13. CHAPTER SEVEN

CHAPTER SEVEN

Rasa-The predominant factor in Sanskrit Drama.

Bharata, the father of Sanskrit dramaturgy, says that there is no object, no activity in dramaturgy which is devoid of Rasa.1 Abhinava commenting in respect to the above statement says that in drama it is Rasa which runs through and through like a thread.2 This statement, therefore, may be taken as the assertion about the predo- minance of Rasa in drama. It may be objected to here that this assertion is with respect to drama only and not to other forms of the Kvya. The answer to it is satisfactorily available in Bharata and Abhinava. Bharata recognizes drama as a Kāvya;3 at some places he simply uses the word, Kāvya,4 without any such qualifying word as the Nātaka etc. as in the above case. Bharata, therefore, may be asserting the predominance of Rasa in the Kāvya in what- ever form it may be. Abhinava also gives his as well as his preceptor's view on the point. He says that Rasas are not in the Nätya only but also in the Kāvya wherein they appear as if represented, for in the latter case, according to his preceptor, they arise when the imagination is excited. He quotes the statement of his preceptor from the Kāvya- kautuka which is not available. On his own account,how- ever, he says that the Kävya is in reality in ten forms of

1. & 2. N. S. (G. O. S.) VI. pp. 273 & 274 (with Com.). 3. N. S. (K. S. S. ) XVI. 148. 4. Ibid. XXIV. 49. 31

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drama.1 It is akin to Vāmana's view which he endorses fully.2 Accepting, thus, the predominance of Rasa in the Kāvya, both Bharata and Abhinava say that it ( Rasa ) is in drama because of the Nātya which is representation. Bharata often uses the words, Nātye Rasāḥ,3 and Nātya- Rasah.4 Commenting on the first Abhinava says that Rasa is nothing but the Nätya whereas in connection with the second he says that the Nātya is Rasas. Śinga Bhūpāla also aims at the same thing though he puts it in a more emphatic form when he says that the excellence of Rasa is the life of the Natya.5 Because of the representation, the Nātya, the predominance of Rasa in drama becomes clear. Sanskrit dramas, thus, are invariably connected with repre- sentation. The realization of Rasa in the spectator ( Sahr- daya ) points the same way. In order that the spectator may be brought to an appropriately receptive attitude, such cere- monies as the Pürvaranga before the commencement of the dramatic piece proper are gone through as preliminaries. The Rangapūjā as an auspicious ceremony is mentioned by the Sutradhara in the Adbhutadarpana. In the Amrto- daya are mentioned such parts as the Pratyaharana of the Pūrvaranga. The Pūrvaranga consists of various items as already shown and its observance aims at the removal of the seven obstacles from the spectator, within and without as seen before. At the instance of the Sūtradhāra the Natī also indulges in song as in the Prologue to the Rasasadana

1. N. S. (G. O. S.) VI. pp. 291-292 (Com.). 2. Ibid. VI. p. 288 (Com.). 3. Ibid. VI. 16. 4. Ibid. VI. 36. 5. R. S. I. 58.

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Bhäna. This song goes a long way in making the specta- tors lose their personal element in the representation ; they at that time appear as if painted in the picture as described in the 16th stanza. The Siddhis already mentioned which are manifestations and expressions of the spectators with respect to the success of a dramatic piece when represented on the stage do nothing but point out that the appeal to the heart is complete and full. The spectators when witnessing the dramatic representation have to identify themselves completely with the original characters who become universalized. The spectators lose their individua- lity. If, on the other hand, complete identification does not take place and the spectators do not lose their individuality and do not get totally absorbed, the result is the same which Bhavabhūti depicts in the seventh act of the Uttara-rāma- charita where Rāma considers the sorrow of Sītā as due to him and feels mortified, though Sita's sorrows and miseries were then being enacted upon the stage and Rāma was there only as a spectator. Another such illustration is to be seen in the Bālarāmāyana where in the third act Sītā's marriage is dramatically represented before Rāvaņa to distract his amorous sorrow and give him pleasure. But Rāvaņa is unable to merge his individuality as a spectator ; he interrupts which results in the breach of the scene. The illustration is again to be found in the third act of the Priyadarsikā where the queen watches the drama dealing with the marriage of Vatsa and Vāsavadattā represented on the boards. Love-making, fully ardent, causes anxiety to the queen even at the reminder that it was only a play. The queen is perturbed ; her mental condition requisite in the spectator is disturbed. She, therefore, leaves the hall. Further instance is to be found in the eighth act of

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the Adbhutadarpana where Ravana watching the illusion of war produced by Trijata gets infuriated on hearing of his being dragged by hair by Laksmana. Mahodara reminds him that it is only a Preksanaka ( show ). The predominance of Rasa thus becomes the principal aim. The Pūrvaranga etc. presuppose the existence of the stage before which the spectator sits and watches the representation of the dramatic piece going on. Because of the spectators the stage has to be in existence. The invariable connection between the spectators and the stage form the realization of Rasa is proved by the illustrations already quoted. The stage is to bring home the effect to the audience. In order that the effect may be immediate, sometimes even some of the characters are not allowed to come on the scene. They are simply suggested as determined to do an act which does not spoil the effect ( Rasa ) as in the Mrchchhakatika when the wife, the son etc. of the hero are not brought on the stage. The entry of the wife on the stage would surely have caused an interruption in the maturing of the principal Rasa wherein the hero was to be depicted firmly devoted to, and finally united with, the heroine who is not the hero's wife. Different kinds of stage are so constructed as to give in full relief the scenic view to the spectator in order that his pleasure may not be marred due to the spoiling of the effect. Yuvaraja in the 219th stanza and the following in the Rasasadana Bhāna describes the representation of some dramatic piece where the attentive attitude of the spectators and the stage are referred to. Harsa in the Priyadarśikā gives through Sankrtyāyanī the description of the theatre hall likening it to a divine aerial car in the 2nd stanza of the third act. Bharata in the second chapter prescribes the different kinds of stage in connection with persons of different

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regions ; for example, the Jyestha Preksagrha for gods, the Madhyama for kings and the Kaniya for others.1 Then again he says that for mortals it should be 64 hands in length and 32 hands in width. He further says that this prescription for mortals is to be observed to avoid things from becoming indistinct. If, on the other hand, it is of vast dimension the words uttered will become indistinct ; the Raga also connected with emotions and sentiments will not be quite audible. In order, therefore, that the tunes and notes of the musical instruments be easily audible the Madhyama Preksāgrha is recommended.2 The prescription for gods that they should have the Jyestha Preksagrha shows that in case of gods etc. no such difficulty arose ; moreover, the representation ( Prayoga ) in their case was often violent ( Āviddha ), hence more space was required. In their case Rasas also were such as are duly depicted in the Dima, the Samavakāra, the Vyāyoga and the Ihāmrga.3 The theatre was thus constructed in appropriateness with different Rasas. Different arrangements with regard to its construction were also in reference to Rasa. For example, Śarvilaka, the theif, after having comitted theft in the house of Chāru- datta as described in the third act of the Mrchchhakatika sees Madanika, his beloved, in the fourth act. They talk of love and are watched secretly through a window ( Gavākșa ) by Vasantasena. But for this watching Vasantasena would not have given Madanikā to Śarvilaka for his wife. Indirectly it enhances the love in Vasantasena for Chārudatta as he is praised. There were prescriptions about the colour of the

1. N. S. (K. S. S.) II. 11. 2. Ibid. II. 18-21. 3. Ibid. XXXV. 35-36.

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curtain in fitness with sentiments. 'The colour of the curtain is given in some authorities as necessarily in harmony with the dominant sentiment of the play, in accordance with the classification of sentiments already given, but others permit the use of red in every instance.'1 In respect of representa- tion different times out of day and night fixed by Bharata have been mainly considered in appropriateness with Rasa. That which is pleasing to the ears and dealing with the religious subjects is to be represented before noon. The representation here may be pure ( Suddha) or mixed and distorted (Vikrta). In the afternoon the representation should be teeming with qualities arising from the Sattva and should have plenty of musical instruments and accom- plishments ( Siddhis ). The evening representation is to be with the Kaisiki Vrtti, the Śrngāra Rasa and plenty of songs and instrumental music, whereas that intended to be re- presented in the morning is to have a subject of momentous significance, teeming with the Karuna Rasa and removing sleep. In the above description the subject-matter in the first two cases implies Rasas as the Santa, the Vira etc., whereas in the last two cases Rasas are expressly mentioned. Rasa, therefore, functions as the guiding factor. Rasas as already seen are eight or nine according to the general opinion. The Bhakti Rasa is a sentiment which assumes different forms according to the attitude of the Bhakta towards Lord Krsna. It can be included in the Rati which reaches the stage of immature Rasa, that is, the technical Bhāva, or even kept aside as a separate Rasa, though, according to its advocates, it is the universal Rasa as has been made clear in the synthesis of the Bahkti Rasa. The Bhakti Rasa of this school cul-

