्यूहनमनुमानम्। PR 111.

६. अर्थस्याभ्यूहनं लिङ्गादनुमानं प्रचक्षते । RS III, 54.

७. लिङ्गादूहोऽनुमानता । SD VI. 102.

८. रूपानुगमनमनुमानम् । NLR 32.

The Samdhis and the Samdhyangas

Illustrations :

१ यथा रत्नावसियां 'राजा - विष् मूर्छे...दुष्करं जीविष्यतीति तक्केयामि ' इत्यत्र प्रकृष्टप्रेमस्खलणेन सागरिफानुरागजन्येन वासवदत्ताया मरणाभ्यूननुमानमभिति । DR p. 18.

२. यथा स्वप्नवासवदत्ते 'पादाक्रान्ताणि पुष्पाणि...नूनं कौचिद्-

हारोना गता ।' इत्यत्र पूर्वोक्तसूत्रार्थमनुमानम् ND p. 84.

३. ' रम्यन्तरः कमलिनी... भूयात्करोशयरजोमदुरेणुरस्या: । ' पांडुमुखत्वेन राजकन्याज्ञानमनुमानादनुमानलक्षणमञ्जुसुपक्शिसम् । तदक्षणं दशरूपके 'अभ्यूहो लिझितोऽनुमा ' इति । ŚK p. 136.

४. राधसः - 'व्यक्तमहितुण्ठकच्छदना विराधगुप्रेनानेन भवितव्यम्' इदं लिझादभ्यूनमनुमानम् । MR p. 119.

५. 'राजा - अयं मां सन्डितैरबुराश्वासयति दक्षिणः ।' अत्र बाहु-

स्पन्दस्य उर्वशीप्रसिद्धतुल्यवादनुमानं नाम सन्ध्यङ्गमुक्तं भवति । VK p. 59.

६. 'मुरला - इयं हि सा...दीर्घशोकः ग्लपयति परिपाण्डु क्षाममस्थ्या: शरीरम् ।' अत्र लिझादभ्यूननरूपं अनुमानं नाम सन्ध्यङ्गमुक्ततम् । UR p. 70.

७. ' संपातिः - ...इयैनेयस्य बृहत्पतत्रधृतयः प्रख्यापयन्त्यागमम् । ' लिझादभ्यूननमनुमानं नामात्र गर्भसन्ध्यङ्गमुक्तम् । MV p. 180.

Bharata understands Anumāna as definite and true knowledge (māna) which is in conformity with (anu) the Rūpa. Bharata understands (Cf. p. 87.) Rūpa as something of which we have an indefinite idea, and Anurūpa is something which is built up by the mind after the type of Rūpa. The later writers have used a more popular and intelligible vocabulary to express the same idea but without any reference to Rūpa, and there is a complete agreement between them. Bharata, however, most probably connects this Aṅga with the Samdhyāṅga Rūpa (No. 3.), which, as it has been seen, is a speech containing Vitarka. In that case this anumāna should be the confirmation of that Vitarka and a realisation of its truth. The DR illustrates it by the situation in the R, where the king thinks

that Vāsavdattā would in all probability commit suicide due to her great love and consequent despair at his conduct. The DR seems to regard the inference about death without any reference to prior Vitarka as Anumāna; but it is possible to connect this situation with an earlier Vitarka of the King, 'Does the Queen know all this?' The present situation is a confirmation of that Vitarka, (Cf., DR's illustration of Rūpa ) and hence a valid Anumāna according to Bharata. The ND replaces Niścaya for the Abhyāsa of the DR and its illustrations from the SV and YA are very similar to the illustrations from the R as shown by the DR. The NLR illustration, where the inference about the character being a son of the Sun is made from the excessively lustrous body, has nothing dramatic about it. The illustration from VK shows the King's inference, that union with his beloved is at hand because of the throbbing of the right hand. Similarly in MR Rākṣasa infers Āhitunḍika to be Virādhagupta from the signs.

3. Prārthanā

Definitions :

१. रतिहर्षोत्पाद्यार्थप्रार्थना प्रार्थना भवेत्। NS XIX. 86.

२. प्रार्थना भावयाचनम् । ND I. 53.

३. रतिहर्षोत्सवां तु प्रार्थना प्रार्थना भवेत् । SD VI. 103.

४. अभ्यर्थनायुक्तं वचनं प्रार्थना । NLR 32.

Illustrations :

१. यथा देवीचन्द्रगुप्ते चन्द्रगुप्तः ' प्रिये माधवसेन,...मे बन्धमाज्ञापय.. कण्ठे कित्रररक्षित बाहुलतिका पाशः समासज्यताम् ।' ND p. 84.

२. यथा रत्नावल्यों ' प्रिये सागरिके,...रभसा नि:शङ्कमालिङ्ग्य मां...अज्ञाति त्वन्मझ़तापविघुराण्येदोहि निर्वापय ।' यन्मते निर्वहणे भूतावसरत्वाभावात् प्रशस्तिरनोमाझं नास्ति तन्मतानुसारेणोक्कम् । अन्यथाज्ञानां पक्वष्टिसंझ्यकत्व-प्रसङ्गात् । SD p. 303.

३. यथा मालत्याद्‌डे मालावती ' धते कृतो मां प्रतारयसि अन्वदिनमनुरात्रम् ।' NLR p. 32.

Prārthanā is a request for the pleasures of love or a request for joy or mirth. The DR, the BP and the PR do not admit this Anga. The ND agrees with Bharata and distinguishes the Anga as Rati-prārthabā, Utsava-prārthanā and Prārthanā simply, not essentially connected with Rati etc. The Rati-prārthanā is illustrated from the DC by the scene where Candragupta asks Mādhavasenā for an embrace. The Utsava-prārthanā is illustrated from the KR by the weary Lakṣmaṇa's wishes for success. The SD and NLR agree with Bharata.

9. Ākṣepa

Definitions :

१. गर्भोद्रेकदर्शनं यतु तदākṣepamiti स्मृतम् । NŚ XIX. 86.

२. गर्भबीजसमुद्रेदादākṣep: परिकीर्तितः । DR I. 42.

३. आक्षेपो बीजप्रकाशनम् । ND I. 24.

४. गर्भबीजसमुक्षेपादākṣep इति कीर्तितः। BP 211-8.

५. इष्टार्थोपायानुष्ठानमākṣep: । PR 111.

६. गर्भबीजसमुक्षेपमākṣepं परिचक्षते । RS III. 57.

७. रहस्यार्थस्य तु द्रेद: क्षित्तिरि: स्मृत् । SD VI. 104.

८. बीजोद्रदनमुक्षिप्तम् । NLR. 32.

Illustrations :

१. यथा रत्नावल्यां ‘राजा—वयस्य, देवींप्रसादनं मुक्त्वा..गत्वा प्रसाद-थामी । इत्थनेन देवींप्रसादोऽस्ति । सागरिकासंमोगमासाद्दरतिर्गर्भोद्रेदादākṣep: । यथा वेणीसंहारे ‘सुन्दरक,...अथवा केशमहणकुसुमस्य फलं परिणमति ।’ इत्थनेन बीजमेव फलोन्मुखत-yākṣipत इत्यākṣep: । DR p. 20.

२. ‘हंसमदिका—अभिनवमधुलोचो...’ अत्र सारूप्यनिमित्तया प्रशंसया राज्ञो दुष्यन्तस्य शकुन्तलाविस्मरणस्य प्रस्तुतस्य गम्यत्वा-दākṣepī नामोक्त्या परिकीरितम् । तत्रक्षणं दर्शयितुके—‘गर्भबीजसमुद्रे-दākṣep: परिकीर्तित:’ इति । ŚK p. 151

३. विराधगुप्तः - तत्क्षणक्यहतेन...कृतः पृथ्वीराज्यविभागः । इदं चाणक्यस्येष्टार्थोपायानुसरणमाक्षेपो नामान्त्यमज्झं ।

MR p. 126.

४ 'राजा - अहो मदनस्य वैषम्यम् । एवं हि प्रणयवती सा शक्य-शुपेक्षितुं कृपिता ।' अत्र बीजानुसंधानादाक्षेपो नाम सन्ध्यङ्गमुक्तं भवति ।

MA p. 61.

५. 'राजा - देव्या दत्त इति यदि ।' अत्र देवीप्रसङ्गेन व्याहितस्य बीजस्य पुनर्योजनादाक्षेपो नाम सन्ध्यङ्गमुक्तं भवति ।

VK p. 72.

६. 'तमसा - अवनिरमकसिन्धु:...' अत्र गर्भबीजस्य ऋषिपुत्रेयोवितरण-रुपस्योदेवनादाक्षेपो नाम सन्ध्यङ्गमुक्तं भवति ।

UR p. 100.

७. 'अहमपि समुद्धे इताह्हिकः शिवतार्ति अनुसंधात्स्याभि ।' अत्र शस्त्राथोपायानुसरणमाक्षेपो नाम सन्ध्यङ्गमुक्तं ।

MV p. 185.

८. 'कृपः - एकस्य तावपाकोडयं दारुणो सुवि वर्तते ।' इहाक्षिरमुपो गर्भेसन्धिः । यदाह 'बीजस्योच्छेदनं यतु तदक्षिसमुदाहतं ।

VS. 76.

Ākṣepa is a jerky and violent movement. Bharata defines this as a sudden bursting or emergence of the Bīja in the Garbha stage. This interpretation of Bharata's definition is supported by the interpretations of all the text-books except the PR and SD. The expression 'Garbhasya' in NS means 'of the Bīja' in the Garbha stage and this is the sense of the expression Ghrbhabīja in the DR, BP and the RS. The PR defines the Anga, apparently from the illustrations without any reference either to the term Ākṣepa or its definitions by other writers. As an illustration, the DR refers to the situation in the R where the king expressly says that the possibility of union with Sāgarikā entirely depends upon Vāsavdattā's favour which he now is prepared to seek, so that here the Bīja, i.e. the King's love has gone to the length of declaring itself before the rival and seeking her grace. The other illustration is from the VS and consists of Sundaraka's despondent remarks that 'this is the fruit of the evil tree' which shows the Bīja attaining the Phala stage.

expressly says that the Ākṣepa is a situation where the Bīja is seen in the Prāptyaśā; that is, the middle stage. It further. says that Ākṣepa may also be the bursting out of the sentiment hidden in the heart,/ e. g. when the king under the belief that Vāsavdattā is Sāgarikā expresses his love for Sāgarikā; but this is clearly only a particular case and cannot be a general statement of the Udbheda. The PR understands Ākṣepa as taking appropriate measures for the desired end and illustrates it by the Royal priest's invocation to the God Gaṇeśa in order that the coronation of the King might take place without any mishap. The SD understands it as the revelation of a secret, but this appears to be wrong. As regards the commentators the illustration from the SK is the song of Hamsapadikā which suggests the forgetting of Śakuntalā by Duṣyanta—a fact which is the Garbha-bīja. In the MA there is a reference to Queen Irāvatī and her favour much in the same way as in the R.

10. Toṭaka

Definitions :

१. संशयभवचनं चैव तोटकं नाम संक्षितम् । NS XIX. 87.

२. संशयं तोटकं वचः । DR I. 40.

३. तोटकं गर्भितं वचः । ND I. 55.

४. संशययुक्तं वचनं यत्ततोऽटकमुख्यते । BP. 211-6.

५. रोषसंश्रमवचनं तोटकम् । PR p. 111.

६. संश्रमं तु वचनं संगिरन्ते हि तोटकम् । RS III. 55.

७. तोटकं संरंभवाक् । SD VI. 105.

८. संश्रमो हि तोटकम् । NLR p. 32.

Illustrations :

१. यथा रत्नावल्यां—वासवदत्ता ' आर्यपुत्र, युक्तमिदं सहशमिदं… कन्यका ऽम्र्रतः कुरु ।' इत्यनेन वासवदत्तासंरब्धवचसा सागरिकासंमागमान्तरायभूतेन नियतप्रासिकारणं तोटकमुक्तम् । यथा च वेणीसंहारे ' प्रयत्नपरिबोधितः'... इत्यादिना ' किमायुधैः ' इत्थं तेनाऽन्वेतान्यों न् कर्णो ऽस्वस्थामनोः संरब्धवचसा सेनाभेदकारिणा पापण्डविजयप्राप्त्याशान्वितं तोटकमिति । DR p. 19.

२. 'शाङ्गेरव -... मूर्छत्यमौ विकारा: प्रायेणैश्वर्यमत्तेषु ।' अननेन तोटकनामाऽऽजुसपक्षिप्तम् । तल्लक्षणं तु 'संरम्भवचनप्रायं तोटकं त्विह संक्षितम्' इति ।

ŚK p .168.

३. 'राक्षस: - [ शस्त्रमादाय ] प्रवीरक:...प्राकारं परितः: इरासंधर्षे: क्षिप्रं परिक्रम्यताम् ।' इदं रोषसंघ्रमवचनं तोटकम् ।

MR p. 122.

४. 'इरावती- पूरय पूरय, अशोक: कुषुमं न दर्शयति । अयं पुनः पुष्यत्येव ।' अत्र संघर्षवचेनात्तोटकं नाम सन्ध्यङ्गमुक्तं भवति ।

MA p. 57.

४. 'राम:-आः पाप, ताम्राणसीतापहारिन् ठंकारपते,...क यास्यसि ।' अत्र रोषसंघ्रमवचनरूपं तोटकं नाम सन्ध्यङ्गमुक्तं ।

UR p. 64.

६. 'जटायु:- आः दुरात्मन् राक्षसापसद, तिष्ठ तिष्ठ'... अत्र रोषसंघ्रमवचनरूपं तोटकं नाम सन्ध्यङ्गमुक्तं भवति ।

MV p. 188.

Toṭaka is a speech in anger. The root is 'tut' to hurt or to injure, and this appears to be a situation in which there is a speech made in anger which injures the feelings of other characters. There is complete agreement between the text-book writers. The DR and the ND understand this Aṅga to consist of the speech of the excited, the excitement being due to anger or joy and illustrate it from the R by Vāsavdatta's very cutting and ironical remark to the King and from the VS by Duryodhana's speech which is full of excitement due to war. Kāṭayavema's illustration from the MA is very similar to the illustration from the R in the DR.

11. Adhibala

Definitions :

१. कपटेनातिसन्धानं श्रेयं स्वधिबलं बुधैः ।

NS XIX. 87.

२. अधिबलमभिसन्धिः ।- तोटकस्यान्यथाभावः ।

DR I. 40–41.

३. अधिबलं बलाधिक्यम् ।

ND I. 55.

४. चेष्ट्यादन्यतिसन्धानं वदन्त्यधिबलं बुधाः ।

BP. 211–5.

५. इष्टजनाभिसंधानमधिषबलम् ।

PR. 111.

६. बुधैतिबलं प्रोक्तं कपटेनातिवलञ्ञम् । RS III. 55.

७. अमिषबलमभिसन्धिश्छलेन यः । SD VI. 109.

८. कपटस्यान्यथाकरणम् । NLR. 32.

Illustrations :

९. यथा रत्नावल्स्यां - 'काञ्चनमाला-मभ्रि, इयं सा चित्रशालिका... वसन्तकस्य संज्ञां करोमी । [छोटिकां ददाति ]' इत्यादिना वासवदत्ताकाञ्चनमालाभ्यां सारिकावेशगतावेषाभ्यां राज- विदूषकयोरभिसन्धीयमानत्वादिषबलमभिसन्धिमिवे। DR p. 18.

२. यथा रत्नावल्स्यां 'किं पद्यास्य रुचं...इति' पाठानन्तरं राज्ञा वासवदत्ताया मुखोदूघाटने प्रत्यभिज्ञानम् । अत्र सारिकावेशं धारयती विदूषकबुद्धिद्दृन्दौबल्याद् वासवदत्ता राजानमभिसन्धत्ते । कपटस्यान्यथाभावमन्ये अधिबलमाहः । यथा रत्नावल्स्यां 'राज्ञा- एवमपि प्रत्यक्षष्टचवल्यालीक: दिधिक्षिष्यामि '...अत्र वासव- दत्ता प्रति राज्ञो वचने विफलं जातम् । एके तु सोपप्लम्भे वाक्यमधबलमिच्छन्ति । यथा बेणीसंहारे पञ्चमेऽङ्के धृतराष्ट्रसुद्रिय 'भीमसेन: - अहंमिदानीं मन्येना । ' कृष्णा केशशु...साक्षी- भव त्वम् ।' ND p. 89.

३. 'सत्यौ-मां भैषीः । स्नेहः पापशङ्की ।' अननेनाधबललक्षणमञ-- सुपक्विश्रियम् । तल्लक्षणं तु कपटेनास्मि(ति ? )संधानं झटिति चाधिबलं बुधैः:' इति । ŚK p. 146.

४. 'राक्षसः - कार्यव्यप्रत्वान्मनसः प्रभूतत्वाच्च प्रणिधीनां विस्ततम् ।' इष्टजनालुसंधानरूपमधिबलमञ्जम् । MR p. 119.

५. 'रामः - स्पर्शः पुरा परिचितो नियतं स एव... न खलु वत्सलया देव्या डघुपपत्तरोसिम ।' इदं इष्टजनातिसंधानात्मकमाधिबलं नाम सन्ध्यज्ञ मुक्तम् । UR p. 74.

Adhibala means superiority of strength and may also refer to superiority of wits and it is likely that Bharata has

used the word to indicate a situation where there is fraud or triumph over fraud. The DR understands this as deception and refers to the situation in the R where Vāsavdattā and Kāñcanmālā deceive the King and the Vidūṣaka; it also gives another view which understands Adhibala as 'Toṭakāsya anyathābhāva' and by way of an illustration refers to the immediately next situation in the R where the King falls at the feet of Vāsavdattā and tries to pacify her. The speech of the excited Vāsavdattā is Toṭaka and the undoing of that would be reconciliation or pacification. The ND says that Adhibala is the overpowering of the other by one between two persons who are bent upon deceiving one another and as an illustration refers to the same situation in the R referred to by the DR; it also mentions another view which takes Adhibala to be 'Kapaṭasya anyathābhāva' and refers to the second situation from the R, pointed out by the DR. The first view seems to take this Aṅga as success in the deception, while according to the second view, this would be a trick defeated. If the situation from the R referred to by the DR and the ND, is looked at from Vāsavdattā's point of view it is her success, while from the point of view of the King and the Vidūṣaka it is their defeat. It is uncertain whether the DR wanted to refer to this view. The ND further mentions a third view which takes Adhibala to be a taunt and illustrates it from the VS by Bhīma's taunts to the old King. All other texts understand this as deception by fraud or trick, while the NLR followes 'Kapaṭasya anyathākarāṇa' and illustrates it by a situation from an unknown play where Hanūmat and Aṅgada foil the trick of Rāvaṇa.

12. Udvega

Definitions :

१. भयं नृपारिदस्यूथस्मुद्वेग: परिकीरितत: | NS XXI. 88.

२. उद्देगोद्भविकता भीतिः | DR I. 42.

३. उद्देगो भी: | ND I. 54.

४. उद्देगोद्भविकता भीतिः | BP. 211-7.

५. अपकारिजनाद्दयमुद्वेग: | PR. 111.

६. शत्रुचोरादिसंभूतं भयमुद्वेगमुच्यते । RS III. 56.

७. नृपादिजनिता भीतिरुद्वेगः परिकीर्तितः । SD VI. 107.

८. नृपतिजनितभयमुद्वेगः । NLR. 32.

Illustrations :

१. यथा रत्नावल्यां 'सागरिका - [ आत्मभातम् ] कथं कृंतपुण्यैः-

मधुमापि न पायते ।' इत्थनेन वासवदत्तातः सागरिकाया भयमित्यु-

द्रेगः । यथा च वेणीसंहारे 'सूत - ( श्रुत्वा सभयम् ) कथमासन्न

एव... अस्मिन्नपि अनार्यमाचरिष्यति । इत्यरीकृता भीतिरुद्रेगः ।

यो हि यस्यापकारी स तस्यारिः । DR p. 20.

२. मृच्छकटथां सार्थवाहचारुदत्तस्य चौर्याभिशापजं नृपाद्रयम् ।

ND p. 87.

३. 'राक्षः - [ सोद्वेगम् ] सखे, कुत्स्वाणक्यबटोः परितोषः' अयम-

पकारिजनाद्युद्रेगः । MR P. 126. 'राक्षः - [ सोद्वेगम् ] न

कचु व्याप्तवान् ।' पतद्ह्यपकारिजनाद्युद्रेगः । MR p. 136.

४. 'सर्वे इरावतीं दृष्ट्वा संश्रान्ताः' राजा - का प्रतिपत्तिरत्र ।

अत्र भीतिरेग्स्यमानार्थत्वादुद्रेगो नाम सन्ध्यङ्गमुक्तं भवति ।

MA p. 57.

५. 'सीता - [ ससंभ्रमम् ] आर्यपुत्र, ... परित्रायस्व मम पुत्रकम् ।

पष हुपकारिजनात् भीतिरूप उद्रेग उक्तः । UR p. 71.

६. 'संपत्ति -... स्वसुः सोदर्याया: कथं मव निकार्जं दशमुखः ।

अपकारिजनाद्युदय उद्रेगः । MV. 185.

Udvega means agitation or excitement; the alternative reading

of Udbheda is not correct as it goes against the definition.

Bharata, probably from the plays that were before him,

understands this Aṅga to be a situation where there is fear

from the King, or the enemy or the Dasyus. There is complete

agreement amongst the text-book writers. The DR interprets

Ari as Apakārin and as an illustration refers to the R where

Sāgarikā, full of fear from Vāsavadattā, describes her helplessness.

The ND illustrates the Dasyubhāya from the play Citrotpal-

āvalambitaka where the heroine is actually surrounded by the

Dasyus. Similarly, the fear from the King is illustrated from

Critical Material Relating to the Samdhyangas

the Mrch by referring to the danger in which Cārudatta stands; Aribhaya from the VS where Gāndhārī and others are afraid of Arjuna and Bhīma and lastly fear from another heroine from the R where Sāgarikā, afraid of Vāsavdattā is going to strangle herself. The illustration from the MA would be of fear from the heroine and that from the MR would be of fear from the enemy.

13. Vīdrava

Definitions :

१. नृपाभयसंयुक्तः संभ्रवो विद्रवो मतः। NS XIX. 88.

२. शङ्कात्रासौ च संभ्रमः। DR I. 42.

३. द्रवः शङ्का। ND I. 54.

४. शङ्कात्रासौ च संभ्रमः। BP. 211·7.

५. शङ्कात्रासौ च संभ्रमः। PR 111.

६. शत्रुग्रयात्रादिसंभूता शङ्का स्यान् सैव संभ्रमः। RS III. 56.

७. शङ्काभयत्रासकृतः संभ्रमो विद्रवो मतः। SD VI. 10S.

८. शङ्काभयत्रासकृतो विद्रवः। NLR 33.

Illustrations :

१. यथा रत्नावल्यां ‘विदूषकः [पश्यन्] का पुनरेषा...कासौ’ इत्यनेन वासवदत्ताबुद्धिगृहीताया: सागरिकामरणशङ्कायाः संभ्रम इति। यथा च वेणीसंहारे [‘निपध्ये कलकलः ] अश्वत्थामा...पीतं दुःशा- सनस्य भीमेन इति शङ्का (प्रविश्य) त्रायतां...कुमारः’ इति त्रासः। इत्येताभ्यां त्रासशङ्काभ्यां दुःशासनद्रोणवधसूचकाभ्यां पाण्डवविजयप्राप्त्याशान्वितः संभ्रम इति। DR p. 20.

२. ‘ शकुन्तला - अननेन वः संदेहेन आकम्पितासिम ।’ अननेन संभ्रम- लक्षणमझुपक्शिप्तम्। तथा तत्रैव दशरुपके ‘शङ्कात्रासौ च संभ्रमः’ इति। SK p. 146.

३. ‘राक्षः - [ वामाक्षिप्तदनं... ] ‘कथं प्रथममेव सर्पदर्शनम् ।’ इति शङ्कारूपः संभ्रमः। MR p. 117.

४. ‘विदूषकः बकुलावलिके...अत्रभवती कस्मात् निषादिता ।’

[मालविका भयं रुपयति] अत्र भयकृत्संप्रेरणं नाम खल्विक्-

मुक्तं भवति।

५. ‘इवंशी-ह्ला किमत्र करणीयम्‌।’ चित्रलेखा - ‘अत्रमावेगेन ।

अन्नाहिंते आवाम्‌ ।’ अत्र शब्दार्थः गम्यमानत्वात्संभ्रमो नाम

संभ्रममुक्तं भवति ।

६. ‘अत्र मां मन्दभागिनीं’ इत्यादि पवित्रायस्वेत्यन्तसनदर्भेऽत्र शङ्का-

त्रासरूपसंभ्रम उक्तः ।

७. ‘संपातिः :- स्वसुः सोदर्योः कथं हि व निकारं दशमुखः ।’

राक्षसत्रासरूपसंभ्रमः ।

८. ‘द्रौपदी - नाथ, किमिदानीमेष प्रलयजलधरस्तनितमांसलः ..

समरदुन्दुभिस्ताड्यते ।’ इह विद्रवणमा गम्भेसनिधिः । यदाह -

‘ शक्कलककप्रभवः संभ्रमो विद्रवो मतः’ इति ।

९. यथा कृतयारावणे [नेपथ्ये] ह आर्यपुत्र, परित्रायस्व...रावण-

‘ ज्ञायतां किमेतत्‌ ।’ अत्र रावणस्य शङ्का ।

Vidrāva means panic and as such is Closely related with Udvega and even if it is taken as confusion as some as the DR, BP, PR, RS and SD have done, the meaning is very nearly the same. According to Bharata, this is a situation where there is loss or destruction through fire, King or the fear of these. In Bharata's definition the word Bhaya is probably a present calamity and not a distant one and Vidrava, which literally means flight is the actual panic or havoc caused by a calamity. This distinction, if true, has been lost sight of by the later writers. Sankā and Trāsa will denote only future danger. The DR does not admit the term Vidrava but styles it as Sambhrama and understands it as trouble or fear and by way of an illustration refers to the situation in the R where the King and the Vidūṣaka are thrown into confusion with the idea that Vāsavadattā is strangling herself and also to the situation in the VS where Aśvatthāman is bewildered at the sight of Bhīma overtaking Duhśāsana. The ND retaining the term Vidrava, understands it as Saṅkā probably following another reading of Bharata and remarks that the Sambhrama of others can be included in the Vidrava. Its illustration is from the KR, of Rāvaṇa's anxiety to learn

Critical Material Relating to the Samdhyangas

97

from the Mrch. the cause of the cry of alarm. An illustration of this anga according to Dhundhiraja is to be found in the MR in Act II. where the sight of serpents is held to be a bad omen. Katayavema sees it in the VK. when Urvasi is confused when the Queen is being ushered in, but this can be Nayikatobhayam and hence Udvega.