1. K. S. D. p. 359.

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minates in the Madhura Rasa also called the Ujjvala Rasa in the 2nd stanza of the first act of the Vidagdhamadhava. It is called the Rasaraja in the 51st stanza of the fifth act and the Prathama Rasa in the 2nd stanza of the seventh act of the same drama. In this drama it is depicted as the principal sentiment whereas others are subordinate to it. This is obviously to make the effect unitary. Other Rasas also are taken up as principal as the Vira Rasa in the Mahavīracharita by Bhavabhūti whose germs of the Karuņa Rasa as the universal sentiment is found in slight suggestions in this very drama in such expression of Laksmaņa as ' Ïdrśoyamāpātakarunasnehassamvega ' in the fourth act, though the regular theory was propounded in the 47th stanza of the third act of the Uttararāmacharita. Kālidāsa refers to the Śrngära as the only Rasa in the 10th stanza of the first act of the Vikramorvasīya. Murāri in the Anargharäghava also hints in the seventh act at the Srngāra as the only Rasa in the 62nd stanza, and in the words as ' Śrngārasārvabhaumasya ' and 'Śrngāradevatāgar- bha .... ' just after the 89th stanza and the 107th stanza respectively. Yuvarāja in the Rasasadana Bhāņa accepts the predominance of the Śrngāra Rasa in the word' Śrngāraika- pradhäne ' which occurs just before the 216th stanza. Some- times the predominant Rasa in the particular dramatic piece is explicitly expressed as in the Bhartrharinirveda where the Sūtradhāra calls it the Sāntarasapradhāna. It so happens sometimes that even the sub-kind of one Rasa is depicted over a certain part of the whole canvas. The rest of the canvas then is occupied by other sub-kinds as Bhavabhūti in the 11th stanza of the seventh act in the Mahaviracharita makes Maheśvara say in respect of Rāma as being Yuddhavīra from the start till then after which he has to be Dharma-,

488 Dāna-, and Dayā-, vīra. This makes clear how even one sub- kind of a Rasa becomes the controlling factor in a dramatic piece. Only one Rasa running throughout is never delineated to the exclusion of others as it would then become monoto- nous and cloying even when present in its most fascinating, absorbing and complete aspects. Hence other Rasas are also depicted but they are of secondary importance only. Those other Rasas which are not incompatible with, or con- tradictory to, the principal one but are friendly to it leading to its maturity and excellence are freely used, whereas others rallying under the hostile flag are handled with care and caution. The different ways in which they are harnessed to do service to the principal Rasa should be pointed out. The Vīra Rasa in Bhīma and the Bhayānaka in the enemies as depicted in the Venīsamhāra lead well to the excellence of principal Rasa in the dramatic piece which is the Vīra Rasa. This is an illustration of the two contradictory Rasas residing in two different loci but leading to a unitary effect. Another case occurs when such contradictory Rasas reside in the same locus and lead to one whole effect as in the first act of the Nagananda where the Santa Rasa and the Śrngāra Rasa have been depicted in Jīmūtavāhana, the hero, to the total disappearance of spoiling the unitary effect by interposing the Adbhuta Rasa between them through the hero's such words as, 'Oh, the marvellousness of the song ! Oh, the fascina- tion of the instrumental music !, in respect of Malayavatī, the heroine. Yet another case comes in when in the words of Purūravas on seeing Urvaśī1 the Śrngāra Rasa is alternated with the Sänta Rasa. Though the two Rasas stand indepen- dent yet the total effect in the above case is the Śrngāra Rasa

1. K. P. IV. p. 126 (Vāmani Com.).

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as the role of the Santa is only secondary and hence helpful. When one Rasa is accepted as principal in a dramatic piece care is taken that it is not hampered in its full development in any way. To illustrate a few cases is pertinent. In the Mahāvīracharita Bhavabhūti has made the Vīra Rasa the principal sentiment. In the second act where the Vīra is depicted growing unimpeded between Rāma and Paraśu- räma, the former's being suddenly called inside to have the wristlet (Kangana) unbound somewhat spoils the effect. This is a case in illustration of the abrupt break in a sentiment. In the Venīsamhara wherein theVira Rasa predominates the intervention of Duryodhana's amours with Bhānumatī in the second act is a case of irrelevancy spoiling the unitary effect. The naming of Rasa itself by either mentioning it directly as the Śrngära Rasa or using such general words as Rasa is defective as in the 23rd stanza of the Mahāvīracharita where Rāma gives a glowing description of Paraśurāma. It terminates with the words ' Viro Rasah.' This is a defect which, however, is not so detracting as the description amply suggests the Vira Rasa. Many illustrations are to be found in the Anargharäghava. In the 64th stanza of the second act the description of Tadaka involves the direct mention of the Bibhatsa etc. Same is the case with the description of Räma and Laksmana in the 34th stanza of the third act where the words, Santa and Vira, are used. In the 22nd stanza of the fifth act also the author uses the word Rasa in explaining how Rasa is nothing but the maturing of a parti- cular Bhäva, for example, the Soka here. But when quota- tions involving such items are given, no case of defect arises. Words and letters suggesting particlar Rasas when used inappropriately lead to the defect in those Rasas, but the defect subsides when the nature of the particular character

490 using them becomes the deciding factor as in the 22nd stanza of the first act of the Venisamhara Bhimasena, on hearing the thundering peals of war drums, questions the name of the drummer. In his interrogatory the letters and words used are suggestive of the Krodha though no such emotion of the speaker is intended to be suggested through them. The case ought to be, as a rule, a case of defect, yet on the consideration that Bhima is the speaker the rule is deprived of its scope. The mention of the Sthāyibhāva or the Anubhāva or the Sañchāribhāva directly leads to the defect in Rasa. Bhavabhūti in the 20th stanza of the first act of the Mahaviracharita uses such words as Krodha and Śoka in describing the condition of Rama at his separation from Sītā. Murāri in the Anargharāghava mentions such words as Soka in the 2nd stanza of the seventh act and Hāsa, Trāsa and Krodha in the 64th stanza of the second act. The ex- ception to the direct mention of the Sañchāribhāva occurs when it is used as the determining factor in a particular Rasa leading to its development as in the 2nd stanza of the Prastā- vanā to the Ratnāvalī where the word as Autsukya deter_ mines that the other word, Tvara, is with reference to love and not to fear etc. It thus brings about the excellence of the sentiment. The particular Rasa is, thus, made free of all defects and kept up as principal in a dramatic piece. It governs other factors which serve in a way as causes to bring it about as the effect. Realizing this very fact Ananda has said that the Vibhäva etc. must determine the arrangement of the plot whether historically actual or invented; the inadaptable portion of the historical situation is to be rejected and new one adapted to Rasa in hand invented ; the Sandhis and their parts are to be manipulated in suitablility with Rasa,it is not necessary that they should strictly con-

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form to the injunctions of the Sästra etc. etc.1 In the above words Rasa has undoubtedly been considered as the guiding and controlling factor. Ananda in the explanatory portion mentions Bharata several times and says that these prescrip- tions equally apply to the compositions meant for representa- tion as well as to those not meant for representation. As the drama aims at the effect directly and immediately the above injunctions should, no doubt, be more carefully and cautiously followed. As the Sthāyibhāva has to depend upon a particular factor, the Vibhāva, for its provocation, the consideration of the Vibhavas as controlled by particular Rasas naturally deserves preference. This is also in con- currence with Ananda in the statement of his above position. When the playwright composes a particular dramatic piece he chooses a particular Rasa to be depicted therein as the principal sentiment. He arranges the Ālambana Vibhāvas which suit it. These Alambana Vibhāvas are shown in suitable surroundings according to Rasa to be suggested by them. That is why in dramas lovers meet in gardens, in lonely places etc., the Piśāchas roam on the crematory grounds etc. etc. These Alambana Vibhāvas are the original characters figuring in the drama. As shown before they may be fully divine, half divine, human beings etc. They are either high or middle or low in status. The gods are the divine beings, the kings are partly divine and partly human etc. What is appropriate to each of the above should be duly depicted. For instance, kings as Sātavāhana etc. have been appropriately described to have journeyed to the serpent world, for such activities are in fitness with them. The journey of Dusyanta to the divine city of Indra is quite

1. D. L. III. 10-14.

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appropriate as he was a king of a high lineage. In the same way the carrying away of Sakuntalā to the ethereal region by her mother is quite in fitness with the state of affairs as Śakuntalā is of semi-divine origin. Urvaśī with her com- panions in the Vikramorvaśīya of Kālidāsa described as flying in air is also not depicted as doing something inappro- priate. All these do not detract from the maturity of Rasas of which they are the Vibhavas as these activities and con- ditions are suitable to them. The supernatural element can, thus, be freely used appropriately with reference to characters of particular status. On the other hand, if it is inappropriately used it leads to jarring effects and renders the particular Rasa defective. In order to depict a particular Rasa in its gradual intensification sometimes even characters not found in the basic story are created as Anasūyā and Priyamvadā in the Abhijñānaśākuntala. These two female companions further love in Śakuntalā for Dușyanta. They are her confidantes and interested, though unselfish, companions. The hero has been described to be of four kinds, viz. the Dhiroddhata, the Dhiralalita, the Dhīrodatta and the Dhīrasānta. That these also are controlled by Rasa is clear. When the senti- ments of serious, grave and lofty nature are to be depicted the hero is to be of the Dhirodatta kind as in the depiction of the Vīra, the Śrngāra ( of a serious type ) etc. When the sentiment is of a frolicking type as love intrigues of the king within his palace depicted in the Ratnāvali, the hero is of the Dhiralalita kind. Such sentiments as the Raudra have Dhiroddhata hero and the Śrngāra which is neither very serious nor very fickle has the Dhīraśānta hero. Any change in the above position will surely mar the effect, that is, Rasa. For instance, the Śrngāra of the type aimed at in the Nāțikā will not admit of the Dhirodātta hero. The love intrigues

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rampant there will find no scope with the Dhirodātta hero as they will be inconsistent with his nature, qualities etc. It is, therefore, proper that characters figuring as heroes of different types must have surroundings etc. appropriate to them. The killing of Vali by Rama through trick would surely have stood inconsistent with the latter's character as the Dhirodätta hero. Bhavabhūti, therefore, in the Mahā- vīracharita brought about a change by making Vālī the ally of Rāvana through his minister Mālyavān, as Vālī opposes Rāma on the insitigation of this minister. This is obviously to keep the character defectless. The propriety and its observance become clear in the Śrngra Rasa which recieved wide treatment. The hero in his love relation with the heroine has been described as the Anuküla, the Daksina, the Śatha and the Dhrsta. Rāma is the Dhīrodātta hero of the Anukūla kind. He is perfectly and exclusively devoted to Sīta. The slightest departure in this relation is sure to mar the effect intended, viz. Rasa. Hence all the dramatists have been caatious in this kind. Such cases are present in the kinds as the Dhirasanta hero of the Anukūla type. Bhavabhūti's drama, the Mālatīmādhava, is an instance in point. Mādhava is exclusively devoted to Mālatī. Śrī Krsna Kavi in the ninth chapter of the M. M. C. gives under the Śrngära synthesis of Bhoja these different kinds of heroes restricted to the four phases of the Śrngāra with respect to the Dharma, the Artha, the Kama and the Moksa. In the Dharma Śrngāra, the Artha Śrngāra, the Kāma Śrngāra and the Moksa Śrngāra the heroes respectively are the Dhiro- dātta, Dhīroddhata, the Dhīralalita and the Dhīraśānta. Where the hero has many beloved he can stand in any relation with them. He can be the Daksina as Udayana in

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the Svapnavasavadatta attributed to Bhāsa where his affection for both Vāsavadattā and Padmāvatī is depicted as balancing. He pines in the absence of one, no doubt, but does not let his mind out before the other. On the other hand, he expresses his love equally for the other. The case seems otherwise with Dusyanta whose affection for all the beloved is not expressed in such a way. This may account for the taunt flung at Dusyanta by Hamsapadikā in her song in the beginning of the fifth act of the Abhijñānaśākuntala. But the taunt may also be interpreted as an expression of love of the king for all the beloved and not exclusively to one. Hence he is a Dhīrodātta hero of the Daksiņa type. The Dhīralalita kind of hero may be of the Dhrsta type but even then he is not generally represented such as in the Ratnāvali and the Priyadarsikā where though the love intrigues of the king are fully rampant the king is shown under the control of the chief queen in whose hands completely lies the union of the king, her husband, with his new love. Thus in such cases the Dakșiņa type is preferred. The Dhīīraśānta hero may also be of the Dakşina kind as in the Mrchchhakatika where though his love is not depicted for his wife, who hardly comes in the forefront, yet absence of indifference on his part towards her and her devotion to him bear out his being of the Daksina kind. The Dhīroddhata type of character is generally in the Nātaka the antagonist as Duryodhana and Aśvatthāmā in the Veņīsamhāra and Paraśurāma in the Mahavīracharita. In case of such an antagoinst, he may not belong to any one particular kind, for example, to the Dhiroddhata kind only. He may appear in different lights in different circumstances. 'Thus Parasurāma appears in the Mahaviracharita as exalted in his attitude to the evil

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Ravana, as haughty towards the untried Rāma, and as calm when he has experienced the superior prowess of that hero.'1 In the Dima, however, where the heroes are the gods, the Gandharvas, the Yaksas, the Rāksasas and the Uragas they are mostly of the Dhiroddhata type, for the Dima though having many Rasas aims mainly at the depiction of the Raudra Rasa as pointed out in the Avaloka com.2 in the D. R. Same is the case pointed out with the Vyāyoga wherein persons figuring are haughty ( Uddhata ) by nature.3 In the 6th Stanza in the Prastāvanā of the Saugandhikāharaņa Vyāyoga the hero is expressly mentioned as the Dhīroddhata. In the ihämrga also the hero ought to be of the Dhīroddhta kind.4 The case differs with the Vaisnava school where Krsna can be of any kind, that is, the Dhīrodātta or the Dhiralalita or the Dhirasanta or the Dhīroddhata. In love matters also He can be the Anukūla or the Daksiņa or the Śatha or the Dhrsta as pointed out before. These heroes may be the Patis (husbands ) or the Upapatis ( the lovers of the married ladies or maidens) or the Vaisikas ( lovers of the courtezans ). The heroines are the wives of the heroes or maidens or others' wives or the courtezans. In major types of drama amours of the heroes with others' wives are not depicted. They are, however, depicted in the dramas of the Chaitanya school of Bengal Vaisnavism where the Parakīyā doctrine is freely allowed on cogente arguments already given before. The heroine may be the Mugdhā or the Madhya or the Pragalbha according to her age and

1. K. S. D. p. 306. 2. D. R. III. p. 117. 3. Ibid. III. 60. 4. Ibid. III. 73.

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adroitness in love etc. She has been further divided on the basis of love relations into eight kinds as the Svādhīnapatikā, the Vāsakasajjā etc., the ninth kind, the Pravatsyatpatikā being recognized by Bhänudatta. Some playwrights have expressly mentioned these kinds as Murāri in the Anargharā- ghava makes Mālyavān call the eastern direction the Vāsaka- sajjā1 or as Śrī Seșa Krsna mentions the word, Proșita- bhartrkā, in the 53rd stanza of the fourth act of the Kamsa- vadha or as Yuvaraja in the 24th stanza of Rasasadana Bhāņa calls Sandhyā (evening ) the Khanditā. The charm really lies in suggesting the kind as Vasantasena while going to Charudatta's house has been described as the Abhisārikā in the fifth act of the Mrchchhakatika. The lady also makes the hero come to her love appointement as Krsna is described in the 34th stanza of the third act of the Vidagdhamadhava. The ladies of importance other than the heroines are the Mahādevīs (the crowned queens ). The examples are to be found in the Ratnavali and the Priyadarsika where the final union of the hero with the heroine rests in the hands of the crowned queen, Vasavadatta. Other illustrations are to be found in the Karpūramañjarī and the Viddhaśāla- bhañjikā where the crowned queen brings about the union of the hero with the heroine after some deception and inducement though in the later play deception has more scope. Another imporatnt female figure is the Devi whose jealousy in love affairs is more prominent. Illustrations are to be found in Hamsapadikā of the Abhijñānaśākuntala and in Irāvatī of the Mālavikāgnimitra. In the Vaișņava system, however, such minor characters are to be amply seen