IV. Angas of the Avamarśa Sandhi

1. Aparāda.

Definitions :

१. दोषप्रख्यापनं वत् स्वात्सोडपवाद: प्रकटीकृतित:। NS XIX.89.

२. दोषप्रख्यापवाद: स्वात्त्। DR I. 45.

३. अपवाद: परीवाद:। ND I. 58.

४. दोषप्रख्यापवाद: स्वात्त्। BP. 211-19.

५. दोषप्रख्यापनमपवाद:। PR. 112.

६. तत्रापवादो दोषाणां प्रख्यापनमितीर्यते। RS III. 60.

७. दोषप्रख्यापवाद: स्वात्त्। SD VI. 110.

८. दोषप्रख्यापनमपवाद:। NLR. 34.

Illustrations :

१. यथा रत्नावल्यों ‘मुसज्जता -सा खलु तपस्विनी...वज्जयिनी नीयते.. निरनुरोधा मथि देवी ।’ इत्यनेन वाक्यसदतादोष-प्रख्यापनापवाद:। यथा च वेणीसंहारो-युधिष्ठिर:-पार्थालक, कषिदासादिता पदवी... पातकप्रधानहेतुरुपलक्ष्य:।’ इति दुर्यों-धनस्य दोषप्रख्यापनादपवाद:। DR p. 21.

२. ‘चाणक्य:-(सस्मितं) अलमनेन प्रश्रयेण। न निष्प्रयोजनमधि-कारवन्त: प्रभविराहूयन्ते ।’ इत्यादि दोषप्रख्यापनमपवाद:। चाणक्येन स्वोपालम्भस्य दोषस्य प्रख्यापनात्। MR p. 163.

३. ‘निपुणिका -श्रुतं भद्रिन्या ... कस्यैष विश्वसनीयो हताश:। ...मालविकां स्वप्नायते ।’ अत्र दोषोद्भावनादपवादो नाम सञ्जाय-स्कुरितं अवति। MA p. 81.

T. S. 7

४. 'राज-भवतु । परद्रव्यसमनिरीक्षणं न खल्विनं प्रच्छामि ।'अनेन दोषस्य प्रकटापितत्वादपवादो नाम सन्ध्यङ्गमुक्तं भवति । VK p. 83.

५. 'द्विप्रकारः:- मदान्धभावेन मयाभिप्रो मदनशापेन कुरर-मात्रः ।' अन्र प्रकरणे महान्धेति दृश्यप्रक्न्यापनात्मकोडपवादः । MV p. 222.

Apavāda means blame or censure and Bharata understands this as a situation in which there is a statement of faults. The DR agrees with Bharata and illustrates from the R. by the situation where the Queen is being blamed by the King for treating Sāgarikā in a cruel manner and also from the VS. where the Pānchalakā condemns Duryodhana, as the chief cause of the sin of dishonouring the tresses of Draupadī. The ND agrees with the DR and has two divisions as declaring one's own faults and declaring the faults of another. The BP., PR., RS., SD., and the NLR. all agree with the DR.

2. Sampheṭa.

Definitions :

१. रोषप्राथितवाक्यं तु सम्पेटः स उदाहरणतः । NS XIX. 89.

२. सम्पेटो रोषभाषणम् । DR I. 45.

३. सम्पेटः क्रोधजं वचः । ND I. 58.

४. सम्पेटो रोषभाषणम् । BP. 211-19.

५. रोषसंभाषणं सम्पेटः । PR 112.

६. द्वेषसंप्रथितं वाक्यं सम्पेटं सरप्रचक्षते । RS III. 61.

७. सम्पेटो रोषभाषणम् । SD VI. 111.

८. रोषग्राथितं वाक्यं सम्पेटः । NLR 34.

Illustrations :

१. यथा वेणीसंहारे-- 'भो कौन्तवराज, इदं बन्युनाशदर्शनमन्युनातथा च परस्परकोधाधिक्षेपपरुषवाक्यैरहप्रस्तावितघोरसंप्रामौ' इत्यनेन भीमदुर्योधनयोरन्यो न्यरोषसंभाषणाद्विजयबीजान्वयेन सम्पेट इति । DR p. 22.

२. 'शकुन्तला ( सरोषम् ) अनार्ये, आत्मनो हृदयानुमानेन पश्यसि त्वम् ।' इत्यादिना 'भ्रमं शासनभिवातिरुषा स्मरसि' । एतदन्तेन संफेटं नामाझसुपक्षिप्तमम् । तल्लक्षणम्- 'रोषप्र ( प्र ? ) इतवाक्यं तु संफेटः परिकीर्तितः' इति। SK p. 175.

३. 'चाणक्यः - ( सक्रोधम् ) वैहीनरे, तिष्ठ न गन्तव्यम्-' एतदादि राजचाणक्ययो रोर्षसंभाषणं संफेटः । MR p. 167.

४. 'निपुणिका:... श्रुतं अभिज्ञया... कस्य विश्वसनीयो हताशः । ... इत एव ... मोदके: दृष्ट्वा पूरयित्वा ... माठविकां स्वप्नायते ।' रोर्षभाषणात्संफेटो नाम सन्ध्यङ्गमुक्तं भवति। MA p.81.

५. 'दिव्यपुरुषः-स मुनिः शशाप-दुरात्मन्, वीरदर्पेण-एवमकार्षीः ।' दुरात्मन्निति रोर्षसंभाषणरूपः संफेटः । MV. p. 222.

Sampheta means tumultuous conflict between two persons and hence speech in anger. Almost all the text-book writers and the commentatorsare in complete agreement with Bharata. As an illustration, the DR refers to the VS, where occurs the conflict between Bhima and Duryodhana. Only the RS puts in Doṣa instead of Roṣa and thus differs from the rest but it is quite likely that it is a case of scribal error reproduced by the editor.

3. Vidrava.

Definitions :

१. गुरुव्यतिक्रमो यस् तु विद्रेयो विद्रवस्तु सः । NS XIX. 90.

२. द्रवो गुरुतरस्कृतिः । DR I. 45.

३. द्रवः पूज्यव्यतिक्रमः । ND I. 57.

४. द्रवो गुरुतरस्कृतिः । BP. 211–20.

५. गुरुतरस्कृतिद्रवः । PR 112.

६. गुरुव्यतिक्रमं प्राह द्रवं तु भरतो मुनिः । RS III, 62.

७. द्रवो गुरुव्यतिक्रान्तः शोकोवegादिसंभवा । SD VI. 113.

८. गुरुभ्यःतिक्रमो द्रवः । शोकादिभिरिति मन्तः क्षोभो विद्रवः । स एव परिभवकृतो द्रवः । NLR. 35.

100

The Samdhis and the Samdhyangas

Illustrations :

१. यथोत्तरचरिते 'वृद्धाल्ले न विचारणीयचरिता...इस्त्वनेन छबो रामस्य गुरुस्तिरकारं कृतवानिति प्रः। यथा च वेणीसंहारे युधिष्ठिरः 'भगवन् कृष्णामज...कोऽयं पन्था यदसि विगुणो... मधिष्ठिर' इत्यादि इहस्मिन् गुरुस्तिरस्कारतत्कृतप्रश्रयप्रदानिति हृः।

DR p. 23.

२. यथा रत्नावल्यां सम्भृतिं मतोर्मकषणव्य विदूषकस्स सागरिकायाध वासवदत्तया बन्धनमिति। ND p. 92.

३. 'शकुन्तला-मुषु तावदत्र स्वच्छन्दचारिणी कृतास्मि' इत्यादिना... 'ते सन्तु किलामवाचः ।' एतदन्तेन द्वयोर्नामाऽऽश्रुप्रहिसिमम्। तदक्षणं तु- 'गुरुव्यतिक्रमो यस्तु विशिष्टेयोदथ द्रष्टु सः ' इति ।

ŠK p. 177.

४. 'वाणक्यः- मया ... भवानिव...मलयकेतू 'राजाधिराजपदे निमितेः।' राजो- अन्यनवधमुहुःकृत नितम्बविलासिनि ।' इयं गुरु- तिरस्कृतिद्रवः । MR p. 178.

५. 'सौधातकि: - मया पुनरन्तं कोपि न्याप्त इवैष इति...कपिला कल्याणी मडमडायिता ।' इत्यादिना गुरुतिरस्कृतिरुपद्रव उक्तः ।

UR p. 103.

६. 'दिव्यपुरुषः- पुरा किल...मतङ्गसुनौ मर्योदामनपेक्ष्य दुनदुधि- देहमहं विक्षिप्रवान् ।' मर्योदामनपेक्ष्येति गुरुतिरस्कृतिरुपो द्रवः ।

MV p. 222.

Vidrava means panic, but the Samdhyanga has been already placed once in the earlier Samdhi of Garbha. The definition of Bharata is vague and capable of double interpretation, if it is taken as Gurūṇām Vyātikramah then it would be disrespect for the elders. But it is not likely that all plays can have such a situation and hence it would be only a casual Anga; another explanation of Guruvyatikrama may be 'gross transgression' or going too much beyond the bounds of decorum ( Cf. Guru Kīrtanam of Dhūrtanirāja ). All the later writers understand it as Gurūṇām Vyatikrama, but as said above, this way of understanding it is unsatisfactory. The DR takes vidrava to be corporal punishment or imprisonment and the BP, PR, RS follow

it in this respect. There appears to be some confusion about Drava and Vidrava as the DR admits another Samdhyanga as Drava and makes it Vidrava of Bharata and in this respect defines as ‘Gurutiraskṛtiḥ.’ The ND, BP, PR, RS, SD have followed it. The NLR appears to regard the two as one from its remarks ‘Sa eva dravah’. Bharata does not admit Drava and Vidrava in the same Samdhi, and moreover he has two Vidravas, one in the Garbha and the present one in the Avamarśa. The Drava of the DR is defined like Bharata’s Vidrava in the Avamarśa and comes also as a substitute for the Samdhyanga Kheda of Bharata and the Vidrava of the DR in the Avamarśa appears to be Bharata’s Vidrava in the Garbha, because, fire is included in Vadha-bandha etc. of the DR as can be seen from the illustration from the R. There is not much difference of opinion about the nature of the Anga, but there is confusion about the location of the two Angas. Rāghavabhatta Dhuṇḍhirāja and Virarāghava follow the DR in understanding Drava as Gurutiraskṛtiḥ and Vidrava as Vadha-Bandha and both the Angas as of the Avamarśa Samdhi.

4. Śakti.

Definitions :

१. विरोधोपगमो यस्तु सा शक्ति: परिकीर्तिता । NS XIX. 90.

२. विरोधशमनं शक्ति: । DR I. 80.

३. क्रुद्धप्रसादनं शक्ति: । ND I. 60.

४. विरोधशमनं शक्ति: । BP. 211-21

५. विरोधशमनं शक्तिः । PR. 112.

६. उत्त्पत्त्रस्य विरोधस्य शमनं शक्तिरुच्यते । RS III. 62.

७. ......विरोधस्य प्रशमनम् । SD VI. 115.

८. विरोधप्रशमः शक्ति: । NLR 35.

Illustrations :

१. यथा रत्नावल्या राजा... ‘सव्याजै: शपथै: प्रियेण वचसा विरोधोपनीत: स्वयम् ।’ इत्यनेन सागरिकााभविरोधिवासवदत्ता-कोपपरिमनोऽवधिं । यथा जोर्णाचरिते लव: प्राह-‘विरोधो विग्रान्त: प्रसरति रसो निर्वीर्यतग्न: ।’ DR p. 23.

२. तथा कृत्यारावण=- कष्टं मोः ...रामेण...पातितोऽयं दशशिरा: ।' अत्र विरोधिनो रावणस्य विनाशनमिति । ND p. 100.

३. (नेपथ्ये) 'आश्चर्यम्' इत्यादिना... चत्क्षिप्यैनां ज्योतिरेवं जगाम ।' एतदन्नेयं शक्तिनोऽनुसारुपक्षिसम् । तथा क्षणं तु-'विरोधप्रशमो यस्तु सा शक्तिरिति कीर्तिता ' इति। SK p. 181.

४. 'राजा-किमकौशलादुत प्रयोजनापेक्षया ।'...' प्रयोजनापेक्षयैव' कथमकौशलमित्यादिवचनं विरोधशमनं शक्तिः । किमकौशला-दिते कार्यविरोधे पृष्टे तस्य विरोधस्य शमनात् । MR p. 172.

५. 'डवेशी-तावत्प्रसीदतु महाराजो यन्मया कोपवशंगतया एतदवस्था-न्तरं प्राप्तितो महाराजः ।' अत्र विरोधस्य शमनात् शक्तिनोः सन्वध्यते कृतं भवति । VK p. 96.

६. 'विद्युपुरुषः ... शाप- ततो मया मुनिर्ब्रहुः प्रयत्नैरजुनीतः पुनरनुजन्माह ।' अनुनीत इति विरोधशमनरूपगक्तिः । MV p. 222.

Śakti means power and has been defined as the advent of opposition, or which is the power of resistance. Here is really a difficulty on account of the reading Virodhopagamaṇa which means ' advent of opposition ' while the later writers, the DR, the ND make it out as Virodhaśama, which presupposes the reading Virodhāpagama. Apparently taking this later reading all the latter writers have given exactly the opposite interpretation and have given illustrations accordingly. Advent of opposition would mean that here there is a new impediment to the progress of the action, while according to the later interpreters this would be power as well as skill and resourcefulness, which the characters use in an effort to remove the opposition and realise the cherished result. The illustrations from the R and the KR by the DR and the ND are of Virodhaśama. The ND mentions another view which admits Bhāvāntara as the Aṅga instead of Śakti and it is explained as the existence of contrary intentions. It is illustrated from the TV by the situation where Yaṅgandharāyaṇa who wants to dissuade Vāsavadattā from suicide orders on the other hand a pyre to be constructed for her. A third view is given which substitutes Ājnā in the place of

Critical Material Relating to the Samdhyangas 103

Śakti which means an order without consideration of the proper or the improper results. This Aṅga is illustrated from the KR by Ravana's orders to kill Sītā. The illustrations from the other text-books, which follow the DR are not very illuminating. The commentators, Rāghavabhaṭṭa, Dhundhirāja, Kāṭayavema, Virarāghava all agree in understanding this Aṅga as Virodhasama.

5. Vyavasāya

Definitions :

१. व्यवसायस्तु विज्ञेयः प्रतिज्ञादोषसम्भवः । NS XIX. 91.

२. व्यवसायः स्वशक्त्युक्तिः । DR I. 47.

३. व्यवसायोऽध्येहितोयुक्तः । ND I. 60.

४. व्यवसायः स्वशक्त्युक्तिः । BP. 212-1.

५. व्यवसायः परिज्ञेयः प्रतिज्ञाहेतुसम्भवः । BP. 212-2.

६. स्वशक्तिप्रशासनं व्यवसायः । PR 112.

७. व्यवसायः स्वसामर्थ्यप्रख्यापनमुदीर्यते । RS III. 65.

८. व्यवसायश्च विज्ञेयः प्रतिज्ञाहेतुसम्भवः । SD VI. 112.

९. प्रतिज्ञाहेतुसंकीर्णं वाक्यं व्यवसायः । NLR 35.

Illustrations :

१. यथा रत्नावल्यां नैन्र्जालिक:- ‘किं धरण्या मृगाङ्कः आकाशे महीधरो जले ज्वलनः । गुगोः मन्त्रप्रभावेण’ इत्याननेनैन्र्जालिकोसिद्ध्यप्रतिबन्धोऽत्रोपनतवत्सराजस्य हृदयस्थसमाधिकारवैशद्यमुकुलस्वशक्तिमाविष्कृतवान् । यथा च वेणीसंहारे ‘नूनं तेनाज्ञचचिरेण आकर्षणे क्षमः’ इत्यत्नेन युधिष्ठिरः स्वदण्डशक्तिमाविष्करोति । DR. p. 24.

२. यथा रत्नावल्यां नैन्र्जालिकप्रवेशादारभ्य ... ‘एकः खेळः प्रेक्षितव्यः ।’ इति यावत् । अत्र हि यौगन्धरायणेन यदज्ञातं तन्त्रिप्रवादकहेतुसमागमः । ND. p. 103.

३. ‘राजा-भो तिरस्करणीगर्वित’ इत्यादिना ‘तनिम्श्रा वर्जयत्यपः’ एतदन्तेन व्यवसायो नामाङ्गमपदिश्रम् । तत्रक्षणं दग्धरूपपे-व्यवसायः स्वशक्त्युक्तिः’ इति । राज्ञा स्वशक्तेराविष्करणात् ।

४. ' चाणक्यः ( विहस्य ) एतत्कृतं राक्षसेन । मया पुनः भवान् .. राजपदे नियोजितः ।' इदं राक्षसनीतिविभववाधित्सेपार्थ सोत्मप्रशंसनं स्वशक्तिप्रशंसनं व्यवसांयः । नन्दोद्धरणमौर्य्याधिराज्यस्थापनहेतोः स्वशक्ते: प्रशंसनात् । MR p. 178.

५. ' राजा- तां हतं विबुधप्रियोऽपि न च मे शक्ता: पुरोऽवर्तिनीन्... इत्थनेन स्वशक्तिकथनात् व्यवसायो नाम संश्यज्ञमुक्तं भवति । VK. p. 80.

६. ' दिव्यपुरुषः: ... समाभे कत्थेषां प्रभवति महिम्नामातिशयः ।' अत्र स्वशक्तिप्रशंसनरूपव्यवसायः उत्तः । रामः ... कथापि ऋज्यादौ इति जगति नष्टा मम ऋषा ।' MV. p. 221, 224.

७. ' भीमः - मथ्नापि कौरवशतं समरे न कोपात्.....' ठयवसायनमामा वचनसन्धिरयम् । यदाह- ' प्रतिज्ञाहेतुसंयुक्तं सङ्कथो वचो महः ।' VS. p. 16.

Vyavasāya means fixed determination and the definition of Bharata only points out one of the occasiouns for such a fixed determination. Sambhava is origin, action, appearance. Accordingly Vyavasāya will be the determined effort due to the possibility of the vowed purpose miscarrying. In this sense the Samdhyanga. becomes the determined action or device to remove the difficulty or flaw that obstructs the realisation. It is in this sense that the episode of the magician in the R. is to be understood. The DR changes the nature of the Anga altogether in understanding this as declaration of one's power and refers to the R. situation where the magician boasts and produces the false conflagration or from the VS. where Yudhiṣṭhira describes his might. This interpretation of the Samdhyanga as mere boasting or description of one's own power destroys the organic connection between the Samdhi and the Anga. The ND refers to the R. situation referred to by the DR and understands it as an effort which helps the realisation of the cherished purpose. It also refers to the DR view and remarks that in that case Vyavasāya, Sambhava and Vikatthanā become identi -cal. The episode of the magician can be understood as removing the difficulty in the realisation by securing the liberation of Sāgarikā. Similarly the

remark in the VS. that Duryodhana knows the art of controlling

waters is no boasting but a clue for Bhīma to find out Duryo-

dhana on whose death depends the realisation. More generally

this may be taken as the will to achieve the end. The ND is more

correct than the DR in interpreting the Samidhyanga. The BP

mentions both these views. The PR and RS follow the DR

while the SD follows Bharata and seems to understand this

Aṅga as the situation where the vow is completed. The NLR

seems to understand this Aṅga as a situation which leads to

the object of the vow and refers to the VS. situation referred

to by others. The BP and SD read ‘प्रतिज्ञाहेतुसम्भव’ in the

definition of Bharata and thus entirely change the nature of

the Aṅga.

6. Prasamga

Definitions ::

१. प्रसक्तस्यैव विषयो गुणानां परिकीर्तनम् ( वाक्यैरामर्श्योजितैः ) ।

NS XIX. 91.

२. गुरुकीर्तनं प्रसङ्गः । DR I. 45.

३. प्रसक्तो महत्वां कीर्तिः । ND I. 58.

४. अप्रस्तुतार्थकथनं प्रसङ्ग इति कथ्यते । BP 211-22.

५. गुरुकीर्तेनं प्रसङ्गः । PR 112.

६. प्रस्तुतार्थप्रग( प्रशं )मनं प्रसङ्गः परिकीर्तितः । RS III. 63.

७. प्रसक्त कथनल्यान्य गुणानां परिकीर्तनम् । RS III. 64.

८. प्रसक्तो गुरुकीर्तनम् । SD VI. 116.

९. अप्रस्तुतार्थक्यापनं प्रसङ्गः । NLR 35.

Illustrations :

१. यथा रत्नावल्यां-‘दिव यासौ सिंहलेश्वरेण स्वदुहिता . रत्नावली

नामायुष्मती . प्रतिदत्ता ।’ इत्थनेन रत्नावल्यां लाभानुकूल-

भिजनप्रकाशिना प्रसङ्गाद्गुरुकीर्तनन प्रसङ्गः । DR p. 24.

२. यथा वेणीसंहारे-‘युधिष्ठिरः ( मुखं प्रक्षाल्य ) ‘एवं

तावज्जलाञ्जलिग्रहणेयाय गुरवे ।’…इत्यादि । ND p. 93.

३. 'राष्ट्र-कामं प्रत्यादिश्रं स्मरामि न परिम्रहं मुनेस्तनयाम् ।'

अनेन प्रसङ्गनामाऽसुप्रकिश्रम् । तल्लक्षणं– 'प्रसङ्गश्चैव विशेयो

गुरूणां कीर्तनं हि यत्' इति । अत्र मुनेस्तनयेतित गुरुक्रीतेनम् ।

ŚK p. 181.

४. 'चाणक्यः: ... सा मध्येय स्वर्लन्ती कथयति विनयालंकृतं ते

प्रसक्तम् ।' इत्यादि चाणक्यवचनजातं गुरुक्रीतेनम् प्रसङ्गः ।

गुरोः कीर्तनं गुरु बहु वा कीर्तनमित्यान्वर्थात् ।

MR p. 168.

५. 'दिव्यपुरुषः - वेदान्तजालपरिशीलनलुनधवर्णो'

... वेदान्त-जालेत्यादिना गुरुक्रीतेनरूपः प्रसङ्गः । MV p. 222.

Prasanga may mean 'attachment or incidental or irrelevant statement.' The term itself has practically no connection with the meaning given to it by Bharata i.e. respectful reference to elders or superiors. Perhaps Bharata is thinking of a situation shown incidentally in which attachment or devotion to elderly persons is shown and expressed and from that he has termed the situation itself as Prasanga, or Prasaniga may mean, the mention of another thing by reason of association or context, and the definition of Bharata introduces what really can only be a special case of it. There is agreement between the NS and all the text-books except the BP, NLR and the author quoted by ND as regards the meaning. The DR illustrates it from the VS by the situation where Yudhiṣṭhira mentions his father while offering the libations of water. It mentions another view which takes Prasanga to be irrelevant speech or matter and illustrates it from the VS by referring to the unfounded laments of Yudhiṣṭhira. The BP seems to follow this view as it understands Prasanga as 'Aprastutārtha prakhyāpana.' The RS adds the hint that there is also the 'Prastutārtha pragamana' something which advances the progress of the action. In any case, it is very difficult to see any vital connection between the Anga and the Sandhi, and the Anga therefore, has to be put down among the casual Angas mentioned by Bharata. The commentators Rāghavabhaṭṭa, Dhuṇḍhirāja and Virarāghava understand the Anga as 'respectful mention ' as would appear from

the illustrations and Dhindhirāja explains Gurukīrtana as Guroh Kīrtanam or Guru Bahu vā Kīrtanam.

7. Dyuti

Definitions :

१. वाक्यमार्द्रषणाकृतं शुक्तिसत्स्नेहाहता । NS XIX. 92.

२. तर्जनोद्देजने शुति: । DR I. 46.

३. तिरस्कारो शुति: । ND I. 59.

४. तर्जनोद्देजने शुति: । BP. 211-19.

५. तर्जनोद्देजने शुति. । PR. 112.

६. शुक्तिनामं समुदिष्ठा तर्जनोत्तेजने बुधैः । RS III. 63.

७. तर्जनोद्देजने प्रोक्ता शुति: । SD VI. 114.

८. तर्जना । आधारण । अधिक्षेपकृतं वाक्यं शुति: । दुरुक्तपरिणामाहूतिरत्राभिमता । NLR. 35.

Illustrations :

१. यथा वेणीसंहारे- ‘एतच्च वचनमुपश्रुत्य...आलोड्य सतः सझिलं... व्रीडादरेणाभिहितम् । ...विहाय समरं पद्क्वेऽथुना ढीयसे’ इत्यादिना ‘त्यकत्वोथितः सरभसम्’ इत्यनेन दुर्योधनजलावलोडनाभ्यां दुर्योधनतर्जनोद्देजनकारिभ्यां पाण्डवविजयानुकूलदुर्योधनोत्थापन-हेतुभ्यां भीमस्य शुति:रुकता । DR p. 23.

२. प्रविशद्विपरीक्षेपण कुपितः कः-शुको- ‘भो तावत् । अनात्मज्ञ, देवन् प्रतिषिद्धे वसन्तोत्सवे ’-इत्यादिना-‘ उत्सवः प्रत्याख्यातः-युज्यते ।’ एतदन्तेन शुक्तिनामकर्मसुपकर्षितम् । तल्लक्षणं दशरूपके ‘तर्जनोद्देजने शुति: ’ इति । SK p. 195.

३. ‘राजा-अन्येनैवेदमुष्टितमितम्’-‘चाणक्यः-आः केन ।’ इयं तर्जनरुपा शुति: । MR p. 179. संरम्भोल्सप्तनिपक्षमक्षरदमेठजङ्घलक्षण क्षामयादपि... p. 181. इयं उद्देजनरूपा शुति: ।

४. ‘विदूषकः-भो वयस्य सर्पो ऽमु उपरि पतितः ।’ अतरोदेजनाच्छुक्तिनाम सन्ध्यङ्गमुक्तं भवति । MA p. 82,

५. ‘राज-यदि हंस . मदकेळपदं कथं नु तस्या: । सकलं चोर गते त्वया गृहीतम् ।' अत्र तर्जनस्याम्यमानत्वाद् झुतिराम सन्ध्यङ्गमुक्तं भवति । VK p: 85.

६. ‘जनेन्द्रोरमळे कुळे...पडेडघुना ठीसे ।' 'इह क्षत्रिनामावमर्य- सन्धि: ।' सहाद-अभियोक्त्र: शत्रिमर्दनं इति । VS p. 165.

Dyuti is ‘piquancy or picturesqueness.’ According to Bharata’s definition it is ‘challenge or intimidation.’ It may be that heroic qualities shine in challenging or attacking a man and the whole situation becomes picturesque and hence the situation is so named. Dyuti is also placed in the Nirvahana but the variant reading for that Samdhyanga is Krti and in view of the explanation ‘Labdhabharthatasthirikarana, it should be called Krti and not Dyuti. The DR takes Dyuti to be reprimand or intimidation and illustrates it from the VS by Bhima’s very vehement attack on Duryodhana and his frightening him by striking the water. The ND takes it to be contempt and illustrates it from the KR by Angada’s contempt for Mandodari and further remarks that Tarjana, Udvejana and Adharṣana can all be included in Tiraskara or contempt. The remaining text-book writers are in agreement with the DR. Jagaddhara terms the Anga as Kṣati.