1. A. R. IV. 2.

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figuring round the heroine, Radha. The heroes and the heroines have certain helping persons, male and female, in their love affairs. The most prominent among them is the Vidūşaka. His utmost importance is to be seen in such dramas as the Ratnävalī where his inadvertence discloses the king's love for the heroine but who undergoes all troubles with the heroine. In other dramas as the Karpūramañjarī the Vidūsaka is instrumental in bringing about the union of the hero with the heroine. He is, thus, a help through and through in the love affairs of the hero. In the Adbhutadar- pana he is required by the Sūtradhāra to assume the role of Mahodara, the Narmasuhrd of Rāvana. Thus he played the friend and adviser in love affairs ; here, of course, he is painted as an ally to the Pratināyaka, Rāvana, who is the hero's rival. Wherever he is felt as an obstruction to the developing love, he is cleverly removed off the scene as in the Abhijñanasākuntala towards the end of the second act. He appears again but only in course of the king's love affairs. Thus helping in the development of Rasa he so much gains the favour of the hero that any trouble to him from the external agency atonce enrages the hero. That explains why Mätali chooses him as the instrument for exciting anger in the hero. The Vidūsaka, thus, figures in the develop- ment of the Srngära Rasa even though he is to exert himself most as he does in the Mrchchhakatika. Even where the hero displays his unsusceptibility to love the Vidūșaka makes all efforts to make the hero fall in love with the heroine as in the first act of the Nagananda. The Vidūsaka just in the beginning tries, though unsuccessfully, to turn the hero towards the worldly enjoyments. Then after sometime he actually drags the hero in the presence of the heroine, 32

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thus making love arise at first sight. The Vita and the Cheta are some other characters appearing as help in love affairs as in the Mrchchhakatika and the Nāgānanda. The hero has another help in his affairs. He is the Pīthamarda, the hero of the episode ( Patākā ) in some of the dramas. In such dramas as deal with Rāma legends Sugrīva furnishes the example as in the sixth act of the Mahaviracharita where Rāma is described by Sampāti, a monkey, as residing in the Rsyamūka on a footing of friendship with Sugrīva and Bibhīşaņa. Makaranda in the Mālatīmādhava furnishes another example. Corresponding to the Pithamarda in case of the hero the mention of the Pīthamardikā also occurs in some dramas as in the seventh and the eighth acts of the Adbhutadarpaņa Saramā is advised by Trijațā to play the Pīțhamardikā to Sītā in different Rasas. The Pratināyaka is the rival of the hero and serves as the Ālambana Vibhāva of Rasa which is, no doubt, subsidiary but which generally contributes to the nourishment of the principal Rasa of which the hero is the Alambana Vibhava. He is generally of the Dhīroddhata kind. In the Venīsamhāra Duryodhana furnishes the instance as a contrast to the hero. He is all along depicted as overbearing and haughty ( Dhiroddhata ). The second act of the same play may be explained as a desire to paint the Pratināyaka in such colours as may lower him in comparison with the hero. Rāvana in the Rāma dramas is another such instance where his inappropriate love for Sītā is depicted. Nandana in the Mālatīmādhava is the Pratināyaka of Mādhava in his love for Mālatī. In this respect Śakāra is a wonderful invention by Śūdraka in the Mrchchhakațika. Chārudatta, the hero, in his ideal love for Vasantasena is very strikingly contrasted with the mean,

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abject, dare-devil but at the same time coward Śakāra whose professions of love for Vasantasenā are absurd and shocking to the cultured and refined taste. Chārudatta only ex- presses his attachment to, and never runs after, Vasantasenā. She, on the other hand, keeps her love tryst with Chārudatta. The case is reverse with Sakāra. He gives a hot pursuit to Vasantasenā who detests his amorous advances and keeps herself at a safe distance from him as far as possible. Ultima- tely frustrated in securing her love he even to his knowledge strangles her. What a contrast to the ideal love of the hero ! The heroes and the heroines are much helped in their love affairs by certain other characters who are males, females or those filling the neuter roles. The males are the Kañchukīs appearing in most of the plays as gate-keepers or chamber lains. The females are instanced in such characters a sthe nun, Kauśikī, in the Mālavikāgnimitra, the fellow com- panions, Priyamvadā and Anasūyā in the Abhijñānaśākun- tala, Manoramā in the Priyadarśikā, Kāmandakī in the Mālatīmādhava and Vichakșaņā in the Karpūramañjarī. Those filling the neuter roles are in charge of the inner apart- ments and engaged in accompanying the heroines etc. in their love appointments. The low characters thus helping on love between the hero and the heroine themselves become the heroes and the heroines in minor types ofdramas as in the Bhäna where the Vita figures as the hero, though he is the only character there ; and as in the Prahasanawhere very low characters figure as carrying on their amours which excite hilarious laughter due to want of propriety and decency. But they furnish instances of how particular Rasas determine the particular Vibhavas. The low character as theVarsavara as a servant in the inner apartments of the kings is seen

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discharging this function in the fifth act of the Ascharya- chūdāmaņi in the inner apartments of Rāvana. Another low character as the Malakāra is mentioned in the second act of the Rukmiņīharaņa Īhāmrga of Vatsarāja when Priyamvada brings in the Mālatī garland for Krsna. Mention also occurs of the dwarfish, the crooked etc. in the 2nd stanza of the fourth act of the same drama. It is to be noted here that they are mentioned indirectly in connection with the hero and the heroine. All these characters amply bear out how they are controlled by different Rasas of which they generally serve either as the Alamabana Vibhāvas or as persons helping those Ālambana Vibhāvas. The heroes and the heroines, when they have been selected as the particular Vibhavas in particular Rasas, are to be shown engaged in different activities which come under the Vrttis. That these Vrttis also are controlled by Rasas has been expressly mentioned by the dramaturgists. These Vrttis are four in number as shown before. They are the Kaiśiki, the Sātvatī, the Ārabhațī and the Bhāratī. The Kaisiki is connected with the Śrngāra and the Hāsya Rasas. It concerns itself with song, dance, lovely and variegated garments and depicts love, gallantry, jokes and such other objects as are instrumental in exciting love. Its four kinds are (i) the Narma, (ii) the Narmasphiñja ( the Narmasphurja according to Bharata), (iii) the Narmasphota and (iv) the Narmagarbha.1 The first, that is , the Narma, which is full of decent sports aiming at the pleasing of the beloved,

1. In these kinds as well as in the following description Dhanañjaya has been mainly followed. Bharata (in his N. S., K. S. S.) and Viśvanātha agree with him with slight variations.

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has three sub-kinds according as it is purely through the Hasya or the Hasya mixed with the Srngāra or the Hāsya mixed with the Bhaya. The Śrngara mixed with the Hāsya may be to express one's affection or longing for union or imputing a fault to the lover. The Bhaya mixed with the Hāsya may be pure in its being the predominant factor or [secondary in its being ancillary. Each of the above six kinds may differ according to speech, dress and movement. Thus eighteen kinds in all obtain. Dramas furnish illustrations of these kinds out of which a few may be quoted. The Hāsya Narma with respect to dress occurs in the third act of the Nāgānanda when the Vita, Sekharaka, misled by the female dress of the Vidūşaka, mistakes him for his beloved, Nava- mālikā. The example of the Hāsya Narma in respect of movement is to be found in the fourth act of the Mālavikāgni- mitra where Nipuņikā plays a trick upon the Vidūşaka by dropping upon him a stick which is taken by him for a serpent. The Narma in respect of the Bhaya is illustrated in the second act of the Ratnāvalī where Susangatā makes fun of the king by saying that she has known not only the presence of the king there but also of the picture-board along with the necessary details which she would disclose to the queen.1 Th second, the Narmasphiñja or the Narmasphurja, is pleasure-giving in the beginning but ending in a note of fear at the meeting of the first lovers. The illustration is to be seen in the fourth act of the Mālavikagnimitra where the king and Mālavikā meet together but the latter expresses

1. Keith gives a different version of this which is in conformity with that quoted in the second chapter of the D. R. Instead of the king with whom the joke is cracked Sāgarikā is mentioned there (K. S. D. p. 326.).

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her apprehension of the queen. The third is the Narmas- phota, in which through partial manifestations of emotions affection is suggested as in the 20th stanza of the first act of the Mālatīmādhava where Makaranda describes the slight affection of Madhava for Malatī. The fourth, the Narmagarbha, shows the development of love ; the hero here puts on disguise to achieve his end as in the third act of the Priyadarsikā where the king puts on the garb of Manoramā1. The Sättvati is connected with the Vira, the Adbhuta and the Raudra Rasas. It is without sorrow and abounds in the Sattva, courage, self sacrifice, compassion and straightfor- wardness. Its four kinds are (ii) the Samlāpaka, (ii) the Utthāpaka, (iii) the Sānghātya and (iv) the Parivartaka. The first, the Samlāpaka, consists in serious dialogues full of many Bhavas and Rasas as in the second act of the Mahā- vīracharita where Rāma and Paraśurāma engage in serious dialogue full of Bhävas and Rasas. The second, the Utthā- paka, is a challenge for fight as in the fifth act of the above drama Vālī defies Rāma. The third, the Sanghātya, is the division brought about among the foes collected together through good counsel, wealth, fate etc. The illustra- tion of the breach through good counsel is to be seen in the Mudrārākasa where Chānakya through his intellect brings about a division among the characters helping Rāksasa. In the same drama is to be found the illustration of the breach occurring between Rāksasa and Malayaketu by letting the ornaments of Parvataka come into the hands of the former. The illustration of the breach through fate is to be found

1. The D. R. mentions Susangata in place of Manoramā. Haas in his translation to the above notes this error. (The Daśarūpa, New York, Columbia University Press, 1912. p. 70).

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in the Rāma dramas wherein Bibhīșana severs his connection with Rävana. The fourth, the Parivartaka, consists in a change of the action in hand by doing another as in the second act of the Mahaviracharita where Paraśurāma who came to overthrow Rāma wishes to embrace him. This obviously detracts from Rasa of which he is the Ālambana Vibhāva. The Arabhațī is appropriate to the Bhayānaka, the Bībhatsa and the Raudra Rasas. In it the activities are teeming with magic, conjuration, war, anger, frenzy etc. Its four kinds are (i) the Sanksiptikā, (ii) the Sampheta, (iii) the Vastūtthā- pana and (iv) the Avapātana. The first, the Sankșiptikā, consists in the construction of some objects by artificial means as in the first act of the Pratijñāyaugandharāyana the use of the elephant made of mats etc. is made. Another interpretation enjoins either a change of the hero as in the Rāma dramas the substitution of Sugrīva for Vālī or a change of heart in the hero as in Paraśurāma in the 22nd stanza of the fourth act in the Mahaviracharita. It is to be kept in view here that substitution of the hero or change of heart in the hero should take place only with respect to the secondary hero otherwise the effect, Rasa, will suffer. Bharata is clearer here when he says that suitable arts are used here as also many stage properties ( elephants, chariots etc. ), and the objects aimed at are indicated briefly. The second, the Sampheta, is the angry meeting between two angry persons as that of Madhava and Aghoraghanta in the fifth act of the Mālatīmādhava. The third, the Vastūtthāpana, consists in creating some objects by magic etc. Here Bharata differs as according to him the Vastūtthäpana is that in which the representation consists of a compounding of all Rasas ; there might be fights or not. The fourth, the Avapatana or the

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Avapāta, consists in the tumultous disturbances as in the second act of the Ratnāvalī where the monkey escapes or as in the first act of the Priyadarsika in the attack on Vin- dhyaketu. Bharata is clearer here when he says that the situation here arises from fright or delight, quick dialogue takes place with sudden flights and panic and sudden entries and exits take place. The Bhāratī is based on word ( Sabda) as others on sense ( Artha ), that is why it consists of different activities in words, mostly in Sanskrit. It is connected with the Karuna and the Adbhuta Rasas according to Bhatara whereas others connect it with all Rasas. Its kind are (i) the Prarochana, (ii ) the Vīthī, (iii) the Prahasana and (iv) the Āmukha. The Prarochana is bringing the spectators through praise of the work in hand to a receptive mood as in the 5th stanza of the Prastavana of the Ratnavali where the Sutradhara praises the poet etc. The Vithi and the Prahasana are the types of drama hence already considered. The Amukha otherwise called the Prastavana consists in the striking conversation of the Sutradhara with the Natī or the Pāripārśvaka or the Vidūșaka introducing the subject in hand. The subject is introduced through the Kathod- ghata which consists in some original character catching up some sentence or sense expressed by the Sūtradhāra and effecting the entry as in the first act of the Ratnāvali Yaugandharayana catches up the 6th stanza uttered by the Sūtradhāra and appears on the scene ; or in the first act of the Venīsamhāra Bhīmasena denounces the Sūtradhāra for his benediction upon the Kauravas uttered in the 7th stanza of the first act. The subject may also be introduced through the Pravrttaka or Pravartaka ( as Viśvanātha calls it ) which consists in the mention of the character in com-

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parison with the season of the year as in the stanza given as illustration in the third chapter of the D. R. wherein Rāma has been mentioned in connection with the season.1 The introduction of the subject may be made through the Prayogā- tiśaya wherein the Sūtradhāra actually mentions the entry of the character as in the 5th stanza of the Prastavana of the Abhijñānaśākuntala where the expression of the Sūtradhāra admitting the fascination of the Nati's song actually mentions the entry of the king. Viśvanātha gives the above illustra- tion in connection with the Avalagita which he defines as the procedure ( Prayoga ) wherein another action occurring simultaneously is accomplished. He, therefore, defines the Prayogātiśaya as that procedure in which the introduction of another procedure effects the entry of the character as in the Prastāvanā of the Kundamālā the Sūtradhāra renders the words uttered behind the curtain as a help to his calling out the Nati, which words actually introduce Sītā and Lakşmana. He also gives one more kind, the Udghātya in which words uttered by the Sutradhara are connected with other words by the character in his own context, thus bring- ing about his entry on the stage as in the 6th stanza uttered by the Sūtradhāra in the Prastāvanā of the Mudrārākșasa. The stanza is interrupted in the fourth Charana and the words in his own context are uttered by Chānakya who subsequently enters. The Ämukha utilizes the thirteen parts of the Vithi. Bharata enumerates them as the Udghātyaka, the Avalagita, the Avasyandita, the Asatpralāpa, the Prapa ñcha, the Nālikā, the Vākkelī, the Adhibala, the Chhala, the Vyāhāra, the Mrdava, the Trigata and the Ganda2; Dhanañjaya

1. Keith cites the illustration from the Priyadarsikā. (K. S. D. p. 340). 2. N. S. (K. S. S.) XX. 118-119.

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and Viśvanātha, however, mention them in the following order : the Udghātyaka, the Avalagita, the Prapañcha, the Trigata, the Chhala, the Vākkelī, the Adhibala, the Gaņda, the Avasyandita, the Nālikā, the Asatpralāpa, the Vyāhāra and the Mrdava.1 The Udghätyaka may be in the form of a series of either the statement of words having hidden mean- ings or questions and answers. Bharata defines it as that in which the Padas coming without context are eagerly taken hold of and joined with other Padas by characters in the drama. The Avalagita is that where other action because of simultaneous occurrence is acomplished as in the Uttararā- macharita where Sītā deciding to go to the forest for pleasure is sent into exile. The above is one kind, the other is that which marks a turn of event in progress. Bharata considers only the first kind. Viśvanātha considers them in connec- tion with the Prastāvana. The Prapañcha is a mutual com- pliment, untrue and exciting laughter as in the first Javani- kāntara of the Karpūramañjarī where Bhairavānanda praises the Kaula Dharma. Viśvanātha defines it as a dialogue which is based on false knowledge and excites laughter as the dialogue between the Vidūsaka and the Chetī in the Praveśaka of the second act of the Vikramor- vaśīya where she worms out the secret of the king's love from the Vidūsaka. The Trigata is that which admits of various meanings due to similarity of sounds ; it is to be used by the trio of actors in the Pūrvaranga. Bharata says that in the Trigata the words are exalted and distributed among the three characters in the representation. They are mixed with the Hāsya Rasa. ( That is, a whole sentence is divided up as being spoken in sections by three characters

1. D. R. III. 12-13; S. D. VI. 255-256.

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each putting his own interpretation upon the portion he pronounces). The Chhalita ( Chhala) is deception through seemingly loving but in reality harsh words as in the 26th stanza of the fifth act of the Venīsamhāra wherein Bhīma enquires about Duryodhana. Viśvanātha notes the view of some writers who say that the Chhalita is the statement causing deception, laughter and anger uttered by some one with an end in view. The Väkkeli is either the repartee or a series of questions and answers. The first is illustrated in the 26th stanza uttered by Vasantī in the third act of the Uttararāmacharita; the second is illustrated in the first act of the Ratnāvalī in the dialogue of the Vidūsaka with Ma- danikā and Chūtalatikā in connection with the Charcharī. Viśvanātha gives it as consisting of a single reply to many questions. The Adhibala is the dialogue where one vies with the other through envy as in the fifth act of the Veni- samhāra in the violent discussion of Bhīma and Duryodhana. The Ganda is an object suddenly mentioned. It is connec- ted with what is in hand as in the first act of the Uttararā- macharita when just after the intolerableness at the se- paration of Sīta expressed by Rāma in the 38th stanza the appearance of Durmukha to bring about the separation of Sītā is announced by the Pratiharī to Rāma; and as just after the utterance of Duryodhana expressing that his thigh is sufficient to seat his wife on it in the 22nd stanza of the second act of the Venīsamhāra, the Kañchukī suddenly pronounces the words, 'Bhagnam, Bhagnam', which give just the opposite sense as they predict the impending break- ing of the thigh and the consequent insufficiency to provide a seat for his wife. Bharata defines it as consisting in dis- cussion or bondage brought about suddenly with fear or