8. Kheda

Delinitions :

१. मनश्श्रेष्ठाविनिष्पत्तः श्रमः खेद उदाहृतः । NŚ XIX. 92.

२. खेदः श्रमः कायमनोभेदः । ND I. 59.

३. मनश्श्रेष्ठासमुत्पत्तः श्रमः खेद इति स्मृतः । SD. VI. 117.

४. मनश्श्रेष्ठासमुत्पत्तः श्रमः खेदः । NLR. 35.

Illustrations :

१. ‘यंथा विक्रमोर्वङ्यां पुरुरवा:- ‘अहो श्रान्तोडस्मि... तरज्झयसेविक्ष्ये ।' अत्र कायिकः । ND p. 96.

२. मनःसमुत्पन्नो यथ-मालतीमाधवे ... ‘दलति हृदयं गाढोद्वेगं द्विधा न तु भियते ।'... प्रहरति विधि मर्मच्छेदी न कुन्तति

जीवितम् । ' एवं चेष्टासमुत्पन्नोदपि । The विग्रहप्रिया refers to 'अस्तांसावतिमात्रलोहिततलौ वाहू घटोत्क्षेपणात् इति घटोत्क्षेपणवेष्ट्या शकुन्तलाया: श्रम: । SD. p. 308.

३. यथा जानकीराघवे षड्‌ऋतु: राम: - 'इहैवास्ते सीता कर- किसलयन्याससवदना-...समुद्रान्तप्राणा क्षिपतिति रजनीन वासरमपि । NLR. p. 35.

Kheda means dejection or fatigue either mental or physical. The ND, NLR and the SD follow Bharata. The NŚ remarks that it is identical with the Vyabhicāribhāva and illustrates it from the VK by the feeling of depression which has come on King Purūravas. The SD refers to the Kheda which Śakuntalā experiences while watering the trees. The DR, BP, PR, RS, do not admit this Anga.

१. निषेध

Definitions :

१. इष्टितार्थेप्रतीघात: निषेध; स तु कीर्तित: । NŚ XIX. 93.

२. इष्टिसतार्थप्रतिघात: प्रतिषेध इतीष्यते । SD VI. 118.

३. निरोध: प्रस्तुतज्यानि: । ND I. 59.

४. इष्टितार्थप्रतिघात: प्रतिषेध: । NLR 35.

Illustrations :

१. यथा कृत्यारावणे सम्प्रेक्षे - 'कण्टकशाखी - ( लक्ष्मणविभीषणौ प्रति ) कुमार एतत् । आर्या सीता... भवर्मोयाशिरांङ‌ऍलोक्य... सुरितकरालशिखं विशेष बहिम् ।' अत्र सीताप्रत्यानयनस्य प्रस्तुतस्य विरोध: । ND p. 97.

२. यथा मम प्रभावत्यां विदूषकं प्रात प्रयुम्न: - 'सखे... क मे प्रिय- तमा प्रभावती ।' विदूषक: -असुरपतिना आक्रुध्य द्वापि नीता । प्रयुम्न: -दैवं कदर्थेपरं कृतकृत्यमस्तु । The विग्रहप्रिया on this 'अत्रेष्टतस्य प्रभावतीस्मागमस्य प्रतिघात: SD p. 309.

३. यथा चूडामणौ रङ‌ङ‌चूड: । 'गोकर्णमर्णेवतटादिल्याविः ।' NLR p. 35.

Niṣedha means ‘prohibition or frustration’ and this is a situation belonging to the opposition which shows the frustration of the desired events. The DR, BP, PR, and the RS do not admit this Aṅga. The ND seems to admit this but terms it as Virodha. The NLR and SD agree in following Bharata.

10. Virodhana

Definitions :

१ विरोधनं तु संरम्भादुत्तरत्तरभाषणम् । NŚ XIX. 93.

२. संरुद्धानां विरोधनम् । DR I. 47.

३. संरम्भः शक्तिक्षीणितम् । ND I 59.

४. संरुद्धानामवज्ञा या तद्विरोधनमुख्यते । परस्परस्य संग्रामः संरम्भेण विरोधनम् । BP 212-3-4.

५. क्रोधसंरुद्धानामन्योन्याविक्षेपो विरोधनम् । PR 112.

६. विरोधनं निरोधोक्ति: शब्दानां च परस्परम् । RS III. 65.

७. कार्योत्योपगमनं विरोधनमिति स्मृतम् । SD VI. 119.

८. कार्योत्योपगमनं विरोधनम् । NLR 36.

Illustrations :

१. यथा वेणीसंहारे ‘राजा- रे रे महत्तमय, किं मे वृद्धस्य राज्ञः पुरतो…स्वाघसे… दृक्ष्यन्ति न चिरात्सुतं बान्धवास्वां रणांगणे…’ इत्यादिना संरुद्धयोर्भीमदुर्योधनयोः स्वशक्ल्युक्तिरविरोधनामिति । DR p. 25.

२. यथा वेणीसंहारे- (युधिष्ठिरः) तातो भ्रातृमहोदधौ कथमपि द्रोहा नुझे निर्हृतो… सर्वे जीवितसंशयं वयममी वाचा समारोपिता: । SD p. 309.

३. वेणीसंहारे- ‘एष दुरात्मा कौरवापसद …… पाक्ष्वाळतनयां परिमार्गयमाणः इत एवाभिवर्तते इति ।’ NLR p. 136.

४. ‘राजा-मोः सत्यवादिनं अभ्युपगतं तावदस्माभिरेवम्’ इत्यादिना ‘धार्तरागी भवाम्याहो परकीयशेपांसुलः ।’ एतदन्तेन विरोधनात्मकमङ्गमुपाक्षिप्तम् ‘ उत्तरत्तरवाक्यं तु विरोध इति संज्ञितः ।’ इति SK p 180

Critical Material Relating to the Samdhyangas

111

५. 'राजा-नन्दकुलविद्वेषिणा दैवेन । ... दैवमविद्वांस: प्रमाणयन्ति ।' एतदादि क्रोधसंरुध्येयोरन्योन्याधिक्षेपो विरोधेनम् । MR p. 180.

Virodhana means 'opposition' and Bharata understands this Anga as a situation where there are consecutive speeches due to excitement or anger. Bharata probably has a specific instance in view and the particular has been generalised into a term of universal application. The DR, the PR and the BP follow Bharata but drop the idea of consecutive speeches and refer to the situation in the VS where Bhīma and Duryodhana exchange hot words, and from their treatment Virodhana and Sampheta appear to be very similar. The ND, however, understands Virodha as Prastutajyāni which he explains as Prastutasya Kāryasya atyayah i.e. difficulty or hitch in the action, a sense which has been accepted by the SD and the NLR. This sense would link the Anga vitally with the action of the play but it lacks the authority of Bharata.

11. Vikatthanā

Definitions :

१. विकत्थना विचलनम् । DR I. 48.

२. विकत्थना विचलनम् । BP. 212-4.

३. स्वगुणाविष्करणं विचलनम् । PR p. 112.

४. आत्मालापाद् विचलनम् । RS III. 66.

Illustrations :

१. यथा वेणीसंहारे 'भीम:- तात अम्ब रणशिरासि निहन्ता तस्य राधासुतस्य प्रणमति पितरौ वां..... डुक्का सुयो धनस्येभि मोदयं शिरसाड्नति ।' इत्थनेन विजयबीजानुगतस्वगुणाविष्करणाद्विच- छनमिति। DR p. 26.

२. 'सानुमती- निर्वर्तितं मया' . इत्यादिना-'तिरस्कृताप्रतिच्छन्ना पार्श्ववर्तिनी भूतोपप्लवप्स्ये' - एतदन्तेन सानुमत्यात्मक्नाघाया: कृतत्वाद्विचलनं नाम्ना सुप्रकाशमम् । तत्क्षण इदशरूपकम्-'विकत्थना विचलनम्' इति । ŚK p. 189.

3. 'चाणक्य:- शाणक्यतश्छलितभक्तिमहं सुखेन । '... इदं स्वगुण-विषरणं विचक्षणम् । MR p. 181.

4. 'सूर्याचन्द्रमसौ यस्य मातामहपितामहौ, स्वयं च वृत्तः पतिरियम्पा सुवेचया च सुवा च य:'...अत्र विकृत्थनाया गम्यमानत्वादिति प्क्षनं नाम सङ्कथनशुकं भवति । VK p. 87.

The DR group i. e. DR, BP, PR and RS admit this Aṅga which is not admitted by the NŚ group i. e. NŚ, ND and NLR. The DR explains this as boasting or exposition of one's own strong points—an explanation which is accepted by all others. The Samdhyāṅga Samrambha of the ND appears to be identical with this as it is explained as Śaktikīrtana. The ND refers to the view of 'Anye' as who admit Vicalana and Vidrava in place of Kheda and Virodha and is possibly referring to this school. The commentators Rāghavabhaṭṭa, Kāṭayavema, Dhuṇ-dhirāja follow the DR in admitting this Aṅga.

11. Ādāna

Definitions :

1. बीजकार्योपगमनमादानमिति स्मृतम् । NŚ. XIX. 94.

2. आदानं कार्यसंग्रहः । DR. I.48.

3. फलसमृद्धिमादानम् । ND. I. 60.

4. आदानं कार्यसंग्रहः । BP. 212·6

5. कार्यसंग्रहः आदानम् । PR. 112.

6. आदानं कार्यसंग्रहः । RS. III. 66.

7. कार्यसंग्रह आदानम् । SD. VI, 121.

8. 'बीजकार्योपगमनमादानम् । NLR. 36.

Illustrations :

1. यथा वेणीसंहारे'भीम:-नतु भो समन्तपरचकसंचारिण:-रक्षो नाहं न भूतं...इत्यनेन समस्तरिपुधककार्यस्य संगृहीतत्वादादानम् । यथा च रत्नावल्यां 'सागरिका... हुतवह:...करिष्यति दुःखावसानम् ' इत्यनेनान्यपरेणापि दुःखावसानकार्यस्य संग्रहादादानम् । DR. p. 26

२. 'सानुमती - हा धिकू ...... यावदनेन शृत्तान्तेन प्रियसखी समाध्वासयामि । ' अनेनादानं नामाङ्गसुपक्षिसम् । लक्षणं तु-'बीजकार्योपगमनमादानमिति सांहितम्' इति । 'भर्ता राकुन्तला-भिमानिन्देश्यात्' इति बीजकार्योपगमनम् । SK. p. 223.

३. 'राक्षः- ( वामाक्षिसंदनं...) दुरात्मा चाणक्य...प्रतिपादयति ।' इदं कार्ये संग्रहणमादानं नाम विमर्शसंधेरन्यतमज्जम् । चाणक्य-करटेकस्य राक्षसातिसंधानरूपस्य कार्यस्य राक्षसेनैव दुरुपपृत्ति-दुःशकुनप्रतिपादनद्वारा संग्रहणात् । MR. p. 187.

४. 'बकुलावलिका- आह्वसितु सखी, सत्यप्रतिज्ञा देवी ।' अत्र देव्यानुरूपहरूपकार्यसंग्रहणादादानं नाम संध्यङ्गयुक्तं भवति । MA. p. 86.

५. '(छतामाळिगति ततः प्रविशति तत्स्थान एवोवेशी ।)' इत्यत्रालिङ्ग-नस्योवेशीप्राप्तौ हेतुत्वादादानं नाम संध्यङ्गयुक्तं भवति । VK. p. 95.

६. 'रामः- मायामात्रमितः...उपायभिन्नयतनतनः ।' अत्र कार्यग्रहण-रूपमादानं नाम संध्यङ्गमुक्तम् । MV. p. 224.

Ādāna means a 'symptom or sign' and Bharata takes this Anga to be the approach of the Kārya of the Bīja. The explanation in the DR is identical with that of Bharata and it illustrates the Anga from the VS, by blood-stained Bhīma's entry with the verse 'Rakṣo nāham na bhūtam' which indicates the destruction of the Kurus and the coming fulfilment of the vow. The ND agrees with Bharata. Similarly the BP, PR, RS, SD, and the NLR are identical in expression. The illustrations also show that Ādāna is the advent of the Kārya.

12. Chādana

Definitions :

१. अवमानाकुलतं वाक्यं कार्यार्थे छादनं भवेत् । NS XIX. 94.

२. छलनं छादवमाननम् । DR I. 46.

३. छादनं मन्युमा जेनम् । ND I. 58.

४. छलनं चावमाननम् । BP 212·1.

T. S. 8

५. अवमाननं छलनम् | PR 112.

६. अवमानादिकरणं कार्योक्तं छलनं विदुः | RS III. 64.

७. छादनं कार्योर्थमपमानादे: सहनं खलु यद्भवेत् | SD VI. 122.

८. अपमानकृतं वाक्यं सादनम् | NLR 36.

Illustrations :

१. यथा रत्नावल्या ' राजा-अहो निरजुरोधा मयि देवि। ' इत्यनेन वासवदत्तयेष्टसंपादनाद्वत्सराज्यावमाननाच्छलनम् | यथा च रामाभ्युदये सीताया: परित्यागेनावमाननाच्छलनमिति |

DR p. 24.

२. मन्युरपमानो येन मार्ज्यते तत् छादनम्-यथा रत्नावल्यां 'सागारिका-दिष्ट्या...हुतवहः करिष्यति दुःखावसानम् | ' ND p. 95.

३. ' राजा-दृष्टशुचं च निःश्वस्य '-इत्यादिना ' धौताश्रुशेषसुदकं पतत्: विप्रलम्भेन छलनं तनोऽपपक्षिणम् | तज्ज्ञप्तं जु-' आत्मावसादनं यतु छलनं तदुदाहतम् ' इति | SK p. 222.

४. 'चाणक्य:- वृषल,...तद्यदि न सहसे ततः स्वयमभियुज्यस्व | राजा-भते स्वकर्मण्यभियुज्यामहे | 'इदं गुरोरवमाननं छलम् | MR. p. 167.

५. ' (ततः प्रविशति यज्ञोपवीतबद्धार्घ्युष्टः: विदूषकः १' ) अत्र-करस्पनाया गम्यमानत्वाच्छलनं नाम सन्ध्यङ्गमुक्तं भवति |

MA. p. 66.

६. (नेपथ्ये कलकलानन्तरम्) भो मोः समन्तपञ्चकसकटचारिणः... ख्वा द्रौपदी कथयत क पुनः प्रदेशे । ' इह सादननामावमर्ष-सन्धिः | यदाह-बालकाव्युपगमने सादनं साहसाद्विगा |

VS. p. 198

Chādana means ‘taking cover’ and it is probable that Bharata’s idea was that for the sake of the end in view, an insult is tolerated and following or the reaction to it is concealed, and from this concealment of the reaction, the situation itself is called, ‘Chādana,’ the concealment. Bharata’s idea of a speech following an insult which has been pocketed for the sake of the object in view is best seen in the MR scene where the

Critical Material Relating to the Samdhyangas

115

Samdhyanga has been located by Dhundhiraja i. e. where Cānakya pockets the insult he receives from Candragupta for the sake of ultimate end. The DR understands this Anga as insult and refers to the R incident where the King is insulted by the Queen, and thus by understanding the Anga as humiliation inflicted on others, appears to drop Bharata's Kāryārtham. The ND interprets this quite differently as 'doing away or washing off the insult' and illustrates it from the R scene where Sāgarikā intends to burn herself. It mentions also Bharata's view of tolerating unbearable insult for the sake of the object in view and illustrates it from the Anangsenā Harinandin Prakarana where Harinandin owns the charge of theft in order to save a Brāhmaṇa. A third view, that of the DR is also mentioned by the ND which makes out Chādana to be insult offered to another. A fourth view is mentioned and it makes out Chādana to be delusion and is illustrated from the VS by the deception practised on Yudhiṣṭhira by Cārvāka. Amongst the remaining texts the SD and RS follow Bharata while the BP and PR follow the DR. Amongst the commentators, Kāṭayavema seems to follow the fourth view mentioned by the ND as he refers to the Kapaṭakalpana and Rāghavabhaṭṭa follows some unknown authority in making this out as 'self deprecation and Jagaddhara confuses it with Ādāna.

13. Prarocanā

Definitions :

१. प्ररोचना च विज्ञेया सम्भारार्थप्रकाशिनी। NS XIX. 94.

२. सिद्धामन्त्रणतो भाविदर्शिका स्यात्प्ररोचना। DR I. 47.

३. भाविसिद्धिः प्ररोचना ND I. 60.

४. आमन्त्रणं यत्साध्यस्य सिद्धवत्सा प्ररोचना। BP. 212-12.

५. सिद्धवद्विश्रेयः कथनं प्ररोचनम्। PR. 112.

६. सिद्धवद्वाविनोदस्थ्य सूचना स्यात्प्ररोचनना। RS III. 66.

७. प्ररोचना तु विज्ञेया संहारार्थप्रदर्शिनी। SD VI. 120.

८. प्ररोचना च विज्ञेया संहतार्थप्रदर्शिनी। NLR. 36.

The Samdhis and the Samdhyangas

Illustrations :

१. यथा वेणीसंहारे 'पाञ्चालक: - अहं च देवे न'... इत्युपक्रम्य 'पूर्वोन्तां सङ्िळेन रत्नकलशा इत्यादिना मझलानि कर्तुमाज्ञापयति युधिष्ठिर: |' इत्यनेन द्रौपदीकेशसंयमनयुधिष्ठिरदिष्टराज्याभिषेकयोर्भाविकारोपि सिध्यत्प्रं दर्शिका प्ररोचनाति | DR p. 25.

२. 'विदूषक:- यदेवमस्ति खलु समागमः कालेन तत्भवत्या | इत्यादिना 'मैवम् |'...अचिन्तनीयः समागमो भवतीति' एतदद्‌नेन रोचना नामाञ्जुपक्षीचम् । तद्लक्षणं दर्शयपके-'सिद्धामन्त्रणतो भाविदर्शिका स्यात्प्ररोचना इति | ŚK p. 204.

३. 'राजा-(आत्मगतम्) एवमस्मासु गृह्णामेषु स्वकार्यसिद्धिकामः सकामो भवत्वार्यः:' । इदं सिद्धवद्वाविश्रेयःकथनं प्ररोचना | MR p. 183.

४. 'राजा- मन्दारपुष्पैरधिवासिताया....किमे‌ऽनमद्योपहतं करोमी' । अत्र भाविकार्यसूचनात् प्ररोचना नाम सन्ध्यङ्गमुक्तं भवति | VK. p. 93.

५. 'अगस्त्य: - हन्त, त्वया इदानीं...च्छाद्वीपगतं निशाचरकुलं कुत्सने पराभूयते...सम्यकुपालनेन जगतां सौख्यं समास्थि-यते ।' अत्र सिद्धवद्वाविश्रेयःकथनरूपं प्ररोचनं नाम विमर्श-सन्ध्यङ्गमुक्तम् । MV p. 230.

Prarocanā means lustre, relish or piquancy and since the word Sam̉bhāra in Bharata's definition means plenty or prosperity, this may be an incident which is relishable because it shows the prosperity that is to come. In all probability Bharata is thinking of a circumstance which suggests the coming events, in other words, gives a glimpse of the end which is soon going to be accomplished. The DR makes this out to be a situation which shows the events that are yet to happen as already accomplished and illustrates from the VS where the Pāñcālaka describes the Veṇīsamhāra and the coronation as already accomplished even when they are not so. The ND is identical with the DR but mentions another view which takes Prarocanā to be an order for honour and reception. A third view is also given which admits Yukti instead of

Critical Material Relating to the Samdhyangas 117

Praśocanā. The BP, PR, RS, SD are identical with the DR. The illustration given by the NLR is not quite clear.

V. Añgas of the Nirvahana Saṃdhi.

1. Saṃdhi.

Definitions :

१. सुखबीजोपगमनं सन्धिरित्यभिधीयते । NŚ XIX. 97.

२. सन्धिर्वीजोपगमनम् । DR I. 51.

३. सन्धिर्वीजफलागमः । ND I. 62.

४. सन्धिर्वीजोपगमनम् । BP 212–18.

५. बीजोपशमनं सन्धिः । PR 113.

६. सन्धिर्वीजोपगमः । RS III. 70.

७. बीजोपगमनं सन्धिः । SD VI. 124.

८. प्रधानार्थोपक्षेपः अर्थः । NLR. 36.

Illustrations :

१. यथा रत्नावल्याम्-‘वसुभूतिः:-सुसदृशीयं राजपुत्र्या…ममाप्येवं…प्रतिभाति ।’ इत्यनेन नायिकाबीजोपगमात्सन्धिरिति । यथा च वेणीसंहारे भीम:-‘भवति…स्मरति…यचनमयोचक्म् ।’ ‘चक्रद्रुसज-अ्रमित…इत्यनेन मुख्योपक्षेपस्य बीजस्य पुनरुपगमात्सन्धिरिति । DR p. 27.

२. ‘राजा-( शकुन्तलां विटोक्य) ध्याये, सेयमत्रभवती.” इत्यादिना ‘मम दीर्घं विरहत्रतं बिभर्ति ।’ एतदननेन सन्धिर्नामाझमुपकॢप्तम्। तल्लक्षणं तु-‘मुखबीजोपगमनं सन्धिरित्यभिधीयते’ इति ।

३. ‘सिद्धार्थकः -दर्शयिष्यति कार्यफलं गुरुंकं चाणक्यनीतिलता ।’ इदं बीजोपगमनं सन्धिर्नामाझम् । बीजस्य चाणक्यनीते-रूपगमनान्तकार्यसिद्ध्यर्थमुपगमात्रिवर्हणात् । MR p. 218.

४. ‘राजा - कान्तां विचिन्त्य सुलभेतरसंप्रयोगां… । ।,’ अत्र माधविकारूपबीजादुनसन्धानोत्साधनं सन्ध्यझमुख्त्र भवति । MA. p. 90..

५ 'राज-लातन्य आहूयतामुर्वशी'।'अत्र बीजस्योर्वेश्या अनुसन्धानात् सन्धीनाम् सन्ध्यङ्गमुक्तं भवति । VK p. 109.

Samdhi means connection, union or link and Bharata's definition which reads as Sukhabijopagamanam may be some-how made to yield that this is a circumstance which shows the Bija on the way to realisation. It is something, therefore, which establishes a link between the earlier part of the action and the Nirvahana. The reading given by Rāghavabhaṭṭa is Mukhabijopagamanam which gives the idea that in this Aṅga there is a retrospect of the Bīja as it was seen in the Mukha-samdhi (Cf. Garbhabīja in the definition of Ākṣepa.). The Nirvahana shows the Phala which is the development of the Bīja and a circumstance again referring to the Bīja may serve as a link between the Nirvahana and the rest of the play. The DR and others have dropped the qualification to Bīja in their definitions, but the illustrations and the explanatory remarks after the illustrations would show that they have practically retained the word. The NLR substitutes a new term altogether as Artha and defines it as Pradhānārthopakṣepa. The BP and others agree with the DR. The illustrations from the R in the DR and also from the VK and ŚK, the passages where Kāṭayavema and Rāghavabhaṭṭa see this Aṅga do not appear to refer to the Bīja as it appears in the Mukha, are not exactly appropriate; while that from the VS is quite appropriate, especially in view of the remark 'Smarati bhavatī yattannayā uktam' etc. It may be suggested that the reading 'Sukha' in the definition of Bharata is probably a misreading for Mukha.

2. Vibodha.

Definitions :

१. कार्यान्वेषणं युक्त्या विरो(बो ?)ध इति कीर्तितः । NS XIX 98.

२. विभोध: कार्यमार्गणम् । DR I. 51.

३. विरोष: कार्यमीमांसा । ND I. 63.

४. विरोधः कार्यमार्गणम् । BP 212-8.

Critical Material Relating to the Samdhyangas 119

५. कार्येमार्गेणं विरोधः । PR 113.

६. कार्येस्यान्वेषणं विरोधः स्थान् । RS III. 70.

७. विवोधः कार्येमार्गणम् । SD VI. 125.

८. युक्तकार्यन्वेषणमनुयोगः । NLR. 37.

Illustrations :

१. यथा रत्नावल्याम् 'वसुभूति:...देव कुल इयं कन्यका...कथमसौ ममानिवेद्य करिष्यति' इत्यनेन रत्नावलीलक्षणकार्यन्वेषणाद्वि-बोधः । यथा च वेणीसंहारे भीम:-सुखतु सुघटतु मामार्ये: ... अनुभवतु तपस्विनी वेणीसंहारम् ।' इत्यनेन केशसंयमनकार्येस्यान्वे-षणाद्विबोध इति । DR p. 27.

२. 'अस्येतत्पौरवाणाम्' इत्यादिना 'परदारव्यवहारः', इत्यनेन तत्त्वज्ञान तु - 'कार्येस्यान्वेषणं युक्त्या विवोधः परिकीर्तितः' इति । SK p. 247.

३. 'क्षपणक:- ... अहंपि भागुरायणानुमद्रां याचे ।' इदं कार्येमार्गेणं विरोधो नामाझ् । MR p. 223.

४. 'राजा-कथमिव(after विदूषक:-एकान्तसुखितो भवान्भविष्यति।)' अत्र कार्यन्वेषणाद्विरोधो नाम सन्ध्यङ्गमुक्तं भवति । MA p. 91.

५. 'उर्वशी- (कुमारमवलोक्य) को तु खल्वेष सबाणाक्षन: ... संयम्यमानशिखण्डकः तिष्ठति ।' अत्र कार्यमार्गणाद्विरोधो नाम सन्ध्यङ्गमुक्तं भवति । VK. p. 111.

६. 'इन्द्र:- जगतामुपकारी रामचन्द्रः । कस्तस्य प्रतिकूले कर्मणि प्रवर्तेतेऽनुकूले वा न प्रवर्तते ।' अत्र कार्यमार्गेणात्को विरोधो नाम सन्ध्यङ्गमुक्तम् । MV p. 232.

Vibodha means awakening and this appears to be a situation in which the characters are awakened and alive to secure the end. Bharata defines this as the search for the end through device. The DR drops 'Yuktyā' from Bharata's definition and in this all the text-book writers follow it. Thus if the original idea was that the character concerned sought the phala through some device it is represented by one. The

illustration in the DR from the R shows a course of events moving towards the Kārya, there is' no search or pursuit in it. The illustration from VS is more appropriate as it shows Bhīma going purposely to Draupadī in order to tie up her hair into a braid. The ND understands this as Kārya-mīmansā and refers to the situation in Chalitarāma where the arrival of Lava and his behaviour at the sight of the state of Sītā indicates that Sītā is still alive. The BP and SD agree with the DR. The NLR terms this as Anuyoga and understands it as Yukta-kāryānveṣaṇa. It retains the root ' Yuj ' in Bharata's Yuktyā and drops the device and adds a useless epithet to the search. Its illustration which shows Rāma inquiring about Sītā does not show the propriety of the epithet ' Yukta ' that it has introduced. Rāghavabhaṭṭa points it out properly in the ŚK in a passage in which Duṣhyanta skilfully elicits information about Śakuntalā and Sarvadamana. The passages from the VK, and MA, in which Kāṭayavema sees the Anga are merely exclamations, and can by no stretch of imagination be regarded as instances of search.

3. Grathana

Definitions :

१. उपक्षेपस्तु कार्योणां ग्रथनं परिकीतिततम् | NS XIX. 98.

२. ग्रथनं तदुपक्षेप: | DR I. 51.

३. प्रथनं कार्यदर्शनम् | ND I 63.

४. ग्रथनं तदुपक्षेप: तच्छब्द: कार्यवाचकः | BP 212-9.

५. कार्योपक्षेपणं ग्रथनम् | PR. 113.

६. ग्रथनं तदुपक्षेप: | RS. III. 70.

७. उपन्यासस्तु कार्योणां ग्रथनम् | SD VI. 126.

८. कार्योणां बहूनामुपक्षेपो ग्रथनम् | NLR. 36.

Illustrations :

१. यथा रत्नावल्याम् 'यौगन्धरायण: - देव क्षम्यतां यदेवस्याऽनिवेद्य मयैतत्कृतम् ' इत्यनेन वत्सराजस्य रत्नावल्यौप्रापणकार्योपक्षेपादू-थनम् | यथा च वेणीसंहारे भीम:- पाश्र्वाऽऽलि, न खलु मथि

जीवति संहर्तेव्या... स्वयमेवाहं संहरामि'। इत्यनेन द्रौपदीकेश-

संयमनकार्येस्योपक्षेपाद्ग्रथनमिति। DR. P. 28.

२. 'ततः प्रविशाति मातलि:' इत्यादिमा प्रथनं नामाङ्गमुपक्षिप्रम्।

तदक्षणं तु- 'उपक्षेप्तु कार्याणां प्रथनं परीकीर्तितम्' इति। ŚK. p. 255.

३. 'भागुरायणः - (स्वगतं) कष्टमेवमप्यस्मासु निहवान्कुमारो

मळयकेतुरतिसंधातव्य इत्यहो दुष्करम् ।' इदं कार्योपक्षेपणं

प्रथनम् । कार्यस्य मळयकेतवतिसंधानेन राक्षसवधीकरणस्योप-

क्षेपणात् । MP. p. 224

४. 'दुर्वेश- अहो सत्यवर्तीसूचितो मम पुत्रक आयुः । महान् खलु

संघृतः ।' अत्र तस्य कार्यस्य निवन्धनाद् ग्रन्थनं नाम सन्ध्यङ्गमुक्तम्

भवति । VK. p. 111.

५. 'मो: मो: सामाजिका:- त्वर्यतां... रामचन्द्रस्य राज्याभिषेकाय...।'

अत्र कार्योपक्षेपणरूपं प्रथनं नाम सन्ध्यङ्गमुक्तम् । MV. p. 234.

Grathana means 'stringing together.' The Nirvahana harmonises all the threads of the Mukha which are scattered over throughout the drama and Grathana brings all these threads together in their proper relations. The plural Kāryāṇām used by Bharata and the term Grathana itself suggest the bringing together of scattered threads. The later texts except the SD and NLR form a compound of the word Upakṣepa with the word Kārya so that the Kārya is understood as the ordinary Kārya i.e. fruit In the illustration the DR points out the situations from the R and VS where the Kārya is mentioned. The ND, BP, RS and PR follow the DR. The SD uses the plural Kāryāṇām in the definition and substitutes the singular Kārya in the ordinary sense in the explanation. The NLR illustrates it by a mention of Rāma's achievements. This however, does not represent Bharata's idea in as much as these are several achievements and are not threads of the action strung together. The illustrations of the text-book writers seem to follow the view of the DR.

4. Nirṇaya

Definitions :

१. अनुभूतस्य कथनं निर्णय: समुदाहृत: I NS XIX. 99.

२. अनुभूताख्य तु निर्णय: I DR. I. 51.

३. निर्णयोऽनुभववाक्यति: I ND I. 63.

४. निर्णयस्त्वनुभूताख्य: पुन: पुनरितीरित: I BP 212-20.

५. बीजानु गुणकार्यप्रशस्यपनं निर्णय: I PR 113.

६. स्यादनुभूतस्य निर्णय: कथनम् RS III 70.

७. निर्णय: पुन:- अनुभूतर्यकथनम् SD VI.127.

८. अनुभूतर्यकथनं निर्णय: I NLR 37.

Illustrations :

१. यथा रत्नावल्याम् ' यौगन्धरायण:... देव श्रूयताम् । इत्यं सिंहलेश्वरदुहिता सिद्धादेशेनोपपदि... वाङ्मय्य: प्रहित: I' इत्यनेन यौगन्धरायण: स्वानुभूतमर्थ ख्यापितवानिति निर्णय: I यथा च वेणीसंहारे 'भोम:-देव... काड्वादपि दुर्योधनहतक: I... मया हि तथ्य ... भूसौ क्षित्त्वा शरीरं ... इत्यनेन स्वानुभूतार्थ-कथनानिर्णय इति I DR p. 28.

२. ' माथच: - वत्स, अलमात्मापराधशड्कया ' इत्यादिना ' दर्शानावसान:' इत्यन्तेन निर्णयनामाङ्गमुपक्षिमम् । तल्लक्षणं तु-' अनुभूतर्यंकथनं निर्णय: समुदाहृत:' इति I ŚK p. 260.

३. 'क्षपणक:-अये, श्रुतं मऱयकेनतुना । कृतार्थोऽस्मि I'...इदं बीजानु-गुणकायप्रशस्यपननिर्णय: I MR p. 231.

४. 'तापसी-एष गृहीतविद्य आयु: सग्रतं कवचहर: संग्रत्त: ... निर्जातो हस्तनिक्षेप: I ' ... अत्रानुभूतर्यंकथनानिर्णयो नाम सन्य्यङ्नमुक्तं भवति I VK p. 112

५. इन्द्र:- ' गन्धर्वो घनरागसन्धमधुरं गायति कान्तस्वरं... I ' अत्र बीजानुगुणकार्यप्रशस्यपनात्रिणयो नाम. सन्य्यङ्नमुक्तम् । यथोक्तम्- 'बीजानुगुणकार्यस्य प्रशस्यपनं निर्णय: ' इति I MV p. 235.

Critical Material Relating to the Samdhvāṅgas

123

Nirnaya means ‘definite or decisive or convincing statement.’ Bharata’s definition makes it a narration of experience and it is difficult to connect the two meanings. The decision or conviction may be brought about by the narration of personal experience i. e. first-hand evidence in some plays, but not in all. Here is a case where the definition is much more restricted than the term and is true probably of the particular incident envisaged by Bharata. The DR, the SD and others have incorporated· both the meanings of Nirṇaya, conviction as well as narration of experience, in their illustrations. In the passage from the ṢK which illustrates this Anga according to Rāghavabhaṭṭa, there is conviction and a narration but not of the narrator’s experience. In the illustration shown by Kāṭayavema there is neither Nirṇaya nor narration of experience. Dhuṇḍhirāja has apparently an altogether different definition in view and the text of his commentary as it is printed appears to be corrupt.

5. Paribhāṣaṇa

Definitions :

१. परिवादकृतं यत्स्यात्तदाहुः परिभाषणम् । NŚ XIX 99.

२. परिभाषा मिथो जल्पः । DR I. 52.

३. परिभाषा स्वनिन्दनम् । ND I. 63.

४. परिवादकृतं यत्स्यात्तदाहुः परिभाषणम् । BP 212-21.

५. परिभाषा मिथो जल्पः । BP. 212-22.

६. मिथो जल्पनं परिभाषा । PR 113.

७. परिभाषा त्वन्योन्यं जल्पनमथवा परீवादः । RS III. 71.

८. बदन्ति परिभाषणम्-परिवादार्थकं वाक्यम् । SD VI. 128.

९. परिवादकृतं परिभाषणम् । NLR. 37.

Illustrations :

१. यथा रत्नावल्याम् ‘रत्नावली-...कृतापराधा...न शक्रोमि मुखं द्रष्टुं हितुम् ।’ ...... वासवदत्ता ... जानतापि नाचक्षितम् । इत्यनेनान्योन्यकचनात्परिभाषणम् । यथा च वेणीसंहारे ‘भीमः-कृच्छ्रेणासि राजा सदास ...इत्यादि । कौटसी भानुमती... पाण्डवदारान् । इत्यन्तेन भाषणात्परिभाषणम् । DR p. 28.

२. 'राज-प्रिये, सृतिभिन्न' इत्यादिना ( शकुन्तला... ' नास्य विध्वंसिमि ' १) एतदन्तेन परिभाषणं नामाङ्गमुपक्षिप्तम् । तत्कक्षणं तु- ' मिथः संजल्पनं यस्यास्तदाहुः परिभाषणम् ' इति ।

३. इदं भागुरायणभदन्तयोः ( P. 226... to P. 230. ) सिथः परिभाषणं जल्पनम् । MR p. 232.

४. 'उवंशी-शृङ्गोऽतु महाराजः।...तदु एतावान् मे महाराजेन संवासः।' अत्र मिथो जल्पनात् परिभाषा नाम सन्ध्यङ्गमुक्तं भवति । VK p. 115.

५. यथा तापसवत्सराजे वासवदत्तां प्रति राजा- ' देविः ... यथा तथा धृतप्राणं निःस्नेहं निरपत rapam...अनुग्रहाण माम् । ND p. 106.

६. 'इद्रः:-आचार इत्युत्कं... मनसापि वा । अत्र मिथोजल्पनारूपं परिभाषा नाम सन्ध्यङ्गमुक्तम् । MV p. 235.

Paribhāṣaṇa means 'a conventional sense or an expression of censure or admonition.' From the definition given by Bharata it is clear that he uses it in the last sense. Paribhāṣaṇa will therefore be an expression of censure and in this situation the characters are in a mood which is the opposite of that shown in the situation Prasāda. Realisation of a mistake would result in this expression of censure, especially of self-censure. This is one of the many moods which may be present at the time of the Kāryasiddhi. The Paribhāṣaṇa and Prasāda are but different ways of the rounding off of a plot. The DR drops the idea of censure and understands this as mutual conversation. The PR follows DR and BP. The RS gives both the views held by Bharata and the DR. Rāghavabhatta quotes a writer who is obviously a follower of the DR. The ND understands it rightly and makes it out as self-censure and illustrates it accordingly. The NLR illustration is not appropriate as there is no Nindana.

6. Dyuti

Definitions :

१. लघद्रव्यार्थस्य शमनं श्रुतिरित्यभिधीयते । NS XIX. 100.

२. कृत्रिमे न्धार्थशमनम् । DR I 53.

३. कृितः क्षेमम् । ND I. 64.

४. कृितर्लब्धार्थशमनं तु स्थिरीकरणं तु वा । BP. 213-2.

५. लब्धस्थिरीकरणं कृितः । PR 113.

६. कृितिरथ लब्धार्थसुस्थरीकरणम् । RS III. 72.

७. लब्धानुगमनं कृितः । SD VI. I29.

८. ईष्योद्देशोपशमनं युक्तितः । NLR. 37.

Illustrations

१. यथा रत्नावल्याम् 'राजा-को देव्या: प्रसादं न बहु.मन्यते...तथा कुरुष्व यथा बन्धुजनं न स्मरति ।' इत्यन्योन्यवचसा लब्धायां रत्नावल्यां राज्ञः सुष्टु.ष्ट्ये उपशमनात्कृितिरिति । यथा च वेणीसंहारे 'कृष्ण- एते खलु भगवन्तो' इत्यादिना 'अभिषेक-मारिषचन्द्रविलासिते' इत्यनेन प्रीतिराज्यस्योपशमनेऽभिलाषिके: शिरीकरणं कृितः । DR p. 29.

२. 'शकुन्तला:-मनोरथः खलु मे भणितो भगवत्या ।' अत्र कृितर्नोमाझमुपक्रमम् । तल्लक्षणम् - 'लब्धस्यार्थस्य शमनं कृितरितिभिधीयते' इति । SK p. 262.

३. 'राजा-आर्यप्रसाद एव चन्द्रगुप्तेनानुभूयते ।' इदं लब्धस्थिरीकरणं कृितर्नोमाझम् । MR p. 314.

४. 'परित्राजिका-मा मैवम् -अभ्याकरसमुत्पन्नो रत्नजातिपुरस्कृतः । जातरूपेण कल्याणी मणिः संयोगमर्हति ॥' अत्र लब्धार्थस्य स्थिरीकरणात्कृितर्नाम सन्ध्यझमुक्तं भवति । MA p. 105.

५. 'अप्सरा-(उर्वशीमुपेत्य) दृष्ट्या पुत्रस्य युवराजश्रिया भरुरविरहेण वर्धसे ।' अत्र लब्धार्थस्य सिधरीकरणात् कृितरिति सन्ध्यझमुक्तं भवति । VK p. 121.

६. 'विश्वामित्र:- आढ्योऽलोकशैला्त् ... आचन्द्रार्क ... धरित्र्या-मनुभवतु भवानाधिराज्यप्रतिष्ठाम् ।' अत्र लब्धस्थिरीकरणं कृितिनोऽ सन्ध्यझमुक्तम् । MV p. 236

Dyuti means 'brilliance or picturesqueness or lustre or splendour ' and it is very difficult to see any connection

between the term and the meaning given to it by Bharata i.e. Labdhārthaśamana. The same term has occured before in a different sense. Rāghavabhaṭṭa apperently is quoting Bharata and his reading is Krti. Even this alternative reading Krti does not solve the problem. The word Śamana in the definition of Bharata also varies. Dyuti would bring it nearer to Ānanda and it is possible to distinguish between the two by understanding Dyuti as another mood, a mood of joy prior to Ānanda which is realisation itself. But this goes against the definition given by Bharata. If Krti is achievement then consolidation of gains is real achievement. The DR follows Bharata and its illustration from the R refers to the, King's acceptance of Ratnāvalī and Vāsavadattā's request to him to treat her well. Here the opposition has disappeared and the union is sanctioned by Vāsavadattā. The ND gives three views one with the reading Krti and two with Dyuti ( i ) first it follows the DR. Śamana is understood as Paripālana or pacification. ( ii ) it states that Krti is Pratikūlyasamana and illustrates by referring to the situation in MR where Rākṣasa is completely won over ,and accepts office at Viṣṇugupta's bidding, ( iii ) the third view which understands this as situation in which there is a pacification of anger.

7. Prasāda.

Definitions :

१. शुश्रूषाद्युपसम्पन्नः प्रसाद इति भण्यते । NŚ XIX, 101.

२. प्रसादः पर्युपासनम् । DR I. 52.

३. सेवोपास्तिः । ND I. 64.

४. प्रसादः पर्युपासनम् । BP. 212-22.

५. पर्युपासनं प्रसादः । PR. 113.

६. शुश्रूषादिग्राह्यः प्रसादमाहः प्रसन्नतत्वम् । RS III. 71.

७. शुश्रूषादि प्रसादः स्यात् । SD VI. 130.

८. शुश्रूषाद्युपपन्नार्थे प्रसादः । NLR 37.

Illustrations :

१. यथा रत्नावल्याम्-‘ देव क्षम्यताम् ।’ इत्यादि दर्शितम् । यथा च वेणीसंहारे ‘ भीमः-देवि, पाण्डवऱाजतनये, दृष्ट्वा वर्षसे

रिपुकुलक्षणेण । ' इत्यनेन द्रौपद्या भीमसेननाराधिततत्वात्मसादिति । DR p. 29.

२. ' मारीच:-वत्से, चरितार्थोसि ' इत्यादिना ' आशास्महे ' इत्यन्तेन तु - ' झाश्राझपसंपन्नाप्रसादिलक्षणमझ़ुपहितम् । तझ़क्षणां तु - ' झुऊआश्राझपसंपन्नाप्रसादस्तु प्रसन्नता ' इति । SK p. 262.

३. ' तदत्र वस्तुनि मोहाटम्भनीयो राक्ष्षसः ' इदं कुपितस्य मढ़यकेतोः समाधारुरूपं पर्युपासनम् MR p. 233.

४. ' धारिणी-( माळविकां हस्ते गृहीत्वा) इदमायुप्तः प्रियनिवेदन-जुरूपं पारितोषिकं प्रतीच्छति ' अत्र प्रतीयुलादनात्मसादो नाम सन्ध्यझ़मुक्तं भवति । MA p. 105.

५. ' राजा- कि सुन्दरि प्ररुदितासि ममोपपत्त्रे... ( वाष्पमस्या: पमार्ष्ट । ) अत्र पर्युपासनात्मसादो नाम सन्ध्यझ़सूक्तं भवति । VK p. 114.

६. ' इन्द्रः-सखे महाराज ... पश्य ... रामचन्द्रस्य दर्शनीयताम् ... अत्र पर्युपासनात्मकः प्रसादो नाम सन्ध्यझ़सुक्तम् । MV p. 237.

Prasāda means 'propitiousness, graciousness of 'disposition, absence of excitement' and this appears to be a situation in which the characters, about to realise their desire, are in a joyous, happy mood or the senior characters on whose sanction depends the fulfilment are also in a mood to give their consent to the events that are taking place. Apparently it appears that this has nothing to do with Sevā or Paryupāsti, as the DR and the ND have taken it. The PR and others follow DR in the definition and the illustrations. All the illustrations however show propitiation rather than service, because in these situations the characters are in a joyous mood, their wishes being fulfilled and their desires granted. Sevā is not seen here and the illustrations appear to follow Bharata.

8. Śama.

Definitions :

९. दुःखस्यापगमो यस्तु स शमः स निगद्यते । NS XIX. 101.

२. समयो दुःखनिर्गमः । DR I. 52.

३. समयो दुःखनिवोसः। ND I. 64.

४. समयो दुःखनिगेमः। BP 213. 1.

५. दुःखप्रशमनं समयः। PR 113.

६. समयो दुःखापगमः। RS III. 72.

७. समयो दुःखनिरोधनम्। SD VI. 132

८. विरोधप्रशमनं समयः। NLR 37

Illustrations :

१. यथा रत्नावल्यां् ‘वासवदत्ता-(रत्नावल्लीमालिङ्ग्य) समाश्वसिहि भगिनिके।’ इत्यनेन भगिन्योरण्योर्न्यसमाgमेन दुःखनिर्गमात्समयः। यथा च वेणीसंहारे- ‘भगवन् कृतस्तस्य…मङ्ङान्याशास्ते …दुःखी किं पुनर्देव हस्त्वा।’ इत्यनेन युधिष्ठिरदुःखापगमं दर्शयति। DR p. 29.

२. ‘शकुन्तला-विरक्तकोल्डाप प्रहृत्यतस्याः खेदमनुभावयति भट्टा न म आशासीदात्मनो भागधेयेऽपि…यथा सानुमत्याक्र्यांत तथा संभाव्यत एतत्।’ अनेन समयाख्यमङ्गसुपक्षिसम्। तदक्षणम्- ‘दुःख्यापगमो यस्तु समयः स निगचते।’ इति। SK p. 250.

३. ‘चाणक्य…(सहर्षं) अये, अयमसावमात्य राक्षसः। चेन महात्मना…चिरमायासिता सेना वृक्षस्य मतिवश मे।’ इदं दुःखप्रशमनं समयः। MR p. 305.

४. ‘उर्वशी-अहो शल्यं मे हृद्यादपनतीमवि।’ अत्र दुःखविनिर्गेमात्समयो नाम सन्ध्यङ्गमुक्तं भवति। VK p. 119.

५. ‘दशरथः…त्वयि प्रत्यायुत्के…न धत्ते भूमानं मम मनसि नि:श्रेयसमपि।’ अत्र दुःखप्रशमनात्मकः समयो नाम सन्ध्यङ्गमुक्तम्। MV p. 240

Sama in philosophical literature means Quiescence, peace or pacification of grief and this appears to be a situation in which it is shown that all the troubles for the principal characters are over. The DR and others agree with Bharata in understanding this as disappearance of misery. The NLR understands this as Virodhapraśamana and points out as an

Critical Material Relating to the Samdhyangas

129

illustration the situation from R where Vāsavadattā gives up her hostile attitude and presents Ratnāvalī to the King asking him to treat her well as her relatives are far away. This makes Śama identical with Krti as mentioned by the ND since both these situations show Prātikūlyaśamana.

9. Ānanda.

Definitions.

१. समागमस्तु योग्योनामानन्दः स तु कीर्तितः। NS XIX 100

२. आनन्दो वाच्छितावाप्तिः। DR I. 52.

३. आनन्दो वाच्छितावाप्तिः। ND I. 64.

४. आनन्दो वाच्छितावाप्तिः। BP 213-1

५. वाच्छितार्थप्राप्तिरनन्दः। PR p. 113.

६. अभिलषितार्थसमागमसमानन्दं ग्राहयाचार्यः। RS III 72.

७. आनन्दो वाच्छितावाप्तिः। SD VI. 131.

८. अर्थसमागम आनन्दः। NLR 37.

Illustrations :

१. यथा रत्नावल्याम् ‘राजा-यथाह देवी।’ (रत्नावलीं गृह्णाति) यथा च वेणीसंहारे ‘द्रौपदी नाथ विस्मृतास्म्येतं व्यापारं...पुनः शिक्षिष्यामि।’ (केशान् ब्नाति) इत्याभ्यां प्राप्यतरत्नावलीप्राप्तिकेशसंयमनयोर्यात्सराजद्रौपदीस्यां प्राप्तत्वादानन्दः। DR p.29.

२. ‘शकुन्तला ...परित्यक्तुमहंन शक्नोमि त्वद्दर्शनम् ।’ आशिष्पुत्रः खल्वेषः। अनेनानन्दनामकङ्गमुपपक्ष्यते। तदक्षणं तु-‘ समागमस्तु योग्योनामानन्दः स तु कीर्त्यते’ इति। SK p. 251.

३. ‘राजा-विरुणीकृतकार्मुकौजसि जेतुं सुवि...समर्थ एव।...(चाणक्यं) आर्य, चन्द्रगुप्तः प्रणमति।’ इयं वाच्छितार्थप्राप्तिरनन्दः। MR p. 308.

४. ‘राजा – त्वच्छासनात्प्रसृत्ता एव वयम्...प्रतिगृह्णीता।’ अत्र वाच्छितवावाप्तिरनन्दो नाम सन्ध्यङ्गमुक्तं भवति। MA p. 106.

५. ‘राजा-परवानस्मिदेवेश्वरेण।’ इत्यत्रेष्टार्थसिद्धेर्गम्यमानत्वादानन्दो नाम सन्ध्यङ्गमुक्तं भवति। VK p. 119.

T. S. 9

६. 'दशरथ:- दिष्ट्या....सीतासमेतो रामचन्द्र:.....राजलक्ष्म्या विराजते। सफलमथ मे जातं वचः !' अत्र वाक्छलेन प्राप्तिरानन्दो नाम सन्ध्यङ्गमुपक्रम् । MV p. 235.

Ānanda means ‘joy or delight.’ Bharata has named the situation after the feeling of joy which ‘Arthānām Samāgama’ produces in the characters. The DR. ND, BP. RS. PR and NLR agree.

10. Bhāṣana.

Definitions :

१. सामदानादिसंयुक्तं भाषणं तुच्यते बुधैः । NS XIX. 102.

२. मायाविसृष्टं भाषणम् । DR I. 53.

३. भाषणं सामदानोक्ति: । ND I. 65.

४. मायारूढस्य सम्प्राप्तिरभाषेति परिभाष्यते । BP. 213-3.

५. प्रासङ्कार्यनुमोदनमाभाषणम् । PR 113.

६. बहुमानाद् व्याख्यानं भाषणम् । RS III 73.

७. सामदानादि भाषणम् । SD VI 134.

८. सापवादादिसम्पन्नं भाषणं भाषणम् । NLR 38.

Illustrations :

१. यथा रत्नावल्याम्-‘राजा-अत: परमपि प्रियमस्ति, यातो विक्रम- बाहुरातमसमतां प्राप्येसुरवीततले ।.....इत्यनेन कामार्थमानादि- भाषणमिति । DR p. 30.

२. यथा राघवानन्दनाटकेऽपि:‘दशमुखे ‘वसिष्ठ:-रामो दान्तदशाननः कियपरं सीता सतीष्वग्रणी:.. गुणैर्वैदेन्ह्य कुडुम्बं रघो:।’इत्यत्र वसिष्ठेन रघुकुलुम्बस्य रामचन्द्रादिसत्युरुषोत्यपतिस्थानतया तत्क्षणबहुमान- प्राप्तिकथाद् भाषणम् । RS p. 236.

३. ‘राक्ष:-विष्णुरुप्त, का गति: । एष प्रह्लोडस्मि ।’ इदं प्रासङ्कार्य- जुमेदनमभाषणमकुल् । MR p. 312.

४. ‘प्रतिहारी-(मालविकामुपेत्य) जयतु भद्निनी ।’ अत्र बहुमानप्राप्ते- र्भाषेति सन्ध्यङ्गमुपक्रम् भवति । MA p. 106.

Critical Material Relating to the Samdhyangas 131

५. 'महेश्वर:-(रामं प्रतिः)-सुप्रीता वयं भवदीयचरितादमुतेन...। पुनर्जाता इमे लोका:......पुनरयंहादिका किय: ।' इत्र प्राप्तकार्यानुमोदनमाभाषणं नाम सन्ध्यङ्गसुखम्। MV p. 237.

Bhāṣaṇa means 'conciliatory or kind words' and this appears to be a diplomatic speech which precedes realisation or skilful conversation which wins over the other party and makes the realisation possible. Thus Bharata's definition that it is a statement containing conciliation or gift may be understood. The DR understands this as acquisition of honour and illustrates from the R by the final scene where the King is shown to have secured Kāmalābha and Arthālābha. The BP agrees with this. The PR understands it to be consent for the events happening. The RS seems to have understood this as praise since the illustration is the praise of the Raghu family by Vasiṣṭha. The others follow Bharata.

11. Pūrvavākya.

Definitions :

१. पूर्ववाक्यं तु विषयं यथोक्तार्थप्रदर्शकम् । NŚ XIX. 103.

२. कार्यदृष्टिः पूर्वभावः । DR I. 53.

३. प्रागभावः कृत्यदर्शनम् । ND I. 65.

४. कार्यदृष्टिः पूर्वभावः । BP. 213-4.

५. इष्टकथादर्शनं पूर्वभावः । PR. p. 113.