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calumny or through the use of many words. The Avasyan- dita is the re-interpretation of a sentimental statement made in another sense. Bharata defines it as the attribution of some sense arisen out of good and evil and creating a new sense due to ingenuity of intellect. The Nālikā is the enig- matic statement full of jokes and with sense concealed as in the dialogue between the spy and the pupil preceding the statement of Chänakya who comes to understand the con- cealed sense of the words of the spy just following the 19th stanza in the first act of the Mudrārāksasa. The Asatpralāpa is the series of unconnected and incoherent talks as the random statements of Vikrama in the fourth act of the Vi- kramorvaśīya. Viśvanātha gives one more sense which means the good counsel rejected by the fool as in the fifth act of the Venīsamhāra Duryodhana turns a deaf ear to Gandharī's wise advice. Bharata notes both these de- finitions. The Vyahara is the remark exciting laughter and desire made with some other object in view as in the second act of the Mālavikāgnimitra where the Vidūsaka's words make all the people including Mālavikā laugh, thus giving an opportunity to the king to gaze longer at her charms. Bharata defines it as consisting of conversation which allows the hero, who is present, to have a look without apprehen- sion ( that is, at the object of his love without being detected and reprimanded by his consort ). The Mrdava is the turning of evil into good and vice versa. The illustration of evils turning into merits is to be seen in the 5th stanza of the second act of the Abhijñanasākuntala where the so-called evils of hunting are extolled as virtues. These thirteen constitute the parts of the Amukha or the Prastāvana ; the Sūtradhāra, therefore, can select any of them befitting his

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purpose and introduce the subject-matter or the character. The Vrttis thus present the Vibhavas in action. They also show how different objects are presented on the stage and how the representation is made dramatically ; they thus involve various kinds of the Abhinaya also. The fact has already been attested to by Sägaranandin who describes the predominance of one kind of the Abhinaya in each Vrtti, that is, of the Angika, the Vächika, the Sāttvika and the Āhārya in the Arabhațī, the Bharatī, the Sattvatī and the Kaiśiki respectively. These various kinds have, therefore, to be used in appropriateness to Rasas. The Kuttanīmata towards its end records the dramatic representation of the the Ratnävali, though only of the first act, in which direc- tions as regards the Abhinaya as given in the text of the Ratnavalī were followed with very slight changes ; for example, in the text of the drama it is the queen, Vāsava- dattā, herself who questions Sāgarikā as to the safety of her charge, the Sārika bird, and asks her to leave the place immediately to look after it, whereas in the recorded re- presentation it is the queen's attendant, Kāñchanamālā, who at the order of the queen does it. The Angika is concerned with the various movements and gestures of the different parts and sub-parts of the body as the head, the hand etc. and the eyes, the brows etc. The bee incident in the first act of the Abhijñanasakuntala furnishes the instance of the movement of the head etc. As Rāghavabhatta in his com. puts it, the head ought to be 'Vidhuta' which is the movement of the head described by Bharata to indicate the condition of one who has caught chill, is struck with fear, is troubled, is in fever or in hurry, has taken some intoxicant or is drunk.1

1. N. S. (K. S. S.) VIII. 24.

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At that time the lower lip ought to be quivering and the hand to be in the Patāka form defined and its use pointed out by Bharata.1 Here it is to ward off the attack of the bee. This sort of representation is described in the 21st stanza of the first act of the same play. Such representation in respect of the heroine before the hero admittedly excites his love for her. This device is also used in the Priyadarśikā in the second act, but Āraņyikā soon covers her face there with the upper garment. This device is again to be found in case of Laksmī in the first act of the Samudramathana Samavakāra. More illustrations of the movements of the head etc. are available in such instances as 'Śṛngāralajjām Rūpayati' in connection with Śakuntalā in the first act, 'Madanabādham Nirupya' with regard to the king in the third act and 'Mukhamasyāh Samunnamayi- tumichchhati. Śakuntalā Pariharati Nātyena' in the third act of the Abhijñanasakuntala. In the first illustration the head is to be in the Parävrtta2 pose, and the eyesight to be Lajjitā3; in the second the head is to be the Lolita (or Pari- lolita)4, the hand the Dola5 and the eyesight the Śūnya6; and in the third the head is to be in the Paravrtta pose, the hand to be the Tripatāka7. In such illustrations as 'Sakhyau Vişādam Nāțayitvā Parasparamavalokayataḥ' in the third act ; 'Tatah Pravisataḥ Kusumāvachayam Nāțayantyau Sakhyau' and 'Ityaśrūņi Pramrjya Nātyena Prasādhayataḥ' and 'Ubhe Natyenalankurutaḥ' in the fourth act ; the head is to be the Dhuta8 and eyesight the Visanna ;9 the hand is

1. N. S. (K. S. S.) IX. 18-25. 2. Ibid. VIII. 32. 3. Ibid. VIII. 65. 4. Ibid. VIII. 35. 5. Ibid. IX. 138-139. 6. Ibid. VIII. 62. 7. Ibid. IX. 26-31. 8. Ibid. VIII. 23. 9. Ibid. VIII. 68.

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to be the Arala1; the hand is to be the Tripatāka ; the hand is again to be the Kartarīmukha2 when applying vermilion and the Hamsäsya3 when putting on dress respectively. The different position, movements etc. of the parts of the body are given by Räghavabhatta in the com. to the Abhi- jñānaśākuntala in cases of the above illustrations. In the texts of the dramas also such directions are to be seen as in the sixth act of the Abhijñānaśākuntala where before offering the mango blossom to Kāma ( Cupid) Madhurikā holds it in the Kapota4 hands ( Iti Kapotahastakam Krttvā) or as in the seventh act of the Anargharāghava where Sītā holds her hands in the Kapota form and offers her salutations to the Janasthānadevatās ( Smayamānā Kapotahastakam Krttvā). These are some of the illustrations which involve many kinds of movements of the parts of the body. In directions as the Janäntika the injuction that the hand should be the Tripatākā is to be observed. Bharata has given many other kinds of the shaking of the head in conn- ection with the Sthayibhavas or the Sañchāribhavas as the Parivahita5 or the Anchita6 in respect of the Vismaya and the Chinta. He describes in the ninth chapter of the N. S. (K. S. S.) the various poses of the hands when they are the Asamyutahastas, the Samyutahastas and the Nrttahastas and also their Karanas. He points out their application also. All these with many others are to be used appropriately with respect to emotions etc. In the tenth chapter he describes the various poses and movements of the chest ( Urah), the

1. N. S. (K. S. S. ) IX. 39-45. 2. Ibid. IX. 32-35. 3. Ibid. IX. 98-99. 4. Ibid. IX. 124-126. 5. Ibid. VIII. 25-27. 6. Ibid. VIII. 29.

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loins ( Pārśva ), the abdomen ( Jathara ) and the waist ( Kati). Of the five kinds of the Ürukarma (movement of the thigh) he points out their application with respect to Rasa and the Bhävas. Of the five kinds of the Janghākarma (movement of the legs ) he also points out their application to Rasa and the Bhavas. He also describes the five poses of the feet. In the eleventh chapter he describes various simul- taneous poses of the Padas, the Jangha, the Ûru and the Kati which are called the Chārīs. Their various kinds under the Bhaumīchārīs and the Ākāśikīchārīs, the Sthānas in connection with throwing weapons etc. have been duly described. The Nyāyas, that is, various kinds of poses in connection with the throwing of various arms and weapons (in battles ) have also been pointed out. In the twelfth chapter many kinds of the Mandala which is born of the conjunctions of the Charī have been described as the Ākāśagāmi and the Bhauma each of which has many di- visions. In the thirteenth chapter the Gatis ( gaits ) with respect to the characters, high or middle or low have been described with reference to Rasas and various Bhavas. The gaits of the followers of some religious sects as the Pāsupatas or of the persons belonging to some social order as the Lingins or of the persons, young, old, demented, intoxi- cated, fat, thin, lame, dwarfish etc. or of the persons in various services as the Kañchukīs or of the persons seated on conveyances as the boat etc. or of the conveyances as the chariot or of the persons filling up neuter roles or of the males acting as females or vice versa etc. etc. have been prescribed. This is intended obviously to produce the desired effect which is Rasa. In cases where in dramas the directions are as 'Sānurāgam Anyonyam Pasyatah' where