६. तदुपक्रम (ण ?) कार्यस्य स्याद् दृष्टिः पूर्वभावस्तु । RS III. 73.

७. पूर्ववाक्यन्तु विषयं यथोक्तार्थोपदर्शनम् । SD VI. 135.

८. बीजोद्घाटनं पूर्ववाक्यम् । NLR p. 38.

Illustrations

१. यथा रत्नावल्याम् 'योगन्धरायणः:-एवं विज्ञायः भगिन्या: सम्प्रति करणीये देवी प्रमाणम् ... प्रतिपतिवास्मै रत्नमाळाम्' इत्थनेन 'वत्सराजाय रत्नावली दीयताम्' इति कार्येस्य योगन्धरायणमिप्रायानुप्रविष्टस्य वासवदत्तया दर्शनेत्पूर्वभाव इति । DR p. 30.

२. ' प्रथमा-श्रृणोतु महाराज:' इत्यादिना 'अनेकश:' इत्यन्तेन पूर्वभावनात्मकमञ्जुपक्षिसम् । तदक्षणं तु -' पूर्वभावस्तु विक्रेयो यथार्थोक्तोपदेशक:' इति । SK p. 249.

३. चाणक्य: - मद्र, निवेश्यताममत्यराक्षसाय । सोडयमिदानीं जानीते ।' इदमिष्टकार्यदर्शनं पूर्वभावो नामाङ्गम् । MR p. 313.

४. 'विदूषक:-अहो किल देवैवयं पण्डितकौशिकी भणिता...तत्र-भवती कदाचित्पूर्वयेद्रवतोऽपि मनोरथम् ।' अन्र कार्योपदर्शनात्पूर्व-भाव इति सन्ध्यङ्गसूत्रकं भवति । MA p. 91.

४. महेश्वर:-' तद्भवान्वसिष्ठविश्वामित्रोपदिष्टमार्गेण लोकरक्षाध्वरे दीक्षतों भवतु-सायम्प्रातरमी तत्रैव विजयं सम्पार्थयन्तां द्विजा: ।' अतःश्रेष्ठकार्यदर्शनात्मक: पूर्वभावो नाम सन्ध्यङ्गसूत्रकम् । MV p. 238.

Pūrvavākya means an 'earlier sentence ' and this appears to be a passage in which there is a reference to earlier statements or incidents. The SD takes this view. The DR understands this as the sight of the Kārya and the illustration from the R is accompanied by an expianation that the Kārya as cherished by Yaṅgandharāyaṇa is seen by Vāsavadattā. This explanation is completely at variance with the term and the definition of DR. The ND reads Prāgbhāva instead of Pūrvavākya. The ND gives an identical illustration with the DR and its meaning also is the same. According to a view quoted by it, the Anga consists of the sight of an expression very similar to one which has been used in the Mukhasamdhi. This view really brings out Bharata's own idea and the illustration in the ND from the MR is quite appropriate. The NLR understands the Anga to be the bursting open of the Bīja but the illustration from VS where Bhīma refers to Bhānumati's insulting language in the Mukhasamdhi shows that it is really a reference to an earlier incident. The PR agrees with the NLR. The RS defines it ambiguonsly as the sight of the Kārya in the early stage. The BP agrees with the DR. The commentators take the Anga to be Pūrvabhāva and follow the DR.

12. Upagūhana.

Definitions :

१. अदूसुतस्य च सम्प्राप्तौचेह्दुपगूहनम् । NS XIX 102.

२. अदूसुतप्राप्तौ: उपगूहनम् । DR I. 53.

३. अदूसुतासि: परिग्रुहनम् । ND I. 64.

४. अदूसुतप्राप्तौ: उपगूहनम् । BP. 213–4.

५. अदूसुतार्थप्राप्तिरुपगृहनम् । PR p. 113.

६. उपगूढमदूसुतप्राप्तिः । RS III. 73.

७. तत्त्ववेढुपगृहनम् यत्यादूसुतसंप्राप्तिः । SD VI. 133.

८. अदूसुतप्राप्तिरुपगृहनम् । NLR p. 38.

Illustrations :

१. यथा वीरसिंहदेवो-(मध्यो) महासमरसम्भेदवशाद्विशेषाश्च स्वास्ति... राजन्येऽलोकाय...मूर्ध्नजानां संहारोडभिनन्दितो...सिद्धजनेन । ' इत्येतनादूसुतार्थप्राप्तिरुपगूहनमिति । लुघ्यार्थेऽमानक्तितिरपि भवति । DR p. 30.

२. 'उभे-मा खल्विदमवलम्ब्य । कथं गृहीतमनेन । '(इति विस्मयाद- वलोकयत:) अनेनोपगूहनलक्षणमदूसुपक्षिणम् । तल्लक्षणं तु- ' अदूसुतस्य तु या प्राप्तिरेवेन्द्रुपगूहनम् ' इति । ŚK p. 248.

३. 'चाणक्य:-भद्र, कथय | केनोचुंगशिखाकुलापकपिलो बद्ध: पटान्ते शिखी । ' इयमदूसुतार्थप्राप्तिरुपरिगूहनं नामाङ्कितम् । MK p. 304.

४. 'राजा- कि नु खलु निरपे्र विशुद्धस्पातः । ' इत्यत्र अदूसुतार्थ- प्राप्तेरुपगूहनं नाम सन्थ्यङ्क्षरुक्तं भवति । VK p. 117.

५. 'इन्द्र:-रामचन्द्रानुभावेन त्रयो श्लोका: पुर्नजोताः:...पितापुत्रभावो हि पुत्रस्य महिमानं गोपयति । ' अत्र बीजोप्रगूहनं नामसन्थ्यङ्क- मुक्तम । MV p. 233.

The word Upagūhana means ‘hiding or concealing’ but it has been taken as showing ‘the appearance of the marvellous.’ The connection between the term and the sense is not quite clear and it is quite probable that Bharata had some

The Samdhis and the Samdhyangas

typical situation in an old play before him from which he picked up the term and has used it. The illustrations offer no help and the commentators have taken this to be appearance of marvellous according to the precept ‘Nirvahane adbhutam.’ The DR, ND, BP and all others agree with Bharata.

20. Kāryasamdhāra:

Definitions :

१. वरप्रदानसम्प्राप्तिः: काव्यसंहार इष्यते। NŚ XIX. 103.

२. वार्त्ताप्रः: काव्यसंहारः। DR I. 54.

३. ईप्सितं दातुमभिलाषः। ND I. 65.

४. वरप्रदानलाभादि: कार्यसंहार उच्यते। BP. 213-5.

५. कार्यार्थोपसंहति: संहारः। PR p. 113.

६. धर्मोर्थोपगमनादुपसंहारः कृतार्थताकथनम्। RS III. 71.

७. वरप्रदानसम्प्राप्तिः: काव्यसंहार इष्यते। SD VI. 137.

८. वरप्रदानसम्प्राप्तिः: काव्यसंहारः। NLR 38.

Illustrations :

१. ‘किं ते भूयः प्रियसुपकरोमी’ इत्यनेन काव्यसंहारलक्षणमझ्म-मुपक्षिप्रम्। तल्लक्षणं तु-‘ वरप्रदानसम्प्राप्तिः: काव्यसंहार उच्यते ’ इति। SK p. 263.

२. ‘चाणक्य:-भृत्या: भद्रभटाद्या: । इदं बीजवतां मुख्यार्थानां विकपीकरणानां ऐक्यार्थोपनयनं कार्यार्थोपसंहति: संहारो नामाझं नकवम्। MR p. 307.

३. प्रवृत्तानुग्रहोता मेघवतो कथमप्यै न भूष्या न फल्गोऽभविष्यतीहात्र वरस्य गम्यमानत्वादुपसंहारो नाम सन्ध्यङ्गमुक्तं भवति। VK p. 122.

४. ‘कि सम्पादयामि’ ...वरप्रदानसम्प्राप्तिः: काव्यमंहार इष्यते। VS. p. 210.

17. Praśasti.

Definitions :

१. नृपदेवप्रशान्तिष्ठ प्रशस्तिरभिधीयते। NŚ XIX. 104.

२. प्रशस्तिः: शुभशंसनम्। DR I. 54.

३. प्रशस्तिः शुभसंशनम्। ND I. 65.

४. प्रशस्तिर्यवीरविजयमुखादिप्रशंसनम्। BP. 213-6.

५. शुभशंसनं प्रशस्तिः। PR p. 113.

६. भरतेश्वरराज्याभिषेकादिग्रंथसंश्रय प्रशस्तिः स्यात। RS III. 74.

७. नृपदेशादिशांस्त्वस्तु प्रशस्तिरभिषीयते। SD VI. 137.

८. नृपद्विजातिगवादीनां शिवावधारणापूर्वे काव्यस्यावधारणे प्रशस्तिः। NLR p. 38.

Illustrations :

१. यथा बेणीसंहारे-'गीततरश्रेणीवान्... सततसुकृती भूताद्भुतः...। इति शुभशंसनात्मकप्रशस्तिः। DR p. 31.

२. 'प्रवर्ततां प्रकृतिहिताय पार्थिवः' इत्यनन प्रशस्तिनामकमज्ञसूचकिश्वरम्। तत्र क्षणमादभरते - 'देवद्विजनुपादीनां प्रशस्तिः स्यात्प्रशंसनम्' इति। SK p. 264.

३. 'राजा-राक्षसेन समं मैत्री राज्ये चारोपिता वयम...।' एतत् शुभशंसनं प्रशस्तिनाम निर्वहणसंध्येरुतममज्झम्। MR p. 316.

४. 'आशास्यमीतिभिगम...।' अनेनाशास्यासिद्धिकथनरूपेण शुभशंसनात्मकप्रशस्तिनाम सन्ध्यङ्गमुक्तं भवति। यदुक्रम- 'प्रशस्तिः शुभशंसनम्' इति। MA p. 108.

५. 'संगतं श्रीसरस्वत्योमूतयेसु सदा सताम्'। अत्र शुभशंसनात् प्रशस्तिनाम सन्ध्यङ्गमुक्तं भवति। VK. p. 122.

Kāvyasaṃhāra and Praśasti have been understood much in the same way by all the writers. They are not vitally connected with the action of the play nor do they form an important part of the construction of the plot. They are ways of rounding off the work. Kāvyasaṃhāra brings its conclusion and Praśasti brings blessings conferred on the audience.

Appendix

(1) Reconstruction of the Samdhis in the light of the Samdhyangas as enumerated by Bharata.

(2) Essential Samdhyangas.

136

The Samdhis and the Samdhyangas

(3) Dramatists' knowledge and observance of the theory.

(4) The treatment of the theory by the commentators.

I. Reconstruction of the Samdhis in the light of the Samdhyangas.

Mukha Samdhi :— Taking into consideration the scope of the Mukha Samdhi as explained by Abhinavagupta, 'Prārabdhiopayogi yāvanartharāśih' a glance at the Samdhyangas will show that they probably belong to this Samdhi, and that they are organically connected with it. Thus the start, then the attendant circumstances and the completion of the Bija, would themselves form the initial stage. Fascination would come as the motive for the struggle for the attainment of the end. Manifestation of the Bija with greater intensity would clear all doubts about the Bija. Skilful survey of circumstances would precede the deliberate step and as a result of the latter, there would be the approach of a pleasurable circumstance. After that may begin the brooding consequent on the glamour of the unknown, and afterwards a situation might occur which would be the sprouting up of the Bija, and after a situation which elucidates a complex of facts, a step towards the end may be taken and the play might begin. Thus

1. Upakṣepa

2. Parikara

3. Parinyāsa

4. Vilobhana

5. Yukti

6. Samādhāna

7. Prāpti

8. Vidhāna

9. Paribhāvanā

10. Udbheda

11. Bheda

12. Karana

All these Samdhyangas give a gradual development within the Sandhi itself, and in this way it can be shown that all the Angas are parts or avayavas of the Sandhi, although not all may be necessary in any given play.

Pratimukha Sandhi :-Taking into consideration the fact that in the Pratimukha Sandhi, the Bija is prominently seen only at times while all the while there is a steady, if unobserved, development of it, it will be seen that all the Angas are properly placed in this Sandhi. Thus at the beginning of this stage, which is an advance over the Mukha Sandhi, there is Vilāsa on the part of one character, the hero or the heroine, the character might at the same time be pining, or both might pine or there might be sign of some harm and hence there is Tāpana. Vilāsa is followed by Parisarpa or search, and the meeting of the two characters, gives scope for Narma, Narmadyuti, Puṣpa, and Pragamana. After receiving some set back, they might think of the means to the end, Upanyāsa . But this represents one side of the picture for there is a shady side also. The progress of the love affair is checked by a counter current represented by the remaining Samdhyangas. Thus Nirodha suppresses or controls the progress and throws it into doubt. Presumably the seniors or the senior Queen appears and takes the hero of the amour to task in Vajra. The hero realising that the secret is out, tries to reconcile the enraged character by entreaties in Paryupāsana which are not accepted, at first, in Vidhṛta. This early stage gives latitude for stage effect and hence Varnasamhāra, Pragamana and the like Angas are included. In this way the second stage might be completely worked out and thus it would also be proved that all the different Angas properly belong to the second stage. The Pratimukha shows the Bija as Drṣṭa Naṣṭa and these two aspects might be represented by the Samdhyangas in the following way :-

Drṣṭa Vilāsa Tāpana Parisarpa Narman

Effort or desire for the gratification of love. Distress or sight of harm. Search. Humour.

Narmadyuti Laughing away of faults or reverses.

Puspa Gallantry.

Upanyāsa Expedient step.

Pragamanana Repartree or appeasement contributory to love.

while the Naṣṭa is seen in

Nirodha Suppression.

Vajra Cutting remark.

Vidhūta Spurning away first advances.

Paryupāsana Appeasement.

and the whole at the end is made picturesque by the assemblage of castes. This will also show that Bharata primarily thought of a love intrigue—a Kāmapradhāna rūpaka.

Garbha Sandhi:—When it is remembered that in the Garbha there is Prāpti and Aprāpti, and that there is a search after it, it will be seen that here the plot is hampered by the opposing forces that come into play and the intrigue develops and is at its highest. Thus the Abhūtāharaṇa and Mārga give the action of one party. For success it might be found necessary to win some persons as shown by the Samgraha. Rūpa, the conjecture, would give uncertainty and if there is slight success then Prārthanā and Udāharaṇa are but natural. While this is going on, the opposition is trying to be effective. They proceed boldly in Krama. They are trying to counteract the Abhūtāharaṇa by the Adhibala. They may find something unpleasant and then there would be Totaka. Due to the unexpected success or the intervention of the other party there might be panic or fear, the plans of one party being frustrated. Anumāna would be the confirmation of Rūpa and the action that has come to a stop might receive fresh impetus by the sudden emergence of the Bīja into prominence in Ākṣepa. These two sides may be constructed as

Abhūtāharaṇa Resort to fraud.

Mārga The time-honoured way of truthfulness.

Samgraha Winning over

Prārthanā Request.

Udāharaṇa Statement of excellence or distinction.

Rūpa Uncertainty or conjecture.

Critical Material Relating to the Samdhyangas

139

This would give the Anvesana and Prāpta aspect in the Garbha while

Krama Adhibala Totaka Udvega Vidrava Anumāna Ākṣepa Bold manner of proceeding. Superior wit. Angry speech. Excitement. Panic. Confirmation. Sudden emergence of Bija into prominence.

give the elements which make the Bija Aprāpta in the Garbha. The entire stage might be looked upon as a tussel between the Abhūtāharaṇa and the Adhibala. It is also quite possible that one and the same party might use Abhūtāharaṇa and Adhibala and can have matters all in their own way. If they belong to different parties, an interesting conflict is the result. These two situations may be at times larger situations of which the other Angas may form minor parts. As the definition itself tells us, it is the Adhibala that succeeds and since in the Garbha the progress of the action is checked, the Adhibala in all probability belongs to the opposing current of action. This again shows that the Samdhyangas are the material out of which a Samdhi is built and it is not any baseless enumeration of incidents.

Avamarśa Samdhi :- Avamarśa is the stage after the Garbha in which the plot is checked and a stage before the Nirvahana in which the plot is carried to its end. So in this stage it is natural to expect the effects of the Garbha as well as the signs of the Nirvahana. Looking at the Samdhyangas some indicate the disappointment, anger, fatigue due to the opposition and frustration which was experienced in the Garbha. Thus Apavāda and Kheda show the effects of the Garbha. In that very mood may come Vidrava, Sampheta and Dyuti and as a general result there is the prevention of the desired event in Niṣedha, All this humiliation is concealed for the time being in Chādana, in a diplomatic way and the characters think of the ways to gain their ends. Here begins another turn and Prasanga which is devotion to elders, may come as a sort of compromise; then Vyavasāya is the action which leads the characters nearer the

goal and Ādāna is the sign of success. Śakti removes the obstruction seen in Niṣedha and as a result Prarocanā gives the glimpse of the Kārya. Thus the stages of the Avamarśa can be divided like this :

Apavāda Declaration of faults.

Kheda Mental Fatigue.

Vidrava Gross transgression of decorum.

Sampheṭa Speech in anger.

Virodhana Consequetive speeches due to excitement.

Dyuti Challenge.

Niṣedha Frustration.

These may be called the after-effects of the Garbha. Then

Chādana Pocketing of insult.

Prasangga Devotion to elders.

Śakti Removal of obstruction.

Vyavasāya Use of power.

Prarocanā The beginning of the end.

Ādāna Relishable prognostication.

give the preparation for the Nirvahana. Owing to a misunderstanding, it appears that probably many of these Samdhyangas have been misplaced and the organic connection between Samdhi and the part of the action which it shows and the Samdhyangas has not been made clear by the later writers. As they understand them· the Samdhyangas may be found anywhere. And then there is no reason why they should be restricted to the Avamarśa alone. The later writers do not give us any insight into the art of construction, which a study of these Samdhyangas ought to give.

Nirvahana Samdhi :-Taking into consideration the fact that the Nirvahana is the last stage in which the realisation of the Kārya is shown and also the fact, that as a rule a Sanskrit play is a comedy, it will be seen that all the Samdhyangas are properly placed here. The Nirvahana begins to show the Artha laid out in the Mukha and the two Samdhis are vitally connected or in any case ought to be so connected. The Samdhi gives this

connection and keeps up the continuity. The various threads are brought together in Grathana. The Vibodha introduces ingenuity or crowning efforts. Sanskrit dramaturgic theory requrires Adbhuta in the Nirvahana and the Upagūhana gives it. Lurking doubts are settled by the Nirṇaya. Sama puts an end to all misery. Krti and Ānanda import sure possession of desired objects and consequent realisation of the Phala.

Bharata has also taken into considération the various moods in which the Phalasiddhi takes place. Prasāda and Bhāṣaṇa embody graciousness of disposition. Paribhāṣaṇa brings in self-censure. The rounding off of the play requires Samhāra and Praśasti. Thus no Samdhyanga is out of place here and these form the material out of which the last phase is to be worked out. These Samdhyangas show the internal development in the Samdhi itself and the development might be traced as follows.

Samdhi Link, coming up of the germ, retrospect of the Bīja in its early phase.

Vibodha Ingenius search of means to the end.

Grathana Gathering together of the threads.

Nirṇaya Conviction of a personal account.

Upagūhana The happening of a marvel.

Ānanda Realisation of the desired end.

Sama Escape from grief.

These give the action, while

Prasāda Propitiousness.

Bhāṣaṇa Conciliatory words.

Krti Achievement—consolidation of gains.

Paribhāṣaṇa Censure.

Pūrṇavākya Reference to earlier events.

give the moods. Pūrvavākya also establishes the connection of the Nirvahana with the earlier Samdhis. Kāvyasamhāra and Praśasti mark the end of the play. This again shows that the Samdhyangas are the Avayavās of the Samdhi.

II. Essential Samdhyangas.

This reconstruction is not intended to suggest that all the Samdhyangas are essential. To think like that would be simply following the old commentators like Dhundhirāja and others.

Distinction mnst be made between the Samdhyangas that are essential and those that are not essential. Even to those old text-book writers all the Angas of a Samdhi were not essential, and the DR and the SD have given lists of Pradhāna Samdhyangas in a Samdhi. It is not quite clear, nor have they given any hint, as to the principle that they have followed in distinguishing between the Samdhyangas as Pradhāna and unimportant. Their views are as follows:-

१. एतेषाइङ्गेषपरिकरपरिन्यासयुक्त्युद्देशसमाधानानामवश्यंभावित्वात् । DR p. 11.

२. एतेषां व मध्ये परिसर्पप्रशमवधोपन्यासपुष्पाणां प्राधान्यम् । DR p. 16.

३. एषां च मध्ये डिमूत्राहरणमार्गतोटकादिषु लाङ्ग्षेपाणां प्राधान्यम् । DR p. 21.

४. तत्तत्प्रबन्धप्रयोजकतत्त्वप्रतिपादनानि प्रधाना नीति । DR p. 26.

५. इदमुख्यवस्तु यं निवन्धनी यम् after सन्धि, काल्यसंधार and प्रशस्ति । ND p. 104, 114, 115.

(1) Mukha : The text-book writers themselves have said that in this Samdhi Upakṣepa, Parikara, Parinyāsa, Yukti, Udbheda and Samādhāna are essential or important ( Pradhāna ), which means that the remaining are not essential. It may be suggested that the Prādhānya of Yukti was not accepted by Abhinavagupta and he was right in saying so. It is too much to expect the presence of all these Angas, yet it is to be admitted that all of them appear to be related to the main action. Just as Yukti might be dropped, similarly either Vidhāna or Karana might be present and the same might be said about the Angas Vilobhana and Paribhāvanā, Samādhāna and Udbheda. Prāpti has been rightly regarded as not very important.

(2) Pratimukha : Here too, it would be too much to expect the presence of all the Angas. The text-book writers hold that Parisarpa, Pragamana, Vajra, Upanyāsa and Puṣpa are Pradhāna. It may be said that in a love play all these might occur, yet to make the theory applicable to all plays in

general, only essential Angas might be noted. The essence of the drama is a conflict or struggle and from that point of view only Parisarpa, Tāpana, Nirodhana, and Upanyāsa appear to be essential. The others are of a general nature and even in a love play all of them might not be present, much less in other types of dramas.

(3) Garbha : In this Samdhi, the text-book writers hold that the Abhū tāharaṇa, Mārga, Toṭaka, Adhibala and Ākṣepa are Pradhāna, and it may be said that this enumeration is fairly correct, since, the drama is essentially a conflict and this conflict is at its highest in the Garbha. From this list Toṭaka might be dropped as it is natural but not essential. The remaining Angas, Udāharaṇa, Prārthana are natural in a love story but by no means essential to each and every play.

(4) Avamarsa :—The text-book writers hold that in this Samdhi, Apavāda, Śakti, Vyavasāya, Prarocanā and Ādāna are essential. Instead of Apavāda, Niṣedha should be included in this list as the latter is more directly connected with the dramatic action and is essential for the Samdhi in which the action is checked. Kheda, Dyuti, Chādana, Vidrava, Sampheta, and Prasaṅga are casual and might be present or not.

(5) Nirvahana :—The text-books offer no hints about the essential aṅgas, yet it might be said that Samdhi, Grathana, Vibodha, Krti, Sama and Ananda are essential in a comedy. The remaining angas Upagūhana, Nirṇaya, Pūrvavākyā, Prasāda, Bhāṣaṇa and Paribhāṣaṇa are unessential in the sense that not each of them is necessary but it may not do to omit all. The last two, the Kāvyasaṃhāra and Praśasti are required by the form of the play.

(6) Remembering the two central facts about a drama that firstly it is a complete action and secondly that it is a conflict, the list of the essential Samdhyangas might be given as Upakṣepa, Parikara, Parinyāsa, Samādhāna, Udbheda and Karana in the Mukha Samdhi; Parisarpa, Nirodhanā in the Pratimukha Samdhi; Abhū tāharaṇa, Adhibala and Ākṣepa in the Garbha Samdhi; Śakti, Vyavasāya, Prarocanā, Ādāna in the Avamarsa Samdhi and Samdhi, Vibodhana, Grathana and Krti in the Nirvahana Samdhi.

Nirvahana Sandhi. It will be easily seen that the Sandhyangas represent, the beginning, the conflict and the end respectively and hence the two dictums of drama are satisfied. The remaining Sandhyaṅgas are constructional and embellishments, and the dramatists have option as regards their use, for dramatists require selection and economy of incidents, time and space.

III. Dramatists' knowledge and observance of the theory.

The Sandhyangas as expounded by the writers of dramaturgic text-books and Commentators have been examined and now it is proposed to see how far the theory appears to be consciously followed by the play-wrights in the construction of their plays. It may be presumed that the dramatists were aware of the theory, since references here and there to certain aspects of the theory are to be met with. Thus Bāṇa in his Kādam̉bari in the description of the Rājakula says "Nāṭakamiva pratapatākāṁka śobhitam." The MR reference is still more important. The author goes on to say

कायोपक्षेपमदौ तनुमपि रचयस्तस्य विस्तारमिच्छ-

नृतीजानां गर्भितानां फलमतिगहलं गूढमुद्रेदयश्र ।

कुर्वन्‍बुद्धया विमर्शं प्रसृतमपि पुनः संहरन्‍कायेजातं

कर्तो वा नाटकानामिममनुभवति देशस्मृतिधो वा ॥

IV. 3. MR.

This is almost a complete description for the theory and there is most probably a reference to Upakṣepa, Udbheda and Upasaṁdhāra amongst the Aṅgas. Similarly the remarks.

सन्ध्यार्थे:-… तत्कनिमित्तं कविकृतनाटकस्येवानुभवसुखेऽ

न्यनिर्वहणे । ' MR. p. 265.

तदपि नामायमस्मदूदृत्तान्तस्य प्रतिक्षणमुपचीयमाननायककव्यसन-

माजोभ्भुयदायावसानः संहारो नाटकस्येव भवेत् । ' ऋतयारावणे

चरितेग्रे लक्ष्मणः ।

ND. 85

also show the authors' familarity with the theory which requires that the Nirvahana should have a bearing upon the Mukha, and that the play should be a conflict with a happy end for the hero. The theory of the Sandhis and the Sandhyaṅgas being based on universal laws of aesthetics and psychology, it is

Critical Material Relating to the Samdhyangas 145

quite natural that the analysis of any good play should reveal the presence of a variety of Samdhyangas in it. But it is difficult to say whether all the old dramas of Sudraka and Kalidasa for instance were constructed in obedience to this theory and to what extent they felt themselves free to depart from the same. The verse from the MR would show by the reference to the worries (Klesa) of the dramatist that at least Visakhadatta had tried to move within the frame work of the theory; but genius treats rigid rules as a King his royal robes and hence in spite of the restrictions imposed by the theory, good works have been produced. Saradatanaya describes the technical perfection of the VS by calling it 'Suslista, samdhi pancakasamyuta and Satrimsadbhusanojvala,' but the play with all this compliance with the rules is an inferior play as will be seen from the criticism that the text-books offer as regards the Samdhyanga Vilasa in II Act Sc. I. Similarly the fact that the R is chosen for the sake of illustrations by a commentator like Dhanika would show the technical perfection of the piece, at least in the eyes of Dhanika. But the R would never claim to take rank with the best plays in Sanskrit.

IV. The treatment of the theory by the commentators.

Commentators in their commentaries on the various plays have given an analysis of the plays indicating the Samdhis and the Samdhyangas and from these observations, it is possible to know their views. The commentary literature is very vast and an apology is to be given for the fact that many commentaries being not accessible, could not be examined and one had to remain satisfied with the commentaries that were easily accessible. The commentaries of Ranganatha, Lalla Dikshit, Ghanaśyama, Rucipati, Dharananda, Prthvidhara, Abhirama, Vasudeva, Balabhadra, Viraraghava, Katayavema, Dhundhiraja, Raghavabhatta and Jagaddhara were examined and it was seen that all the commentators do not try to analyse the plays according to the NS theory. Raghavabhatta, Dhundhiraja, Katayavema and Viraraghava take care to point them out while the remaining commentators seem to neglect the theory. Abhinavagupta points out that there were three different views about the Samdhis and the Samdhyangas; they being

T. S. 10

146

'The Samdhis and the Samdhyangas

(a) the Daśā View,

(2) the view that the Samdhyangas given in the parti-

cular order belong to a particular Samdhi, and

(3) the view that the Samdhyangas are transferrable and

no order is expected.

None of the commentators accepts the Daśā view while

Udbhata's view that the Samdhyangas are restricted to the

particular Samdhi seems to have been accepted by the majority

i. e. Rāghavabhaṭṭa, Kāṭayavema, Vīrarāghava, Dhundhirāja.

Jagaddhara is the only commentator who follows the view of

Abhinavagupta that such a rigidity cannot be enforced as it is

not possible to fix the position of many of the Samdhyangas

on account of their general nature, and that therefore they

may occur anywhere. This will be clear from the

Samdhyangas given in the Table 2.

From the commentaries, it appears that the Samdhyangas

are not treated as bearing out the Yathāsamkhya theory, yet

many of the commentators accept the corelation of the Artha-

prakrti and the Avasthā in the formation of a Samdhi. None

of the commentators shows the Samdhis or the Samdhyangas

of either the Paṭākā or the Prakari and they seem to suggest

that the Samdhyangas are essentially connected with the

Ādhikārika. The theory of the Samdhis and the Samdhyangas

gas deals mainly with plays where love intrigue predominates

and hence an attempt to locate all the Samdhyangas in a play

like the MV, the VS or the MR must strike one as artificial

while plays like the MA, or the R will be seen to answer the

test of the theory.

Any attempt at locating the Samdhyangas is bound to be

a subjective one and hence a comparative study of the analysis

given in the commentaries and the illustrations from the text-

books, shows that at times a situation which amounts to one

Samdhyanga according to one authority, has been taken to form

another Samdhyanga by another; similarly in the same play a

Samdhyanga is located at different places by different authorities;

and lastly one and the same authority finds two different

Samdhyangas in one and the same place in a play. For

instance, Dhanika finds Udbheda and Vilobhana, both in R. I.

Astāpāsta etc. or again Dhanika finds Bheda in VS. I. 27. Manaścalam etc. is regarded by the ND, an illustration of Udāharaṇa while the NLR sees in it the Samdhyāṅga Rūpa. Dhanika suggests that VS. VI 42: ‘Diṅtyā baddha’ etc. is Upagūhana and is also Krti; similarly Kāṭayavema many times points out two Samdhyāṅgas in the same situation. Jaggadhara’s commentaries on VS and MM are important as firstly, he is the only commentator who follows Abhinavagupta’s view, secondly his definitions of the Samdhyāṅgas seem to come from unknown source and differ from those to be seen in the text-books and hence he seems to present a distinct tradition as regards the Samdhyāṅgas.

The Samdhis and the Samdhyangas

148

Table No. I

A table showing the Samdhyangas of the NS, their order and variants in the Text-books.

No. NS DR ND BP PR RS SD NLR

1. 1. Upakṣepa 1 1 1 1 1 1 1 1
2. 2. Parikara 2 2 Parikriyā 2 2 2 2 2 2
3. 3. Parinyāsa 3 3 3 4 3 3 3 3
4. 4. Vilobhana 4 4 7 5 4 4 4 4
5. 5. Yukti 5 5 5 6 5 5 5 5
6. 6. Prāpti 6 6 9 Prāpaṇa 7 6 6 6 6
7. 7. Samādhāna 7 7 4 Samāhiti 8 7 7 7 7
8. 8. Vidhāna 8 8 8 8 8 8 8 8
9. 9. Paribbāvanā 9 9 Paribhäva 9 9 9 9 9
10. 10. Udbheda 10 10 10 10 10 10 10 10
11. 11. Karana 11 12 50 11 12 12 11 11
12. 12. Bheda 12 11 6 12 11 11 12 12

No. 1 NŠ 2 DR 3 ND 4 BP 5 PR 6 RS 7 SD 8 NLR. 9 1 2 3 4 5 6 7 8 9 10 11 12 13 1 13. Vilāsa 1 2 3 4 5 6 7 8 9 10 11 12 13 14. Parisarpa 1 2 3 4 5 6 7 8 9 10 11 12 13 15. Vidhrti 1 2 3 4 5 6 7 8 9 10 11 12 13 16. Tāpana 1 2 3 4 5 6 7 8 9 10 11 12 13 17. Narma 1 2 3 4 5 6 7 8 9 10 11 12 13 18. Narmadyuti 1 2 3 4 5 6 7 8 9 10 11 12 13 19. Pragayaṇa 1 2 3 4 5 6 7 8 9 10 11 12 13 20. Nirodha 3 Rodha 8 Virodha 8 Virodha 9 9 11 10 12 13 21, Paryupāsana 1 2 3 4 5 6 7 8 9 10 11 12 13 22. Vajra 1 2 3 4 5 6 7 8 9 10 11 12 13 23. Puṣpa 1 2 3 4 5 6 7 8 9 10 11 12 13 24. Upanyāsa 1 2 3 4 5 6 7 8 9 10 11 12 13 25. Varṇasamhāra 1 2 3 4 5 6 7 Prasānsana 1 2 3 4 5 6 7 8 Virodha 9 11 10 12 13 13 Upasarpa 2 Dhṛṇa Tāpa 6 7 10 3 4 11 9 12 5 Śama 4 Śama 4 Śama 4 5 5 5 6 6 6 7 7 7 8 8 8

No. NŚ DR ND BP PR RS SD NLR 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 10 11 12 13 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11 12 13 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 10 11 12 13 26. Abhittāraṇa 27. Mārga 28. Rūpa 29. Udāharaṇa 30. Krama 31. Samgraha 32. Anumāna 33. Prārthana 34. Akṣipta 35. Toṭaka 36. Adhibala 37. Udvega 38. Vidrava 12 Asatyā- 12 Asatyā- haraṇa 5 Udāhrti 4 Udbhṛti 9 Ut- 9 Ut- ksipta 9 Atibala 9 Atibala 11 Sambibirama 11 Saṃbhrama 11 Sambhrama

Critical Material Relating to the Samdhyangas 151

No. NŠ DR ND BP PR RS SD NLR

1 39. Apavāda 1 1 4 1 1 1 1 1

2 40. Sampheta 2 2 3 2 2 2 2 2

3 41. Vidrava 3 3 1 3 3 3 3 3

4 42. Śakti 9 5 10 5 4 4 - 4

5 43. Vyavasāya 7 9 13 9 5 5 6 5

6 44. Prasaṅga 6 7 2 7 7 7 7 6

7 45. Dyuti 12 6 6 6 6 6 5 7

8 46. Kheda 12 Vichalana 8 12 7 12 6 8 12 Vichalana 8

9 47. Nisedhana 4 Dravana 9 9 Pratiṣedha 9 9 - 9 9 Pratiṣedha 9

10 48. Virodhana 10 10 12 10 10 10 10 10

11 49. Ādāna 13 13 13 13 13 13 11 11

12 50. Chādana 8 Chalana 8 8 Chalana 8 8 8 13 12 Sādana

13 51. Prarocahā 11 11 5 11 11 11 11 13

The Samdhis and the Samdhyangas

NLR 9 Anuyoga 1 2 3 4 6 6 7 8 10 11 12 13 14

SD 8 1 2 Virodha 3 4 5 9 7 8 9 10 11 12 13 Upasanhāra 14

RS 7 1 2 Virodha 3 4 5 9 6 7 9 11 10 12 13 14

PR 6 1 2 Nirodha 3 4 5 9 6 7 8 11 10 12 13 14

BP 5 1 2 Pariguhana 3 4 5 7 6 8 9 11 10 12 13 14

ND 4 1 2 3 4 5 7 6 8 9 10 11 13 12 14

DR 3 1 2 3 4 5 9 6 7 8 12 10 11 Pūrvabhāva 13 14

NS 2 Samdhi vibodha 53. Grathana 54. Niraya 55. Paribhāṣaṇa 56. Krti 57. Prasāda 58. Ānanda 59. Śaṃcaya 60. Upagūhana 61. Bhāṣaṇa 62. Purvavākya 63. Kāvyasanhāra 64, Prasasti 65.

No. 1

Table No. 2

A Table showing the Samdhyangas in the Sanskrit plays as shown by the Commentators,

No.

Dh. MR 1. Upaksepa 2. Parikara 3. Paribhavana Udbheda Vilobhana Samadhana Bheda Karana Yukti Vidhana Parinyasa Prapri

Ragh. SK 3. Upaksepa Parikara Vilobhana Parinyasa Prapri Yukti Samadhana Paribhavana Udbheda Bheda Karana Vidhana

Kat. MA 4. Upaksepa Parikara Parinyasa Vilobhana Yukti Udbheda Samadhana Prapri Paribhavana Vidana

Kat. VK 5. Upaksepa Parikara Samadhana Prapri Vilobhana Yukti Udbheda Samadhana

UR 6. Upaksepa Parikara Samadhana Vilobhana Yukti Bheda Udbheda

Viraragh. MV 7. Upaksepa Parikara Samadhana Vilobhana Yukti Prapri Vidana Bheda Karana

Jag. VS 8. Upaksepa §Vyavasaya §Bhagana Parinyasa §Samaya §Vidrava Paribhava-Udbheda Karana Yukti Udahri

Jag. M. M. 9 Upaksepa

Critical Material Relating to the Samdhyangas 153

No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Dh. MR Vilāsa Parisarpa Vidhiṭā Paryupāsana Sama Praśamana Narma Narmastuti Upanyāsa Vajra Puṣpa Nirodha Varṇasaminhāra

Ragh. ŚK Vilāsa Parisarpa Vidhiṭā Sama Vajra Prāgayaṭā Upanyāsa Nirodha Puṣpa

Kāṭ. MA Vilāsa Puṣpa Upanyāsa Narma Nirodha Vidhiṭā Parisarpa Paryupāsana

Kāṭ. VK Vilāsa Vidhiṭā Śama Parisarpa Pragamana Vidhiṭā Upanyāsa Puṣpa Paryupāsana

Viragh. UR Parisarpa Vajra Prāgama Śama Dyuti Upanyāsa Nirodha Vilāsa Paryupāsana Vajra Narma Pragamana

Viragh. MV Parisarpa Vidhaṇa Kṣati Śama - Dyuti Kāyasainhāra

Jag. M M 9 Abhināharaṇa Ākṣipta Narma Kṣati Sādana Kāyasainhāra

The Samdhis and the Samdhyangas 154

No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Dh. MR 2 Abhāhāraṇa Mārga Rūpa Udāharaṇa Saṅgraha Sambhrama Krama Toṭaka Adhibala Anumāna Udvega Ākṣepa

Rāgh. ŚK 3 Abhāhāraṇa Mārga Udāharaṇa Krama Anumāna Saṅgraha Rūpa Sambhrama Adhibala Toṭaka Ākṣepa

Kāṭ. MA 4 Abhāhāraṇa Krama Sambhrama Saṅgraha Udvega Ākṣepa

Kāṭ. VK 5 Anumāna Ablūtāha- Mārga Udāharaṇa Sambhrama Saṅgraha Krama Ākṣepa

:Virārāgh. UR 6 Abhūtāha- Mārga Anumāna Udvega Krama Sambhrama Adhibala Udāhrti Ākṣepa Toṭaka

Viratāgh. MV 7 Anumāna Mārga Abhūta- Rūpa Udvega Sambhrama Ākṣepa Ablūtāh- Saṅgraha- Toṭaka Udāhrti

Jag. VS 8 Anumāna Abhūta- Mārga Abhūta- Krama Rūpa Udvega Sambhrama Ākṣepa Ablūtāh- Saṅgraha- Toṭaka Udāhrti

Jag. M. M. 9 Anumāna Abhūta- Mārga Abhūta- Krama Rūpa Udvega Sambhrama Ākṣepa Ablūtāh- Saṅgraha- Toṭaka Udāhrti

No.

1,

Dh.

MP

2

Apavāda

Sampheṭa

Chala

Prasanga

Śakti

Vyavasāya

Drava

Vidrava

Dyuti

Virodhana

Vicalana

Prarocanā

Ādāna

2

Rāgh.

ŚK

3

Sampheṭa

Drava

Virodha

Śakti

Prasṛti

Vidtrava

Vikrathana

Dyuti

Rocanā

Chalana

Ādāna

Vyavasāya

3

Kaṭ.

MA

4

Chalana

Apavāda

Sampheṭa

Dyuti

Ādāna

4

Kaṭ.

VK

5

Vyavasāya

Apavāda

Dyuti

Vicalana

Prarocanā

Śvibodhanā

Ādāna

Śakti

5

a. Viraṛagh.

VR

6

Drava

6

Jag,

MV

7

Vyavasāya

Apavāda

Sampheṭa

Drava

Vidrava

Śakti

Prasaṅga

Ādāna

Prarocanā

7

Viraṭāgh.

MV

8

8

Jag,

VS

9

Vyavasāya

Apavāda

Sampheṭa

Drava

Vidrava

Śakti

Prasaṅga

Ādāna

Prarocanā

9

Jag,

MA

No. 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Dh. MR Samdhi Virodha Grathana Paribhāṣāna Nirnaya Pūtypāsana Upagu̇hana Samaya Upasau̇ubr̥ti Anandā Abhāṣāna Kr̥ti Pūrvabhāvā Praśasti

Rāgh. SK Vibodhana Upagu̇hana Pūrvabhāvana Samaya Samdhi Ananda Paribhāṣā Nirnaya Prasāda Kr̥ti Kāvyasamibhara Praśasti 56

Kāt., MA Samdhi Vibodha Prasāda Kr̥ti Ananda Bhāṣi Praśasti 36

Kāt., VK Samdhi Vibodha Grathana Nirnaya Prasādā Paribhāṣa Upagu̇hana Samaya Ananda 44

Virāgh., UR Virodha Upagu̇hana Grathana Nirnaya Ānanda Paribhāṣa Kr̥ti Prasāda 25

Virāgh. MV Virodha Upagu̇hana Grathana Nirnaya Ānanda Paribhāṣa Kr̥ti Prasāda Abhāṣāna Pūrvabbhava Samaya Upasanibhara Praśasti 54

Jag. VS 8 15

Jag. M. M. Upagr̥hana Kāvyasamibhara Praśasti 9 8

Bold type = Repeated. Marked $ = Transferred.

64

CHAPTER III

Application of the theory.

The theory of the Samdhis and the Samdhyangas has been critically discussed in the foregoing Chapters and an attempt is made in this Chapter to see whether this theory can be revived again and made a living theory of criticism. For want of space, it is intended to show just the direction and not to enter into the details of the problem.

Dr. Keith remarks "But far more complex is the insistence on the sub-divisions of the five junctures into sixty-four members...The definitions and the classifications are without substantial interest or value". (Sanskrit Drama, p. 299) The censure is in a way just, for didactic criticism, which makes for the formulating of what comes to be thought of the principles of play is a mischievous thing'. Therefore it is too much to claim universal application for the rigid theory. It is but natural that a theory arising out of an examination of a certain type of a drama i. e. love intrigues, cannot have an universal application in its entirety. The obvious limitations are two-fold, namely, it is in the main applicable to love intrigues and secondly, it includes many casual features of the love intrigue play. Hence in an attempt to revive this wooden criticism and make it living, many omissions will have to be supplied. The first thing that may be done is that the special features of the love intrigue like Vīlāsa and Prārthanā may be dropped which would make it applicable to a larger variety of drama,

secondly, the casual Angas also might be dropped and only

the essential Angas need be considered. This would give a

tentative list of Sandhyangas which may be expected in any

play. Even Keith who remarks 'It is an essential defect of Indian-

theory in all its aspects that it tends to divisions which are

needless and confusing ' admits that, in the theory of Sandhis,

' there is so far obviously force and reason in the analysis

which if in needless elaboration, recognises the essential need

of a dramatic conflict, of obstacles to be overcome by the

hero and heroine in their efforts to secure abiding union.'

It has been shown that even the Sandhyangas also are

nothing but the plan of working out this conflict and if the

needless elaboration is dropped out, then the theory should

be of a fairly wide application.

Therefore to evolve a living criticism from this apparently

wooden formulae only such Sandhyangas which seem to be

vitally connected with dramatic action and which obey the

important dramatic laws might be selected ( Cf. Essential

Angas p. 141–144 ). The Sandhyangas are the high lights in

the construction and the play is bound to have some of them.

The theory of the Sandhyangas can be applied to tragedies also

if only the Sandhyangas of Nirvahana that give the happy

close i. e. Ananda, Prasada and the like are dropped. The

progres of the action or the representation of the dramatic

conflict may be indicated as

1. Mukha Sandhi Upakṣepa | Giving the Bīja.

( Exposition ) Parikara |

Parinyāsa |

Samādhāna | Giving the Arambha.

Udbheda |

Karana |

2. Pratimukha Sandhi Parisarpa | Contributing to deve-

( Development ) Upanyāsa | lopment.

Nirodhan | Giving the obstruc-

Tāpana | tion.

160

The Samdhis and the Samdhyangas

3. Garbha Samdhi Abhināharaṇa Adhibala Ākṣepa | Giving the intrigue of the play. Bīja coming into prominence.

4. Avamarśa Samdhi Śakti Vyavasāya | The determined action for the obtainment of the desired end.

( Postponement, Falling action ) Ādāna Prarocanā | Foreshadowing of the conclusion.

5. Nirvahana Samdhi Samdhi Vibodha Grathana Krti | Link with the earlier part. Last Crowning effort Gathering the threads. Consolidation of gains.

If these nearly twenty points are taken into consideration the theory has a very wide application. But even then it is to be remembered that no definite hard and fast rules can be given about the use of these Aṅgas. These Aṅgas are essential in the sense, they bring out the conflict in the drama, secondly, they represent action that is complete, and thirdly, they are very general—not peculiar to any type—and may be found in almost every play. It is on this line that the theory can be revived again.

It is now worthwhile to examine Some plays in accordance with this theory which is being claimed to have a wider application. For this purpose plays from Shakespeare ' As You Like It’ a comedy and Othello, a tragedy have been chosen. Before dealing with the application of the theory to these English plays a criticism is being offered of this application of the theory by Dhanika and Rāghavabhaṭṭa.

I. Ratnāvalī analysed by Dhanika.

The Mukha Samdhi :

The Upakṣepa, Parikara and the Parinyāsa are quite right as the three situations come one after another and

taken together show the beginning of the play. But Vilobhana has been wrongly placed. It has been shown that Vilobhana is fascination and thus it should show either the fascination which the King has towards Sāgarikā or which Sāgarikā has for the King and so Vilobhana should be located from I. 22. onwards. Same incident is further pointed out by Dhanika as amounting to Udbheda which perhaps shows confusion. Yukti has been properly placed as this is the survey of facts by which Yāugandharāyaṇa seems to secure his own aim; and Prāpti which is the result of the Yukti, should be placed in the next situation-practically in the remaining part of Act I in which Sāgarikā falls in love with the King. In this larger Prāpti, other Aṁgas should be placed. Thus Dhanika's Prāpti should be taken as Udbheda as it is there that Sāgarikā learns that she is seeing King Udayana to whom she was betrothed by her father. The fact increases her affection for him; Samādhāna which makes the Bīja firm, might be placed a little later where Sāgarikā intends to worship Cupid; and have a look at Udayana. Kāraṇa might be placed towards the end of the situation where the play has begun. Sāgarikā has seen Udayana, fallen in love with him, but is afraid of Vāsavadattā and hence goes away. We also learn that Yāṅgandharāyaṇa has purposely kept Sāgarikā with Vāsavadattā and also of the prediction that Udayana will marry Sāgarikā. To this there is the opposition of Vāsavadattā and hence it may be said that at the end of Act I Kāraṇa, the beginning of the Prakrtārtha is shown.

The Pratimukha Samdhi :

The Vilāsa which is the desire of pleasures of love and Vidhṛta have been rightly placed by Dhanika. Parisarpa Narma and Narmadyuti are quite alright. But Nirodha should, be located in the bigger situation viz. arrival of Vāsavadattā on the scene which forms the obstruction or check to the progressing love affair. Vajra is also rightly placed as it is sudden and harsh remark. Paryupāsana should be king's attempt to satisfy Vāsavadattā. Thus here

T. S. 11

162 The Samdhis and the Samdhyangas

it may be said that except Nirodha Dhanika's analysis is fairly satisfactory.

The Garbha Samdhi :

The Garbha is the dramatic centre and as such here the interest is at its highest. As has been said already, it is the struggle between the Abhinatāharana and the Adhibala. Thus the Vidusaka plans a meeting by Abhīnatāharana and Vāsavadattā and Kāñcanamalā outwit the King and the Vidusaka by their plan i. e. Adhibala. Thus Abhinatāharana is the plan " the Samdhivigrahacintā " of the Vidusaka. Mārga is the way in which events are going to happen i. e. the way which the Vidusaka explains to the King. Rūpa is the uncertainty or the suspicion about the opposition. Adhibala should be taken as larger situation in which Vāsavadattā and Kāñcanmalā make fools of the King and the Vidusaka and Totaka, Udvega, and Sambhrama should be included in that bigger situation. Aksepa suggests the way that is likely to lead to Kāryasiddhi and shows the intensity of the King's love for Sāgarikā which has gone to the length of being expressed even to Vāsavadattā.

The Avamarsa Samdhi :

The Kāryasiddhi is postponed by Sāgarikā's imprisonment and Apavāda shows the King blaming the Queen. Vyavasāya the device that ensures success should be the episode of the magician and not his ( magician's ) vaunt as Dhanika has shown but it must be remembered that Vyavasāya is determined action and hence the magician episode cannot be regarded as Vyavasāya in the strict sense, as it is no effort on the part of the king himself. The Vidrava is the confligration and Ādāna, the magician's trick by securing Sāgarikā's freedom suggests the approach of the end.

The Nirvahana Samdhi :

The Samdhi in the Nirvahana shows that Sāgarikā is a princess and thus the events are linked to the first part of the play. All the incidents are explained in Nirnaya which gives the conviction and all the remaining Angas have been very correctly pointed out by Dhanika. From this it will appear why the Ratnāvalī has been regarded as a technically perfect play.

II. The Śakuntalā analysed by Rāghavabhaṭṭa.

The Mukha Samdhi :

In the analysis of this Samdhi Rāghavabhaṭṭa has placed some of the Samdhyangas in a fairly correct way. Thus the Upakṣepa is the start of the action as the play is a possibility on account of the King's decision to see Śakuntalā; similarly Parikara and Parinyāsa taken together suggest development but Samādhāna has been wrongly placed. It should include the situation from Parinyāsa to the Samādhāna as here the King has a definite desire for Śakuntalā. Yukti has been rightly placed as it is a clever attempt to survey facts by which the king tries to get his doubts removed and in the very removal of his doubts the Prāpti should be placed. As there is no point in the situati ons pointed out by Rāghavabhaṭṭa, the entire narration by Priyamvadā and the delight which the King derives from the same since he realises that he can marry Śakuntalā should be taken as Prāpti. Paribhāvanā is the meditation and has been rightly placed. Udbheda and Karana and Bheda should be taken as identical; since they are to be seen in the same situation. The Prakrtārtha Samāram bha, the love affair has begun—the King gives the ring and Śakuntalā is unwilling to leave the place. That the person is King Duṣyanta is also known. Vidhāna is not seen at all and Rāghavabhaṭṭa's attempt to find it is without any significance.

The Pratimukha Samdhi :

In the Pratimukha Samdhi, the Vilāsa, the Parisarpa, the Vidhṛta and the Nirodha have been rightly placed. The Nirodha in the Śākuntala deserves notice. The Śākuntala is not a love intrigue and hence there can be no opposition, to the love affair. The opposition is due to the ill-luck or bad stars of the heroine and hence the course of her love is not quite smooth. Nirodha occurs in Gautami's arrival and hence the Śākuntala has remained an 'unkissed kiss.' Puṣpa should be better placed in the conversation between the King and Śakuntalā. Further, just as Gautami's arrival serves as a check to the progressing love affair, similarly the curse of Durvāsas serves as another, and a very important check. The curse of the fiery sage, is unexpected and harsh; hence the curse may be taken as Vajra-

Thus the Nirodha and the Vajra make up the opposition in the play. This will increase the scope of the Pratimukha Samdhi. According to Rāghavabhaṭṭa it ends with Act III, but it should include the curse in it, and after the curse the next section or the next phase of the story begins.

The Garbha Samdhi :

It has been already observed that the Śākuntalā is no love intrigue and hence naturally there is no scope for Abhinītāraṇa and the Adhibala. Naturally Kaṇa1 and Mārga cannot be expected. Rāghavabhaṭṭa's placing of the Samdhyangas is not convincing. How can the action of Priyamvadā and Anasūyā in not informing Śakuntalā of the curse be understood as fraud? That is doing injustice to them. Similarly Mārga is mere statement of a fact which is not important from this point of view of action. Similarly Krama is without significance. Ākṣepa is to be seen in the song of Hamsapadikā as that again takes up the lost thread. Thus, the really important Angas of the Samdhyangas of the Garbha, are absent here and that is but natural as the Śākuntalā does not belong to that type of plays which are contemplated in the main by the theory of the Samdhis and the Samdhyangas

The Avamarśa Samdhi :

Here again the Samdhi division of Rāghavabhaṭṭa is unsatisfactory. The Garbha Samdhi should stretch further to the Śakti situation, Śakuntalā's being taken away by the nymph, Sampheṭa might be placed either, or in both the situations--Śakuntalā's angry speech and in that of Śāṅgarava. Here again there is no scope for Drava and Vidrava. The situation pointed out as Śakti ushers in the Avamarśa Samdhi. Here again the Prarocanā has been wrongly placed. It may be identified with Sānumati incident i.e. Ādāna, as both suggest that Gods themselves are keen to see that the separated lovers are united. Similarly Śakti should be placed in the situation 'Recovery of the Ring' as that paves the way for the union. Vyavasāya has been misunderstood by Rāghavabhaṭṭa and points out the king's boast, but since the king does nothing positive on his own initiative to secure Śakuntalā, Vyavasāya which is determined action is absent here.