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Madanikā and Śarvilaka look at each other with love in the fourth act of the Mrchchhakatika or 'Sāsūyam Susangatām Ālokya' where Sāgarikā looks at Susangatā with jealousy in the second act of the Ratnavali Bharata's injunctions have to be followed. He has given different kinds of the eye- sight ( Drsti ) for Rasas, the Sthāyibhāvas and the Sañchāri- bhāvas. For the Śrngāra, the Bhayānaka, the Hāsya, the Karuna, the Adbhuta, the Raudra, the Vira and the Bibhatsa Rasas, the Drsțis respectively are the Kāntā, the Bhayānakā, the Hasyā, the Karuņā, the Adbhutā, the Raudrī, the Vīrā and the Bibhatsa1 which are duly described in details.2 For the Sthāyibhāvas, viz. the Rati, the Hāsa, the Soka, the Krodha, the Utsāha, the Bhaya, the Jugupsa and the Vis- maya, the Drstis respectively are the Snigdhā, the Hrsțā, the Dīnā, the Kruddhā, the Drptā, the Bhayānvitā, the Jugupsitā and the Vismita3 which have been duly des- cribed.4 For different Sañchāribhāvas the Drstis are di- fferent5 which, too, have been described in details.6 Differ- ent kinds of the Drstis enumerated above are amply illus- trated in Mādhava's description of different looks of Mālatī in the first act of the Malatīmadhava. This description also gives the movements of the eyebrows, the poses of the neck etc. In the 2nd stanza of the fourth act of the same drama Kāmandakī's words in description of Madayantikā's and Makaranda's reciprocal love also mention different kinds of the Drstis. The different kinds of movements of the pupils7 and of looking at things8 in expression of different 1. N. S. (K. S. S.) VIII. 38. 2. Ibid. VIII. 44-51. 3. Ibid. VIII. 39. 4. Ibid. VIII. 53-60. 5. Ibid. VIII. 40-42. 6. Ibid. VIII. 62-81. 7. Ibid. VIII. 93-100. 8. Ibid. VIII. 101-105. 33

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Rasas and the Bhavas have been described. Accompany- ing the movements of the pupils the different movements of the eyelides with their appropriate use in connection with the different Rasas and the Bhavas have also been pointed out.1 The movement of the eyeborows in accompaniment with those of the eyelids in fitness with different Rasas and the Bhavas have been duly shown2. The different poses and movements of the nose3, the different functions of the temples,4 the movements of the lower and the upper lips5, the functioning of the chin6, the actions of the mouth7, the colour of the face8 and the movements and poses of the neck9 have received detailed treatment in expression of different Rasas and the Bhavas or of different activities appropriate to Rasas and the Bhävas. In dance which is utilized in dramas various poses of the body are required. Bharata enjoins the use of the different kinds of dance given with ancillaries in the fourth chapter in connection with the Pūrvaranga10. The above kinds, however, are the divisions of the Tandava dance which is of the violent type. The other kind which is mild is the Lasya. As pointed out before it was originated by Śiva's consort, Pārvatī, and, therefore, is of mild type. The second kind of the Abhi- naya is the Vächika dealing with speech. Bharata in the eighteenth chapter of the N. S.(K. S. S.) prescribes the different kinds of dialects etc. for persons of different status, dignity and position. Any dereliction from the prescri-

1. N. S. (K. S. S.) VIII. 106-113. 2. Ibid. VIII. 114-123. 3. Ibid. VIII. 124-129. 4. Ibid. VIII. 130-134. 5. Ibid. VIII. 135-140. 6. Ibid. VIII. 141-146. 7. Ibid. VIII. 147-154. 8. Ibid. VIII. 155-163. 9. Ibid. VIII. 164-170. 10. Ibid. IV. 14.

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ption is sure to mar the effect, that is, Rasa. For instance, the dialect of the Vanecharas is called the Vibhāsā1; if, on the other hand, they are made to speak refined Sanskrit of the sacrificial priests and kings, it will appear inconsistent. This prescription shows how every effort was made to tend to- wards the maturing of Rasa. The blundering language of Śakāra in the Mrchchhakațika is quite in fitness with his character as he is painted there. The dialect of the Rāksasa and the Rāksasī in the Praveśaka to the third act of the Venī- samhära is the prescribed one and fulfils the purpose well. The different forms of address as prescribed in the nineteenth chapter have also to be observed as they express well the Bhävas cherished by one towards the other. For instance, the charioteer is to address the person seated inside the chariot as Āyuşman as Dusyanta is addressed by his chario- teer in the first act of the Abhijñānasākuntala. The reversal of this order is sure to mar the effect, Rasa. In the same way the Pāripārśvaka is to address the Sūtradhāra as Bhava and is himself to be addressed by the latter as Mārisa. As the terms, Bhāva and Mārișa, denote respectively superi- ority and inferiority, the reversal in the order is sure to interfere with the effect. The Janāntika (personal address ), the Apavārita ( a confidence ), the Ākāśabhāșita (speech in the air ) and the Svagata are all dramatic devices relating to speech which have to be carefully observed as any deficiency will make the effect, Rasa, defective. The two kinds of the Alankäras relating to the word ( Sabda) and the sense ( Artha ) numbering four in all, namely, the Upamā, the Rūpaka, the Dīpaka and the Yamaka according to Bharata as given in the seventeenth chapter have been shown in

1. N. S. (K. S. S.) XVIII. 37.

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propriety with Rasa. In the same way different metres also as the Jagati and the Atijagatī have been enjoined upon in connection with fights and tumults and the Śakvarī in connection with the Karuna1. The Dosas have to be avoided and the Gunas observed in order to maintain pro- perly the effect. The Pāthyālankāras (different ways of reading ) which are the Uchcha, the Dipta, the Mandra, the Nīcha, the Druta and the Vilambita are to be used in fitness with Rasas and the Bhavas as prescribed by Bharata in the nineteenth chapter of the N. S. (K. S. S.) in the 45th stanza and the prose portion following. In this connection Bharata discusses the Kākus and points out their suitabi- lity to different Bhāvas. The Șadangas (six ancillaries ) have also to be used in suitability to different Rasas as pres- cribed in the nineteenth chapter where they are mentioned just after the 58th stanza. The Virama (Pause ) is also necessary to make the sense clear, hence they have been prescribed as suiting different Rasas.2 In case of the Varņas (letters ), viz. the Udātta, the Anudātta, the Svarita and the Kampita, the propriety in reference to different Rasas has to be observed in order that the realization of Rasa may not be spoiled. This accounts for the prescrip- tion of Bharata to the effect that the Svarita and the Udatta are to be used in the Hāsya and the Śrngāra ; the Udātta and the Kampita in the Vira, the Raudra and the Adbhuta ; and the Udätta, the Svarita and the Kampita in the Karuņa, the Vatsalya and the Bhayanaka3. The illustration of the Druta, the Vilambita etc. is to be found in the 15th stanza

1. N. S. (K. S. S.) XVII. 112-113. 2. Ibid. XIX. 59-64. 3. Ibid. XIX. 43 & following.

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of the first act of the Nagananda wherein the hero, Jīmū- tavāhana, utters his appreciation of Malayavatī, the heroine's music. The propriety of letters in the Mädhurya and the Ojas in suggesting different Rasas was well observed by Ānanda, Abhinava, Mammața and others in consideration of the Gunas. The suggestion of different Rasas by the Sanghatanās through the Gunas also received their consi- deration as elaborated by Lahiri in his C. R. G., p. 214. Music was included in the Vachikabhinaya. Most of the divisions of the Lasya dance as given before are verbal ( Vächika ) which consist of love effusions in words as the Prachchhedaka division of the Läsya in the song of Hansa- padikā in the beginning of the fifth act of the Abhijñānaśā- kuntala. The seven Svaras in connection with music have to be used in fitness with Rasas as the Madhyama and the Pañchama in the Hāsya and the Śrngāra ; the șadja and the Rsabha in the Vira, the Raudra and the Adbhuta ; the Gāndhāra and the Nișāda in the Karuna and the Dhai- vata in the Bībhatsa and the Bhayānaka1. Bharata gives details on music in its instrumental and vocal aspects in the twentyeighth, the twentyninth, the thirtieth, the thirty- first and the thirty second chapters of the N. S. (K. S. S. ). For instance in cases of the Jātis2 he gives prescription as to their use in suitability to different Rasas. The thirty- third chapter is devoted to the discussion of the musical instruments. The notes to be played upon them as suita- ble to different Rasas have also been poninted out.3 Differ- ent kinds of songs are to be found introduced in the fourth