Application of the theory

165

The Nirvahaṇa Samdhi :

The placing of the Samdhyangas by Rāghavabhaṭṭa is very confusing. His Upagūhana and Purvabhäva together form the Samdhi as the union appears to be possible from this event onwards. Nirṇaya might be placed in Marica's explanation of the curse which explains the entire mystery and produces conviction. Paribhävanā, Ānanda and Krti etc. have been rightly placed. Whether to regard the fact of non-transformation of the herb into a serpent as a miracle or not is a subjective point and as such Upagūhana will be present or absent. Räghavabhaṭṭa makes an attempt to find out all the Samdhyangas and he is successful in doing so in the Nirvahaṇa because the union is here the same as the union in the love intrigues; the moods represented by Prasäda, Krti, Ānanda are natural to a play that has a happy ending and hence all these are to be seen here.

III. “As you Like It ” analysed according to the theory of the Samdhis and the Samdhyangas.

Note :

(1) Moulton's analysis of the play is given first and then analysis of the plays is attempted with a view to bringing out clearly the difference between the two ways of studying a dramatic work.

(2) The references are to Verity's Edition.

Moulton's analysis of the play is as follows.

“As You Like It.” A Comedy of Convention and Humour.

Plot : Outer enveloping action : Civil War of the Dukes-ends in religious conversion.

Inner Enveloping Action : Feud in the De Boys family-ends in Dramatic conversion.

Main plot of Quadruple loves

1. Love and Disguise Rosalind and Orlando

2. Love and folly Audrey and Touchstone

3. Conventional love Phebe and Silvius

4. Love at first sight Celia and Oliver

166

The Samdhis and the Samdhyangas

Triple Humour : Natural Rosalind.

: Professional Touchstone.

: Morbid Jaques.

Outer Atmosphere : Conventional Pastoral life. The forest

of Arden.

Relief : Immanent in the plot. "

( p.349. 'Shakespeare as a Dramatic Thinker').

In this way he unfolds the various threads in the plot.

It will be seen that this includes the study of the plot, and

atmosphere of the play.

Bharata : Examined according to Bharat's theory;- the

analysis of the play would be as follows :-

Artha Prakrtis :-(1) Classification of the elements of

the plot.

1. Bīja : The initial incident : Feud in the de Boys

family, in fact, Orlendo's quarrel with his brother and the

challenge to Charles is the initial incident, for it is this

situation that leads to the love affair between Rosalind and

Orlando.

2. Bindu : When Rosalind-Orlando story is taken as the

principal or Ādhikārika all other episodes become subordinate

or Prāsangika, and the various places where these episodes

are linked with the main Ādhikārika story of Rosalind and

Orlando are so many Bindus. Thus for instance, Phebe and

Silvius affair is linked as at their sight Rosalind's love

for Orlando is aroused.

3. Patākā ; All the other love stories, Audrey and

Touchstone, Celia and Oliver and also the civil war of the

Dukes are the sub-plots

4. Prakarī : The love affair of Phebe and Silvius

which is introduced very late, may be looked upon as Prakarī

as it is shorter than the other two. Even Celia and Oliver

affair may be looked upon as a Prakarī.

Patākā and Prakarī both are Prasamgika and hence these are sub-plots. It is only the length that distinguishes them.

5. Kārya : The union of Rosalind and Orlando and also the other marriages. So also the reconciliation of the Dukes and brothers. But evidently looking as we are at the Rosalind and Orlando story as the Ādhikārika, their union is the Kārya.

6. The Avathās : (1) Ārambha, the beginning is to be seen in the challenge match between Charles and Orlando, and in Rosalind's love and sympathy for young Orlando ( Act I Sc. ii. lines 175–265.) Both have fallen in love with each other.

( 2 ) Prayatna, the effort, is mostly on the part of Rosalind when dressed as a male yet addressed as Rosalind she makes Orlando woo her. ( Act III Sc. ii lines 370–396.)

7. Prāptyāśā : Prāptyāśā, hope of realisation may be seen at Act IV Sc. i 105–115 where Orlando says, " I take thee, Rosalind, for wife " and Rosalind remarks ' a woman 's thought runs before her action '

8. Niyatāpti : Niyatāpti, certainty of success or realisation is to be seen at Act V sc. ii lines 103–116 where Rosalind promises to help Phebe, Silvius and also Orlando " I will satisfy you; if ever I satisfy man, and you shall be married tomorrow.......As you love Rosalind, meet........Orlando ' I will not fail if I live '

9. Phalāgama : This is to be seen at Act. V Sc. iv line 105 onwards where Hymen, Rosalind and. Celia come, upto line 190 where the marriages and the conciliations take place. Accurate location would be L. 119 ' I will have no husband if you be not he ' and ' Wedding is great Juno's Crown.'

10. Samdhis : The various Samdhis and the Samdhyangas can be traced as follows :

11. The Mukha Samdhi : This Samdhi includes the Initial incidents and the actual beginning of the main action and hence Act I Scenes i and ii constitute the Mukha Samdhi as the

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'challenge ' and the love between Rosalind and Orlando begins in this section of the play.

The various Samdhyangas in this Samdhi can be located as follows. Scene i gives the quarrel and the challange. Sc. ii the love affair.

Samdhyangas :-

1. Upaksepa : Lines 160-175. Rosalind " We will make it our suit etc." Rosalind's sympathy and willingness to mediate to stop the fight and this is but the first glimpse of the love which is going to be aroused.

2. Parikara : Lines 188-199. Rosalind " Now Hercules be thy speed, young man ! " The sympathy and admiration become stronger, being increased.

3. Parinyāsa : Lines 213-217. Rosalind " My father loved Sir Roland as his soul." Rosalind knows Orlando to be a son to Sir Roland and her love is increased all the more.

4. Samādhāna : Lines 223-225. Rosalind " Gentleman... Wear this for me " ( Giving him a chain from her neck ). Here the love affair actually begins. This may also be considered as Udbheda as here is also the outburst or the sudden stronger manifestation of the same.

5. Vilobhana : Lines 235-239. Orlando " O poor Orlando, thou art overthrown ! Something weaker masters thee." As Orlando himself is also being fascinated by lovely Rosalind.

6 Kāraṇa : Lines 246-265. Orlando " Which of the two was daughter of the Duke : But heavenly Rosalind. " This shows that Orlando has definitely fallen in love with Rosalind and the story has begun. We wait to see the action which either may take. These are the principal situations in the development ot action in Mukha Samdhi.

II. The Pratimukha Samdhi: The section from Sc. iii in Act I to Act II may be looked upon as the Pratimukha Samdhi. It is a short one, and the two Samdhis come very close to each other. It is a fact that in the earlier part of the play the action moves much quicker.

Samdhyangas :

Parisarpa : Lines 25-35 Rosalind's sympathy and love for Orlando is referred to, and this constitutes a slight development over the events in the first section.

Nirodha : Lines 36-85. These lines give the banishment of Rosalind by the Duke, which is a calamity and apparent difficulty in the progress of the love affair.

Upanyāsa : Lines 101-132. These lines give the plot of Rosalind and Celia to run away—Rosalind dressed as a male and Celia as the younger sister. Thus this plan in which they 'go in content to liberty and not to banishment ' is their resourcefulness in finding some way out which serves as a means to the end.

Act II Sc. iii. This is also another Nirodha and Upanyāsa as Adam exposes the plan of Oliver to burn Orlando to death (Nirodha) and later on Orlando and Adam start for the Forest of Arden.

These two Nirodhas-banishment of Rosalind and the plot against Orlando's life and the Upanyāsas that follow-leaving respective places-are very significant as these make the meeting of Rosalind and Orlando in Arden a possibility.

The Drṣṭanāṣṭa character of love is seen here for the opening part of Act I Sc. iii shows Rosalind's love. Then again Act II Sc. iv shows her love-sick. The remaining and intervening portion is taken up by other events due to which the development is neither clear nor considerable.

The Garbha Samdhi :

This Samdhi may be located as Act III Sc. i to Act III Sc. iv where there is the Udbheda of the main action. This is the dramatic centre and interest is at its highest.

Samdhyangas :

Abhūṭaharanā : Rosalind having cianged her dress and moving about as Ganymede completely deceives the other characters and creates interest in the plot.

Ākṣipta : Orlando is writing verses on Rosalind and she is reading with the knowledge that they are written by Orlando, shows us clearly the slowly progressing love story which is the main action and the Bīja coming into prominence.

Adhibhāla : Lines 328 onwards : Rosalind meets Orlando in a male dress and deceives him and this deception lasts nearly upto the end. This deception too makes the action progress and is the logical sequence of the Abhītāhāraṇa.

Krama : Lines 388-389 : Rosalind “I would cure you if you would call me Rosalind and come every day to my cote and woo me.” This shows the events to come which constitute the progress. In this is seen Rosalind’s scheme of deception of Orlando and her bold way of proceeding to accomplish her desire.

The Avamarśa Samdhi : This is from Act III Sc. iv line 65 to Act. V Sc. ii where the progress and some advance is checked by the intrusion of other episodes of Celia, Oliver, Phebe Silvius, and secondly by Orlando’s missing engagements twice; first in Sc. iv lines 1-40 where he is late and secondly when he is wounded and sends Oliver with the blood red scarf. So this is Avamarśa due to Vyasana.

Samdhyangas :

Apavāda : Lines 35-40 Act III Sc. iv. Orlando being blamed as “Swears, braves, oaths and breaks them bravely.”

Prarocanā : Lines 110-115 Act IV Sc. i. Rosalind ‘Then you must say “I take thee Rosalind for wife…..a woman’s thought runs before her action.” This is very nearly accomplishment yet, as Rosalind is in male dress, this shows the events to come later on.

Nisedha : Lines 100-130 Act IV Sc. iii. Orlando is wounded and hence the desired meeting cannot take place. So this is obstruction to the desired end.

Udvega : Lines 155-160. Rosalind faints.

Ādana : Lines 55-65 Act V Sc. ii. Rosalind “I can do strange things.” Rosalind here clearly hints the approach of

the fulfilment as she says, "If you do love Rosalind......shall you marry her ?"

The Nirvahana Sandhi : This samdhi begins from line 65 Act V Sc. ii upto the end, where the realisation is seen. This is the last part of the play and all the scattered threads are united and knit together.

Samdhyangas :

Samdhi : Lines 65-70 Act V Sc. ii. Rosalind "there fore put you in your best array......you will be married tomorrow to Rosalind."

Grathana : Lines 105-115 Act V Sc. ii. Rosalind asks Phebe, Silvius and Orlando to come and promises them fulfilment.

Upagūhana : Lines 104 onwards Act V Sc. iv. Hymen enters with Rosalind and Celia. The entrance of Hymen is Adbhuta.

Ānanda : Lines 110 to 145 Act V Sc. iv where all have their wishes fulfilled. The Duke and Orlando have their Rosalind, Oliver gets Celia, Touchstone and Audrey are united and so also Phebe and Silvius.

Krti : Lines 165-175 up to the close, where the senior Duke seals the course of events with his own approval.

In this way the Sandhi and the Sandhyangas theory can be applied to this play, and this will reveal that this is a very close analysis of the main action. Bharata deserves the credit for having been a critical student of drama in those ancient days.

IV. "Othello", a Tragedy, analysed according to the theory of the Sandhis and the Sandhyangas :

Note : The references are to Deighton’s Edition. Moulton’s analysis of the play is as follows : "Othello" A Tragedy of situation developed by Intrigue

plot :

Main action

Original situation | Bianca’s liaison with Cassio.

Trio of love Actions | Roderigo’s pursuit of Desdemona.

True love, Desdemona & Othello.

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The Samdhis and the Samdhyangas

Motive Intrigues centering in Iago

Four Intrigues | 1. Intrigue against Roderigo to draw money.

| 2. Intrigue against Cassio's Office.

| 3. Intrigue against Cassio's life.

| 4. Intrigue against Othello to make him feel the pangs of jealousy.

By Iago as motive centre all drawn into a unity.

Reaction : All Iago's intrigues recoiling on him in Nemesis.

Enveloping action : The Turkish war.

Relief : Episodes of the clown. "

( p. 363. "Shakespeare as a Dramatic Thinker" ).

Bharata : This is Moulton's analysis of the plot and the action of the play. The same according to Bharata would be as follows

Arthaprakrtis :-

I. Classification of the elements of the plot.

The starting circumstance : Iago's hatred for Othello and resolve for the destruction of his happiness by making him feel the pangs of jealousy is the starting circumstance.

As Bradley observes Iago is an arch liar, his words cannot be taken as truth whether 'Appointment of Cassio' was the original incident which makes him hate the moor or the fact the 'moor has lept into his bed' is the original cause of his hate.

Thus due to the unreliable nature of his words, it is difficult to say anything about the original incident, still Iago's hatred excited by any of these two events is the initial incident as it is this situation that is the centre of the whole tragedy.

Bindu : When Iago's intrigue against Othello to make him feel the pangs of jealously is taken as the Ādhikārika, other episodes, Roderigo-Desdemona, Cassio-Bianca become Prāsam-gika and the various places where these are linked to the Ādhikārika intrigue are so many Bindus for instance, Cassio and Bianca meet and converse and Othello is made to overhear all this which inflames him all the more.

Application of the theory

173

Patākā : Patākā and Prakari are Prāsangika varieties of the sub-plot. So Roderigo's pursuit of Desdemona as it begins in Act I and is given a greater scope may be looked upon as Patākā or the Turkish war which is the ‘Enveloping action,’ may be also regarded as Patākā.

Prakarī : Cassio-Bianca liasion may be looked upon as Prakarī. As has been observed Patākā and Prakarī both are Prāsangika and it is only the length that distinguishes them.

Kārya : The complete destruction of Othello's happiness is the Kārya of the play.

In this way the plot may be resolved into its constituent elements.

The Avasthās : The movement of the plot.

1. Ārambha or the beginning of the intrigue against Othello is to be seen in Act I Sc. i where Iago asks Roderigo to awaken Desdemona's father and ‘to plague him ( Othello ) with flies and throw changes of vexation on the joy that it may lose colour ’-upto lines 389 Act I Sc. iii, where Iago gives out his plan. “ After some time, to abuse Othello's ear that he is too familiar with his wife….I have it. It is engendered.” This is the Ārambha of the intrigue.

2. Prayatna or the effort is ceaseless as Iago is giving blows after blows till the intrigue is successful, so this is practically to be seen throughout the play. Episodes, such as securing the handkerchief through Emilie, arranging the night quarrel and offering wine to Cassio, are to be included in the effort of Iago.

3. Prātyāśā or hope of realisation is to be seen from Act III Sc. iii where Iago makes Othello overhear the conversation between Cassio and Bianca upto Act IV Sc. i where Othello says “ Ay, let her rot and perish, for she shall not live; my heart is turned to stone. ”

4. Niyatāpti : Certainty of the end begins from line 190 in this very scene Act IV Sc. i where Othello says ‘‘Get me some poison,…this night,” and Iago makes a devilish suggestion ‘ Do it not with poison, strangle her in her bed,’ and Othello approves of the same with “Excellent Good.”

5. Phalāgama. The end itself comes in Act V Sc. ii where Othello strangles Desdamona and thus the progress of Iago's intrigue can be traced in the play.

The Samdhis and the Samdhyangas : The various Samdhis or sections can be traced as follows.

Mukha Samdhi : This Samdhi which includes the start of the action and the actual beginning is to be seen in Act I and Act II. Sc. i The initial incident, Cassio's appointment instead of Iago and Iago's thought to ruin Othello's happiness both are to be seen in Act I.

Samdhyangas : The various Samdhyangas might be traced as follows, all in Act I which is the Mukha Samdhi.

Upaksepa : Line 7. Roderigo "Though told'st me thou didst hold him in thy hate." This is the first mention of the hatred which is the spring of the action.

Parikara : Line 7 to 39. Iago explains his grievance that he was rejected for the post of a lieutenant and affirms his hatred as 'whether I in any just term am affined to love the Moor.'

Parinyasa : Lines 40 to 66. Iago more clearly expresses himself, and says 'I am not what I am.' and in "following him, I follow but, myself...for my peculiar end."

Samādhāna : Lines 142. "I do hate him as I do hell-pains." This is the actual beginning of the trouble and knavery of Iago.

Udbheda : Lines 372-389, Sc. iii. This is the real beginning, for Iago for the first time tells us the course of action he is going to take—as to how he is going to take advantage of the facts—that he is considered as 'honest' by Othello and secondly Cassio's too much familiarity with Desdemona and thirdly Othello's free and open nature by which he will be tied by the nose as asses are. Thus the action begins from this place onwards.

Karana : Act II Sc. i lines 276–302. Iago's plan is more clearly explained.

The Pratimukha Samdhi : This Samdhi covers a very small part of the play. In fact the jealousy and plan of Iago

Application of the theory

are proceeding, yet at the outset the progress is vary slow as the narration of the plain unvarnished tale and the affairs of the senate, the Turkish war, and Othello's appointment at Cyprus give very little time for the plot to proceed. This section may be regarded as Pratimukha Saṃdhi; hence many of the Saṃdhyangas are absent. Iago's intrigue develops without any set-back and hence there is no Nirdba or Parisarpa worthy of mention.

The Garbha Saṃdhi : This Saṃdhi covers the part of the play from Act II Sc. iii upto Act III Scene iii where Iago's plans have gone a long way.

Saṃdhyangas :

Abhūtarharṇa : Lines 50 upto 309. Act II Sc. iii.

Iago's fraud in making Cassio drunk and lose his post and then the advice to win the Moor through Desdemona.

Mārga : Lines 309 to 330. Iago states the facts, the course of action he intends to take by misinterpretations of Desdemona's pleading for Cassio.

Krama : Lines 352-359. Iago tells the two things to be done and this shows his plan of proceeding boldly to realise his desire.

Ākṣipta : Lines 34–246 Act III. Sc. iii

The famous scene, ‘Ha! I like not that’ where Iago begins his work by poisoning Othello's mind and jealousy appears to dominate his mind.

Upanyāsa : Lines 320–330. Iago's calculations about the use of the handkerchief, the loss of which proves fatal to Desdemona and hence serves as a means to his end.

Adhibala : Lines 400 onwards. Iago deceives Othello by the narration of false episodes or excites his jealousy all the more.

The Avamarśa Saṃdhi : This begins from Act III. Sc. iv.

Yavasāya : Lines 1 to 200 Act IV. Sc. i

Iago's action in making Othello overhear the conversation of Cassio and Bianca is his device to convince Othello and thus

to ensure the success of his intrigue. Othello has demanded the proof and this is the proof that Iago gives and may be regarded as his determined action.

Ādāna : Act.IV. Sc. ii Othello interviews Desdemona and expresses his jealousy and wrath and this shows the final approach of the tragedy.

Praracanā : Line 40-58 Act IV Sc. iii. Desdemona's tragic song suggests the end that is to come.

The Nirvahan Samdhi :

Act V forms the Nirvahana Samdhi and the end of the play.

Samdhi : Act V Sc. i. Iago from behind wounds Cassio in the leg. This is the fulfilment of part of his plan which was 'to destroy them all.'

Yibodha : Lines 30-31 Othello 'Minion, ... I come.' and goes to murder Desdemona, this is the crowning effort which culminates into the tragedy.

Grathana : Iago succeeds in wounding Cassio and stabbing Roderigo. As this is a tragedy Ānanda etc. cannot be present.

Thus dropping some Samdhyangas appropriate to a comedy, the theory may be applied to a tragedy and this shows only the universal nature of the theory. The fact that Nirodha, Niṣedha etc. are not found only shows that from the first Iago has easy success, and there is no opposition to his plan. Thus without any obstruction the action very swiftly moves. The Samdhyangas used, as well as the dropping of Pratimukha and some of the Samdhyangas only confirms the opinion of the Western Critics, that the action in Othello moves very quickly.

CHAPTER IV

Parallelisms between the Nāṭya-Śāstra theory of the Drama and Dramatic theories in the West.

Bharata was a great theorist and his theories grew out of his observations. In his Chapter on the Samdhis and the Samdhyangas we find Bharata discussing the technical principles or the plot of the play. ‘As the technical principles of every art endure through the ages unchanged’ ( Brander Mathews, p. 4. Art of Drama,) some of the precepts proposed by Bharata state permanent and essential principles of dramaturgy.

First of all, there is a clear recognition of the essential relations of drama to the theatre, “with its declamation, its gestures, its spectacles and above all with its spectators whom the play has to interest, to arouse and to hold”. ( Brander Mathews. Art of Drama Cf. Definition of Prekṣaka). Similarly the present discussion shows the clear recognition of the supreme importance of the action, the story and the plot. Bharata has not gone so deep into the question of characters, but has studied the problem of the structure of incidents and from this, it appears that according to him “the incidents and the plot are the end of a piece.” ( Aristotle. Poetics Translation by Butcher. p. 27). According to Bharata ‘Nāṭya is Anukrti-imitation’ and this is identical with Aristotle’s ‘play is an imitation of the action and of life, of

T. S. 12

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The Samdhis and the Samdhyangas

happiness and misery' (p. 27). Dramatic action, therefore, is not with a view to the representation of character; character comes in as subsidiary to the action. The dramatist according to Bharata and Aristotle is a 'maker of plots rather than of verses' (p. 37). It has already been observed that 'the entire dramatic action has been divided into smaller divisions according to different principles'. The 'Avastāpancaka' gives us the five stages of the action, they being, the beginning (Prārabha), the effort (Prayatna), the hope of success (Prātyāśā), the certainty of success (Niyatāpti), and the acquisition of the end (Phalāgama). This means that the dramatic action should be a complete whole, since 'whole is that which has a beginning, a middle and an end' (p. 37). Bharata in his statement of Avastāpancaka has uttered an axiom with which Aristotle's conception of wholeness of action is identical, the fact being that 'the middle' of Aristotle includes in itself and is capable of being resolved into 'the Prayatna, the Prātyāśā and the Niyatāpti.' Here too, Bharata's approach is more critical than that of Aristotle.

Bharata seems to admit sub-plots and episodes (the Patākā and the Prakarī) among the Arthaprakrtis and thus he does not 'insist on a 'single plot, undiversified by episodes and uncomplicated by subordinate incidents and characters.' (Hudson. Introduction to Literature p. 324). The examination of his observations as regards the Act and its contents shows that he does not insist on the unities of Time and Place as later on Aristotle did. It appears that he realised that 'the unities of Time and Place were imposed from outside' while the unity of Action is merely an inherent and essential principle of plot construction. Bharata admits the Patākā and the Prakarī (minor actions and incidents), but they cannot gain prominence and mar the unity, since these are to be rounded off before the Garbha and the Vimarsa. The heroes of these sub-episodes must serve the purpose of the principal story, the Ādhikārika. The ND's observation about the Patākā that 'Tulyakālatva' destroys the Upakāryopakārakabhāva is significant, and Bharata's 'Āvaśyakāravyāvrttanavirodhena' is also important. From this it would appear that the Romantic School (Hudson. p. 324) holds identical views with our

theorists when they say 'Unity of action does not require a singleness of incident but organic connection and coherence'. Minor actions and sub-plots may be admitted but all the elements of the plot should be woven together and made interdependent as 'cooperative factors in the evolution of the plot as a whole. As Dryden puts it 'pawns in the chess-board shall be made of service to the greater persons, all the lines of action shall run together in a single catastrophe.' Further from the observations of Bharata it appears that according to him action is undoubtedly central but emotion, Rasa, is fundamental. Drama must be capable of arousing emotions in the audience, and such emotion is of prime importance. Drama is a conflict, it is a crisis—all this is a partial truth. The simplest yet accurate definition is one by Baker ( p. 45, Dramatic Technique ). That is dramatic which by representation of imaginary personages interests, through its emotions, an average audience assembled in a theatre. This is exactly identical with Bharata's view. Coming to the matter of representation Bharata suggests that war and death scenes should not be actually shown. It may be that theatrical conditions might have been responsible for this, yet this objection to the 'hideous on the stage ' is to be found in Horace also when it is reported that he advised 'let not Media kill her children on the stage '. Thus there are many parallels to be found between Bharata and the early writers on dramaturgy in the West.

A play is a dramatisation of an underlying story ( Itivrtta ) which covers a larger canvas than the play itself. The dramatist is narrowly restricted by the time at his disposal and he has always to select “ the high points ” of his underlying story. (Clayton Hamilton. So You Are Writing a Play p. 98.) This task of dramatisation is in conformity with the basic principles of all the arts and is a matter which requires in the first place a selection of details in accordance with a pattern. The Arthaprakrtis suggest the elements of the plot. Of these the first is the Bīja and Bharata defines the same as “ अल्पमात्रं समुद्भूय बहुधा-विस्तरप्रसृत्पति । फलावसानं यच्चैव बीजं तद्वद्भिघीयते ॥ ”

and it pervades the entire play as it is 'Samasta-itivrttavyāpi' (ND). Bharata has suggested this in the 'Phalāvasānatva ' of the

Bija. This Bija of the play is identcal with the 'Germinal Idea' of which Clayton Hamilton ( p. 77-92. ) speaks in the following words : " Experience appears to show, however, that there are only four different standpoints from which a dramatist may start out, in approaching a new project. In other words, there are only four different types of germinal ideas which, by the natural process of psychologic incubation, may be developed into plays. In the first place, it is possible to start a play from an abstract theme or thesis, -some general proposition about human life; secondly, it is possible for a play-wright to start with an idea of character, either with a compelling image of a dynamic personage or with a concept of a group of contrasted and mutually foiling personalities. The third method of starting a play is. to begin with the intention of a striking dramatic situation; fourthly a dramatist may begin with a haunting feeling of a certain place and time, or of a certain social environment, longing to translate this feeling into the terms of theatrical expression." These four stand-points might not be there in Bharata. Yet the ' Nāṭa-sotpattisambhavatva', 'Phalāvasānānatva' and 'Samasta-itivṛttavyā-ptiva' are all already there.

Just as Bija can be equated with the Germinal Idea, similarly the Patākā, the Prakarī and the Kārya are the sub-plot, the short episodes and the end respectively. The Arthaprakṛti Bindu is a puzzling concept. It has been defined as 'अवान्तरार्थविच्छेदे बिन्दुरच्छेदकारणम्‌' by Bharata, which means that a Bindu is that which secures the continuity when there has been discontinuity or break due to incidental matters. Further it is to be noted that in the definition of the Act, it is said that it should have a Bindu. The Act is ' Kincidavalagnabindu ' etc. Thirdly Bharata's 'यावत्समाप्तिरबन्धष्या' and the ND in 'आफलादिति समस्तेतिवृत्त-व्यापकत्वमाह' suggest that the Bindu pervades the entire play. From all this, three points about the Bindu can be gathered, ( i ) it is the cause of continuity ( ii ) it is to be seen in every Act and ( iii ) it pervades the entire play. The commentator Kāṭayavema is probably right when in each Act save the last, he points out the Bindu with the remark 'उत्तराक्षोपयोगितया अविच्छेदकारणाद्‌ बिन्दुरित्यनुल्गदेयम्‌'. All this would show the Bindu to be a linking point or a binding link which

secures continuity in the play through the various Acts. Then the Bindu has a striking parallel in the following views expressed by Clark in his A Study of the Modern Drama, ' Every first Act—and every other save the last — must as a rule arouse the interest of the audience in the fate of the characters; few Acts can stand independently. It is usually towards the end of the Act that an indication of the future course of events is found. They are in the nature of a ' Continued in our next ' notice, and serve as binding links in the story ( p. 9). Thus both the Avasthāpañcaka and Arthaprakrtis have their parallels in Western criticism.

The task of dramatisation requires selection, omission and arrangement of incidents. It appears that Bharata had all this in his mind as he says that the purpose of the Sandhyangas is.

इष्टार्थस्य रचना वृत्तान्तस्यानुपकर्षः । रागप्राप्तिः प्रयोज्यस्य गुप्तानां चैव गूहनम् ॥ आश्रयैवदभिल्यानां प्रकाश्यानां प्रकाशनम् । अकूर्गानां पदैर्विधं हेतुदृशं शाखे प्रयोजनम् ॥ NS XIX 51.52.

To this advice of Bharata the following lines of Clayton Hamilton ( pp. 98-107 ) present a striking parallel. " We should not lose sight of the technical distinction between the underlying story and the play itself (the Itivrtta and the Kāvya of Bharata). The imagined situation may multiply itself into many situations. This natural development will be found to follow the logic of events and the logic of character. The logic of events is based on the relation between cause and effect. This task requires a selection of details, an arrangement of these details in accordance with a pattern. In reviewing the multifarious incidents we ought not to find it difficult to distirguish between those that are stageworthy and those that are not." That the events are related by the cause and effect relation is to be clearly seen in the relations of the various Sandhyangas. Further Clayton Hamilton would like to have in the development 'emphasis, suspense and surprise' which Bharata has already suggested in 'Āścaryavadabbikhyānam'. Clayton Hamilton

in his So You Are Writing a Play has made some observations as regards the construction but they are not many and as shown above, have been in the main on the lines of Bharata. A deeper analysis of the action like the Sandhyangas is not attempted by him.

Among the Western critics, Moulton in his two works on Shakespeare ( Shakespeare As a Dramatic Artist and Shakespeare As a Dramatic Thinker. ) has made an attempt to go deeper into the structure of the plot and it is interesting to note the similarity of his observations after a study of Shakespeare with the observations of Bharata.

Moulton admits a dramatic centre which is the Garbha of the Sanskrit theory and Garbha has actually been explained as 'नाव्यास्य मध्येनावृद गर्भः' by NLR. The general dramatic theory as regards the sub-plot, the treatment, the dramatic irony and other dramatic elements is more or less the same.

Yet greater similarity is to be seen in his observations on Shakespeare's comedies. The Sanskrit theory too, in the main deals with comedies and love intrigues as the Sandhyangas, Vilāsa, Prārthanā, Krti, Ānanda, Sama etc. show. The Sanskrit comedy has its highest point in the Garbha. The intrigue is at its highest. Moulton tells us that in Shakespeare too comedy is similarly a story raised to its highest power ( p. 167 ). A Shakespearean comedy is a harmony of many stories, says Moulton, which as already pointed above is the unity of impression or action of Sanskrit theory. The Sanskrit theory of Sandhyangas does not discuss the sub-plot and the episode, it ensures a simple and logical sequence of events in the main plot, 'the Ādhikārika' ( p. 109 ). Moulton further observes 'a story par excellence is found where the movement leads us through a complication and attains to a resolution,' which is precisely the same as what the Sanskrit theory says about the Garbha and the Vimarsa giving the complication and the Nirvahana giving the resolution. The idea of a story par excellence is precisely the same.

Moulton ( p. 169 ) observes that the complication and the resolution may take a great variety of forms as error, mistaken identity and the recognition, folly and its exposure, peril and

release, moral fall and restoration or moral problem and its solution. All these are to be seen in one comedy or the other in Sanskrit.

Moulton ( p. 176 ) brings out another aspect of Shakespearean Comedies in "A drama is a spectacle and a spectacle implies a spectator; all that is presented is arranged with a view to the appeal it will make to the emotional nature of the spectators. In various periods Comedy has made its appeal to the emotions in various ways. Even in primitive comedy the sympathies were drawn out in different directions, they came into intimate touch with fun and abandon, with biting satire, with broad face and caricature. Even in Attic Comedy appeal was made at the same time and to opposite sympathies, to the ludicrous and to the serious." The convenient word to express these diverse appeals to the spectators' emotional sympathies is 'Tones'. He mentions the following tones : Tragic, Serious, Fancy, Wit, Ludicrous, Satire, Caricature, Fun and Abandon. The Sanskrit theory of Rasa provides for these tones through the Sandhyangas, such as the Puṣpa, the Toṭaka, the Vajra, the Pragayaṇa, the Narma etc.

It has been said that in the Avasthāpāñcalaka Bharata is suggesting the wholeness and completeness of the action and in the Arthaprakṛtis he is suggesting the elements of the plot. All the Avasthās are essential in every play but not so the Arthaprakṛtis, yet Sanskrit theory lays down that the elements of the plot should be so arranged that the emotional tension will appear as natural and complete. Bharata does not lay down anything definite as regards the relation of the elements of the plot and the stages of dramatic action. But later on Dhananjaya in his Yathāsaṃkhyā view combines the two to form a Sandhi and makes the theory not only mechanical but irrational. Bharata's position is like that of Aristotle while Dhananjaya's position becomes like the position of Horace who in Epistle on the Art of Poetry is said to have declared that every play of serious importance should be constructed in five Acts. In fact Dhananjaya offers a very striking parallel with Gustav Freytag

the author of the Technique of the Drama. Freytag based his theory of dramaturgical construction on the assumption that Shakespeare had deliberately planned his plays in five Acts in conformity with the Horatian formula and hence, Freytag stated that ‘every serious play should be built up in five sub-divisions, the first Act should set forth the necessary exposition, the second Act should cultivate a rising interest, the third Act should exhibit the climax of the play, the forth Act should interpose an interval of falling tension and the fifth Act should exhibit the catastrophe or the termination.’ ( C. Hamilton p. 151 ) Just as the Sanskrit writers sought to establish a connection between the Arthaprakrtis, Avasthās and Sandhis, Freytag sought to do the same between Acts and the five stages. But Dhananjaya’s Yathāsamkhya is untenable and in a like manner . Freytag’s views have been refuted by later writers. Yet the most striking parallel between the Sanskrit theory and the Western theories is the idea of the Five divisions of a play. Bharata’s Sandhis have been explained in Chapter I and may be compared with the following views of Aristotle, Hudson and Bradley.

“ Aristotle indeed divides the integral parts of a play into four. First, the Protasis or entrance, which gives light only to the characters of the persons and proceeds very little into any part of the action. Secondly, the Epitasis or working up of the plot; where the play grows warmer, the design or action of it is drawing on and you see something promising that will come to pass; thirdly, the Catastasis, the height and full growth of the play which may be called the counter turn, which destroys the expectation, throws the action in new difficulties and leaves you far distant from that hope in which it found you; as you may have observed in a violent stream resisted by a narrow passage, it runs round to an eddy, and carries back the waters with more swiftness than it brought them on. Lastly, the Catastrophe, the French called it ‘ Denouement,’ the discovery, or the unravelling of the plot, where all things are seen settling again upon the first foundations; and the obstacles which hindered the design or action of the play once removed, it ends with that resemblance of truth and nature, that the audience are satisfied

with the conduct of it". ( Dryden. Essay on Dramatic Poesy. p. 27 ).

Hudson's observations also are identical. " Through every plot we may thus trace more or less clearly what is sometimes called 'the dramatic line.' We have, to begin with, some Initial Incident or Incidents in which the conflict originates; secondly, the Rising Action, Growth, or Complication, comprising that part of the play in which conflict continues to increase in intensity while the outcome remains uncertain; thirdly, the Climax, Crisis or the Turning Point, at which one of the coutending forces obtain such controiling power that henceforth its ultimate success is assured; fourthly the Falling Action, Resolution, or Denouement, comprising that part of the play in which the stages in the movement of events towards the success are marked out and fifthly, the Conclusion or Catastrophe, in which the conflict is brought to a close " (Hudson. p. 265 ).

This is but the paraphrase of Bharata's

' मुखं प्रतिमुखं गर्भोंडवमर्श एव च । तथा निर्वहणं चैव सन्धयो नाटके स्मृता: । यत्र बीजसमुत्पत्तिरनर्थेरससम्भवा काव्ये धीरोदयुगतं तन्सुखं परिकीर्तिततम । बीजस्योद्भाटनं यत्रु हृष्टनष्टमिव कचित । मुखन्यासतस्तत्र तद्भे प्रतिमुखं भवेत । उद्भेदस्तस्य बीजस्य प्राप्तिरप्राप्तिरेव वा । मुखप्रतिमुखाभ्यां यत्र से गर्भ इति संज्ञित: । गर्भेऽनिरभिमर्शार्थी विडम्बनकृतोडपि वा । किश्चित्क्षेपसंयुक्तोऽवमर्श इति संज्ञित: । समनयनमर्थानां मुख्यार्थानां सबीजिनाम । फलोपसंहतानां यत्र्ा शयं निर्वहणं तु तत् ।

NŚ XIX. 37-43.

So also Bradley in his Shakespearean Tragedy ( Lecture II on Construction ) accepts the same plan of division but remarks that there is always the difficulty of drawing the lines between them. "The scheme of division is more of

less arbitrary. Though it is hard to divide spring from summer, and summer from autumn, still spring is spring and summer is summer." He applies the plan to Shakespearean tragedies and in a foot-note on page 41 remarks " In the same way a comedy will consist of three parts, showing the 'situation,' the complication, or 'entanglement ' and the denouement or 'solution.' Here Bradley has made a division into three instead of fives sections, and in doing so, he lines himself with modern writers like Clayton Hamilton who in his So You Are Writing a Play points out that " the modern tendency is to eliminate two divisions, viz. the development and the falling action in order to intensify the play. The Sanskrit theory speaks of the cancellation of some Sandhis.

पूर्वसन्ध्यपि यत्कार्यं हीनसन्ध्यपि यत्पुनः । नियमात्पूर्णसन्धिः स्यादीनसन्ध्यस्य कारणात्‌।। एकलोπε चतुर्थस्य द्विलोπε त्रिचतर्थयोः । द्वितीयात्रिचतुर्थानां त्रिलोे लोप इष्यते ।।

NŚ XIX. 17·18.

It is difficult to say whether this was for intensification but it appears that 'Sandhilopa' meant that the work is not a Nātaka or Prakarana, but belongs to other types like Ihāmrga, Vyāyoga etc.

Coming to the more modern criticism in Europe and America the tendency is to hold that no such theory can be given. It is for the play-wright to have his own theory and rules.

Clayton Hamilton (on p! 77) tells us abcut Ibsen and William Archer as follows:-" Ibsen never arrived at a set and changeless formula for making plays. He would begin one play in one manner, and another in a totally different way; and his technical methods would be adjusted naturally to the dictates of the task in hand. I remember now that William Archer told me that it was mainly as a result of his conversations with Ibsen that he decided to begin his treatise Play Making, with the simple but emphatic sentence " There are no rules for writing a play ". (For similar views cf. Ervin

p. 12, How to write a play ). Naturally modern writers do not worry so much about the analysis of ‘plot making’. They start with the incident and speak of the building of the play by selection and omission. In the general conduct of the play their ideas are similar to our theory, but words like Exposition or Climax seem to be going out of fashion.

Thus the general conception about the image of the drama is precisely the same. The handling of these five divisions is recommended almost in the same strain and had the Western writers gone deeper into the structure of the play, deeper into. the five divisions, as the Sanskrit theorists have done, it appears that even a greater agreement would have been the result, which would have proved the correctness and the capacity to grasp the fundamentals and the deep insight of our theorists. This shows that certain principles of the Art are eternal and among the three kinds of technique, universal, special and individual, the theory of the Samdhi and the Samdhyangas belongs to the universal technique.

INDEX

अझझानि. 17.

आक्षेप. 18, 21, 22, 23, 88, 89,

आनिवल, अधिवल, अभिवल. 91, 92,

90, 118, 138, 139, 142,

143, 155, 160, 162, 164.

अधिवल ( अतिवल, आभिवल ). 21,

आज्ञा. 104.

22, 91, 92, 138, 139, 142,

आज्ञाप्रवाद. 17.

143, 150, 155, 160, 162,

आदान. 19, 21, 22, 23, 112,

164, 170, 175.

113, 115, 140, 142, 143,

अनुहृष्टसंहार. 17.

151, 156, 160, 162, 164,

अनुमा ( अनुमान ). 85.

170,176.

भानन्द. 20, 23, 126, 129, 130,

अनुमान ( अनुमान ). 85, 86, 87,

141, 143, 152, 157, 159,

138, 139, 150, 155.

165, 171, 176, 182.

अनुयोग (विवोध). 119, 120, 152.

आभाषण ( भाषण, भाषा ). 130,

अपवाद. 19, 21, 29, 97, 98,

139, 140, 142, 143, 151,

आरम्भ ( प्रारम्भ ). 7, 12, 13, 14,

158, 162, 170.

15, 18, 23, 25, 159, 167,

अभिवल. 91, 92.

अभूताहरण ( अभूतोदाहरण, असत्या-

आश्लेष. 9.

हरण ). 21, 75, 76, 138,

उत्क्षिप्. 150.

142, 143, 150, 154, 155,

उत्क्षिप्ति ( आक्षेप, आक्षिप्ति, क्षिति ). 88.

160, 162, 164, 169, 175.

उत्पत्ति. 8, 9.

अभूतोदाहरण. 75.

उदाहरण ( उदाहति ). 80, 81, 138,

अर्थ ( सन्धि ). 117, 118, 152.

143, 147, 150, 155.

अवमर्श ( विमर्श ), 9, 11, 14, 23,

उद्घाटन. 8, 9.

97 ff., 101, 139, 140,

उद्विष्टार्थोपसंदिति. 17.

143, 160, 162, 164, 170,

उद्देश. 18, 21, 22, 23, 48, 49,

175, 185.

50, 130, 142, 143, 146,

असत्याहरण. 22, 75, 150.

148, 153, 159, 161, 163,

आक्षित ( आक्षेप, उत्क्षिप्ति, क्षिति ). 88,

89, 150, 154, 170, 175.

द्वैध. 29, 93, 94, 97, 139,

150, 155, 162, 170.

उपक्षेप. 17, 18, 21, 22, 23, 25, 27, 30, 31, 34, 35, 130, 142, 143, 144, 148, 153, 159, 160, 163, 168, 174.

उपगुढ ( परिगुढ ). 133.

उपगुहन ( परिगुहन, उपगुढ ). 23, 29, 133, 141, 143, 147, 152, 157, 165. 171.

उपन्यास. 21, 22, 71, 72, 137, 138, 142, 143, 149, 154, 159, 169, 175.

उपसंहार ( उपसंहति, कार्यसंहार, काव्यसंहार ). 134, 152, 157.

उपसर्पण. 22.

उपसर्प. 149.

ओजस्. 31.

करण ( कारण ). 18, 22, 23, 25, 52, 53, 136, 142, 143, 148, 153, 159. 161, 163, 164, 168, 174.

कार्य. 12, 13, 14, 20, 21, 113, 114, 118, 119, 120, 121, 132, 140, 144, 167, 173, 180.

कार्यसंहार ( उपसंहार, काव्यसंहार). 134.

कार्यसिद्धि. 162.

काव्यसंहार ( उपसंहार, कार्यसंहार ). 22, 23, 134, 135, 142, 143, 152. 154, 157.

कृति ( युक्ति ). 20, 23, 108, 124, 125, 126, 129, 133, 141, 143, 147, 152, 157, 160, 165, 171, 182.

कम. 82, 83, 138, 139, 150, 155, 164, 170, 175.

क्रोध. 31.

क्षति. 107, 108, 154.

क्षति. 88, 150.

खेद. 29. 108, 112, 139, 140, 143, 151.

गर्भ. 6, 8, 9, 10, 11, 13, 14, 15, 16, 18, 19, 21, 23, 32, 81, 86, 88, 89, 90, 100, 101, 138, 139, 140, 143, 160, 162, 164, 169, 175, 178, 182, 185.

प्रथन. 20, 23, 120, 121, 141, 143, 152, 157, 160, 171, 176,

गोत्रस्कलित. 31.

चलन ( छादन, छलन, सादन ). 114.

चित्र. 31.

छल. 156.

छलन ( चलन, छादन, सादन ). 113, 114, 151, 156.

छादन ( चलन, छलन, सादन ) 113, 114, 115, 139, 140, 143, 151.

ताप ( तापन, श्रम, शमन ). 58, 149.

तापन ( श्रम, ताप, शमन ). 58, 59, 60, 137, 143, 149, 159.

तोटक. 21, 22, 29, 90, 91, 93, 138, 139, 142, 143, 150, 155, 162, 183.

दण्ड. 31.

दान ( प्रदान ). 32.

दूत. 31, 32.

युक्ति ( कृति, नर्मयुक्ति, नर्मस्तुति ). 61, 107, 108, 124, 125, 126, 139, 140, 143, 151, 154, 150.

द्रण ( विद्रव, संग्राम, संग्रामण) 95, 99, 100, 101, 151, 156, 164.

धूनन (विधूत, विधूतं,विधूनन) 57,149. नर्मेन्. 22, 29, 60, 61, 137, 149, '154, 161, 183.

नर्मयुक्ति ( युक्ति, नर्मस्तुति ). 22, 29, 60, 61, 62, 137, 138, 149, 154, 161.

नर्मस्तुति ( युक्ति, नर्मयुक्ति ). 62, 154. नायकसिद्धि. 17.

नियतासि. 11, 12, 13, 14, 15, 19, 167, 173, 178.

निरोध ( निषेध, प्रतिरोध, विभोध ). 109, 110, 138, 154, 161, 162,163,164,167,175,176.

निरोध ( निरोधन, रोध, विरोध ). 59, 65, 66, 138, 149, 152.

निरोधन ( निरोध, रोध, विरोध ). 65, 110, 143, 151, 159.

निर्णय. 122, 123, 141, 143, 152. 157, 162, 165, 171.

निर्वहण. (1, 11, 13, 16, 19, 22, 23, 24, 20, 108, 117ff, 134, 139, 140; 143, 144, 159, 160, 162, 165, 171, 182, 185.

निषेध ( निरोध, प्रतिरोध). 109, 110, 139, 140, 143, 170, 176. निषेधन. 151.

न्यास. 17. न्याससमुच्चय. 17. पताका. 13, 15, 19, 20, 144, 166, 167, 173, 178, 180.

परिकर ( परिक्रिया ). 17, 21, 22, 35, 30, 136, 142, 143, 148, 153, 159, 160, 163, 168, 174.

परिक्रिया ( परिकर ). 18, 23, 35,. 148.

परिक्षय. 17. परिग्रहन (उपगूढ, उपगूहन ). 133,. 152.

परिन्यास. 17, 18, 21,22, 23, 37,. 38, 39, 136, 142, 143, 148,. 153, 159, 160, 163, 168,. 174.

परिभावन. 153. परिभावना (परिभाव ). 17, 47, 48,. 136, 142, 148, 163 165.

परिभाव ( परिभावना ). 47, 148. परिभाषण (परिभाषा ). 123, 124,. 113. 152, 157.

परिभाषा (परिभाषण). 22, 123,. 124, 141, 157.

परिसर्प. 18, 21, 23, 29, 55, 53,. 137, 142, 143, 149, 154, 159, 161. 163, 169, 175.

पर्थुपासन (पर्थुपास्ति, सान्त्वन, प्रसाद, सेवा ). 17, 60, 67, 127, 137,. 138, 149, 154, 157, 16 .

पर्थुपासना. 29. पर्थुपास्ति ( पर्थुपासन, सान्त्वन ). 65.

पुष्प. 17, 21, 22, 68, 69, 137,

138, 142, 149, 154, 163.

पूर्वभाव ( पूर्ववाक्य, प्राभाव ). 131,

132, 152, 165.

पूर्वभावन. 157.

पूर्ववाक्य ( पूर्वभाव, प्राभाव ). 131,

132, 141, 143, 152.

प्रकरी. 11, 13, 14, 15, 19, 20,

166, 167, 173, 178, 180.

प्रगम ( प्रगमन, प्रगयण, प्रागयण, प्रशं-

सन ). 63, 164, 154.

प्रगमन ( प्रगयण, प्रगम, प्रागयण, प्रशं-

सन ). 22, 63, 64, 137, 138,

प्रगयण ( प्रगम, प्रगमन, प्रशंशन, प्रागयण ).

63, 64, 74, 149, 154, 183.

प्रणय. 17.

प्रतिमुख. 6, 7, 8, 9, 11, 13; 14,

15, 16, 18, 21, 22, 23, 53

ff., 74, 137, 142, 143,

163, 164, 168, 174, 176,

प्रतिरोध ( निरोध, निषेध ) 109.

प्रतिषेध. 151.

प्रत्युत्पघ्मतित्व. 31.

प्रदान ( दान ). 31.

प्रयत्न. 8, 12, 13, 14, 18, 167,

173, 178.

प्ररोचना ( प्ररोचन ). 19, 21, 22,

23, 115, 116, 117, 140,

142, 143, 151, 156, 160,

164, 170, 176.

प्रभव. 21, 142.

प्रशमन. 154.

प्रशंशन. 63, 64, 149.

प्रशस्ति. 24, 134, 135, 141,–

142, 143, 152, 157.

प्रसह. 17, 105, 106, 139, 140,

143, 151, 156.

प्रसाद ( सेवा ). 124, 126, 141,

143, 152, 157, 159, 165.

प्रागयण. 64.

प्राभाव. 131.

प्रापण ( प्राप्ति ). 43, 148.

प्राप्ति ( प्रापण ). 17, 18, 43, 44,

46, 136, 142, 148, 153,

161, 163.

प्राप्तिसंभव ( प्राप्त्याशा ). 13, 15.

प्राप्त्याशा. 9, 12, 15, 18, 19, 90,

167, 173, 178.

प्रारम्भ ( आरम्भ ). 8, 12, 178:

प्रार्थना. 22, 24, 29, 87, 138,

143, 150, 158, 182.

फल. 8, 11, 14, 46, 118, 119,

141, 144.

कल्योग. 12, 13.

फलागमः 167, 174, 178.

बिन्दु. 8, 13, 14, 18, 20, 166,

172, 180, 181.

बीज. 7–14, 18, 22, 23, 34–57,

60, 61, 63, 71, 88–90, 98,

113, 114, 118, 122, 132,

137–139, 141, 144, 160,

161, 166, 179, 180, 185.

बीजदर्शन. 17.

बीजोक्ति. 17.

भय. 31.

आषण (आआषण, भाषा). 22, 130, 131, 141, 143, 152, 153.

भाषा. 130, 152, 157.

भेद (भेदन). 22, 31, 50, 51, 136, 147, 148, 153, 163.

शान्ति. 31.

मति. 32.

मद. 31.

मात्रावशिष्टसंहार. 17.

मार्ग. 21, 22, 77, 78, 138, 142, 143, 150, 155, 162, 164, 175.

माला. 17.

मुख. 6-8, 11, 13, 14, 18, 21, 23, 25, 26, 34 ff. 54, 118, 121, 132, 136, 137, 140, 142-144, 159, 160, 163, 167, 168, 174, 185.

युक्ति. 17, 18, 21, 27, 40, 41, 136, 142, 148, 153, 161, 163.

रूप. 29, 78, 79, 138, 147, 150, 155, 162.

रोचना. 156.

रोध. 65, 149.

लेख. 31, 32.

वज्र. 17, 21, 22, 29, 69, 70, 137, 138, 142, 149, 154, 161, 163, 164, 183.

वध. 31.

वर्णसंहार [वर्णसंहति] 73, 74, 137, 149, 151.

विकल्पना (विचलन). 104, 111, 112, 156.

विप्ल. 19.

विद्रव (द्रव, संश्रम, संश्रमण). 17, 19, 29, 95, 96, 99, 101, 112, 139, 140, 143, 149, 151, 153, 156, 162, 164.

विधान. 17, 45, 46, 47, 72, 136, 142, 148, 153, 163.

विधुत (विधूत, विधूनन, धूनन). 57, 60, 137, 138, 149, 154, 161, 163.

विप्रयोग. 17.

विप्रलम्भ. 17

विरोध (निरोध, विरोध, अनुयोग) 20, 23, 118, 119, 120, 141, 143, 152, 157, 176.

विरोधन. 156.

विमर्श (अवमर्श) 6, 9, 10, 11, 13, 15, 16, 19, 21, 22-23, 113, 116, 144, 178, 182.

विरोध (निरोध, निरोधन, रोध) 17, 23, 65, 110, 112, 119, 149, 152, 156, 157.

विरोधन. 110, 111,140, 156.

विलास. 17, 22, 23, 29, 53, 54, 55, 137, 145, 149, 154, 158, 161, 163, 182.

विलोमन. 9, 17, 30, 38, 39, 40, 136, 142, 146, 148, 153, 161, 168.

विशोधन. 17.

व्यवसाय. 19, 21, 22, 23, 29, 103, 104, 139, 140, 142,

143, 151, 153, 156, 160, 162, 164, 175. व्यसन. 170.

शक्ति. 22, 101, 102, 140, 142, 143, 151, 156, 160, 164. शाम (तापन, ताप; शमन, समय). 58, 59, 60, 127, 128, 129, 141, 143, 149, 154, 182.

संरम्भ (निरोध, विरोध, रोध). 104, 110. संवरन. 31.

संग्रह. 17, 22, 32, 84, 85, 138, 150, 155. सन्धि (अर्थ). 22, 117, 118, 140, 142, 143 152, 157, 160, 171, 176.

समय. 127, 128, 152, 153, 157. समाधन (समाहिति). 17, 18, 21, 22, 23, 42, 136, 142, 143, 148, 153, 159, 161, 163, 168, 174.

सम्पेट. 17, 19, 29, 98, 99, 139, 140,143,151,156,164. संश्रम. 95, 96, 150, 155, 162.

सादन. 114, 151, 154. सान्त्वन. 66.

सामन. 31, 32. साहस. 31. सेवा. 126. स्वप्र. 31. हेतुवधारण. 31. ही. 31.

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