1. N. S. (K. S. S.) XIX. 38-39. 2. Ibid. XXIX. 1-16. 3. Ibid. XXIX. 17-18.

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act of the Vikramorvasīya as edited by Karmarkar, Poona. This act is introduced with the Āksiptikā, a kind of song. Others as the Dvipadī, the Khandadhārā, the Khandaka, the Charchari and the Ardhavichaturasraka also occur therein along with musical terms as the Pātha, the Kutilikā etc. and the Ragas as the Bhinnaka, the Valantika and the Kakubha. All these have been well explained by the editor in the annotations. In the first act of the Ratnavali the two female servants effect their entry singing a part of the Dvipadī song. In the fourth Javanikāntara of the Karpūra- mañjarī also the Charcharī song is recited by the Vidūșaka before the king. Bharata in the fifth chapter of the N. S. (K. S. S.) describes five kinds of the Dhruvā, viz. the Utthā- panī, the Parivartā, the Apakrșțā, the Additā and the Vikșiptā. The Dhruvā was a song chosen to intimate the arrival of particular characters. It referred to particular Rasas1. The Dhruva beginning the fourth act of the Prasannarāghava intimates the arrival of Paraśurāma and suggests the Raudra Rasa. The other instance is to be found in the act inserted within the third act of the Bāla- rāmāyana. There the Dhruva announces the arrival of Rāma and Lakșmaņa with Viśvāmitra and suggests the Vira Rasa in that it refers to the breaking of the bow. Under the Samanyabhinaya in the twentyfourth chapter of the N. S. (K. S. S. ) Bharata gives twelve kinds of the Vāchikā- bhinaya which consist of words. They are the Alapa, the Pralāpa, the Vilāpa, the Anulāpa, the Samlāpa, the Apalāpa, the Sandeśa, the Atideśa, the Nirdeśa, the Vyapadeśa, the Upadeśa and the Apadeśa. Their relation with Rasa is also indicated as in the case of the Vilapa which consists

1. J. P. R. IV. p. 74 (Footnote).

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of words born of pathos (Karunaprabhavo )1. All these are of seven kinds according as they refer to one's own self or other and according as they are uttered in the present, the past or the future and again according as they are before one or in one's absence2. The third kind of the Abhinaya, that is, the Sāttvika Abhinaya, is to be found illustrated in such instances as 'Iti Stambham Nāțayitvā Chiram Samjñām Labdhva Sasram' in the fifth act of the Chandakausika3 or as 'Pulakam Darśayati' in the first act of the Pratimānātaka4. Bharata in the seventh chapter gives a detailed description of the causes which give rise to the eight Sāttvikabhāvas. How they are to be represented on the stage is also described ; for example, the Vepathu is to be represented through the Vepana (trembling), the Sphurana (throbbing) and the Kampa ( shaking )5. In the 35th stanza of the third act of the Vi- dagdhamädhava the Kampa, the Sveda etc. are found men- tioned. In case of different Rasas they have been enumerated as in the Bhayanaka they are the Sveda, the Vepathu, the Romāñcha, the Gadgada (due to Svarabhanga) and the Vaivarnya6. In the sixth chapter also in connection with the representation of the Bhayānaka Rasa they are mentioned. As said previously in the twentyfourth chapter of the N. S. (K. S. S. ) under the Sāmānyābhinaya the Sattva is stressed. Various expressions on the face and different parts of the body serving as the natural embellishments of females and males are then enumerated and explained. The Bhāva, the Häva and the Hela are at first recognized as the different

1. N. S. (K. S. S.) XXIV. 53. 2. Ibid. XXIV. 158. 3. C. K. V. p. 85. 4. Pratimā (in B. N. C.) p. 253. 5. N. S. (K. S. S.) VII. 102. 6. Ibid. VII. 114.

520 kinds of the Sattva.1 Their modes of representation on the boards are also given ; for example, the Bhāva involves change in the eye and the brow, is attended with a particular position of the neck and is indicative of the Śrngāra Rasa2. The ten natural qualities of the females are the Līla, the Vilāsa, the Vichchhitti, the Vibhrama, the Kilakiñchita, the Mottāyita, the Kuttamita, the Vibboka, the Lalita and the Vihrta. The direct mention of the Vibboka is to be found in the 94th stanza of the Rasasadana Bhana. The seven qualities manifesting themselves spontaneously in females, viz. the Śobhā, the Känti, the Dīpti, the Mādhurya, the Dhairya, the Pragalbhya and the Audārya also come under the Sattva. The illustrations of the Sobha and the Madhurya are to be found in the 10th stanza of the second act and the 18th stanza of the first act of the Abhijñānasa- kuntala where in the former the immaculate beauty of Śakuntalā is expressed through comparison with a flower not smelt etc. etc. and in the latter it is expressed that every object becomes an embellishment for a handsome form. The males also have eight qualities which are different ex- pressions of the Sattva. They are the Sobha, the Vilāsa, the Madhurya, the Sthairya, the Gambhīrya, the Lalita, the Audārya and the Tejas. Bharata as in the above mentioned cases describes them and hints as to their representation, though with regard to only a few cases. The fourth kind of the Abhinaya is the Aharya. This Abhinaya helps much in making the character being taken up for the original character. It, thus, makes the Vibhāvas accomplish their function fully. Bharata treats this kind in all its sections

1. N. S. (K. S. S.) XXIV. 6. 2. Ibid. XXIV. 10.

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and sub-sections in the twentythird chapter of the N. S. (K. S. S. ). As described before this Abhinaya is of four kinds, viz. the Pusta, the Alankāra, the Angarachanā and the Sañjīva. The Pusta itself is of three kinds, viz. the Sandhima, the Vyajima and the Chestima. The example of the San- dhima is to be found in the Pratijñāyaugandharāyana where in the first act Hamsaka when asked by Yaugandharāyana describes the approach of the artificial elephant ( Krtakahastī) before Vatsaraja. Another such instance is to be found in the Mrchchhakatika in the third act where Sarvilaka, the thief, having dug a breach in the wall of the mansion of Chärudatta thinks of, and then actually inserts, the dummy of a man (Pratipurusa). Another such instance is again to be found in the fifth act of the Balaramayana where the dummy of Sītā was produced before Rāvaņa. There was a particular kind of bird ( Sārikā) placed in its mouth to deceive him by its sound. The use of machinery is also men- tioned ( Sārikādhişthitavaktram Sītāpratikrtiyantram ). This, therefore, may be taken as an instance of the Vyājima. The aerial cars described in such dramas as the Abhijñāśākun- tala, the Vikramorvaśīya, the Anargharāghava etc. furnish instances of the Vyäjima where some sort of mechanism was used to show them flying at different speeds. The third kind, the Chestima, is in the N. S. (N. S. ) given as the Vesțita. Under this head, therefore, can come various kinds of weapons used. Different kinds of spear, the bow, the arrow, the mace, the thunderbolt and the different kinds of sword are instances in point. They were made of bam- boos etc. with cloth or lac wrapped round them. In this connection Bharata considers such things as the Chhatra ( umbrella), the Chamara (chowrie), the Dhvaja ( banner, )

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and the Bhrngara (jar ). The Jarjara ( the flag of Indra ) and the various kinds of rods for sticks or handles of spears etc. also receive consideration in details. Various illustrations of these are to be found in dramas as the Khadga (sword) in the sixth act of the Mrchchhakatika where Chārudatta gives the sword to Aryaka seated in the cart of Chārudatta in place of Vasantasena or in the third act of the Avi- māraka where Avimāraka enters with a sword in hand. The example of the mace is to be found in the sixth act of the Venisamhära where Bhima enters with a mace in hand. In the same act is to be seen earlier the chamberlain entering with the Bhrngra in order to pacify the thirst of Chārvāka, the Räksasa, who came in the guise of a Muni to deceive Yudhişthira. The Vidūşaka is often seen with a stick in his hand as in the second act of the Abhijñānaśākuntala. The umbrella is mentioned in the fifth act of the Mrch- chhakatika where Vasantasenā goes to her love tryst with her umbrella-bearer. The Laguda (stick) is mentioned in the first act of the Latakamelaka Prahasana where Jatāsura takes up suddenly the stick to drive away others. The Chhatra, the Chamara and the Bhrngara are mentioned in the fifth act of the C. K. where Dharma orders them to be brought in connection with the installation of Rohitaśva. The Bhrngära is again mentioned in the second Sandhi of the Nātavāța Prahasana where Nidrāluthakkura sends for it in order to sip water and adore gods. Other things mentioned in dramas may also be considered here. The fetters are mentioned in the seventh act of the Mrchchha- kațika where Āryaka is relieved of them by Vardhamānaka, the Cheta, under the commands of Chārudatta ; the Kaman-

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dalu (bowl) in the beginning of the fourth act of the Māla- tīmādhava where Kāmandakī is seen sprinkling water from the bowl; the picture boardsin the first act of the Uttararāma- charita ; the Śayyā (bed-stead) in the seventh act of the Mālatīmādhava where Makaranda is seen on the bed ; the Vīņā (lute ) in the third act of the Priyadarśikā where Kāñ- chanamala is seen with a lute which is afterwards handed over to Āranyikā ; the Bherī ( kettle-drum ) in the seventh act of the Āscharyachūdāmani where Jāmbavān is seen beating it ; the Kanduka (ball) in the second act of the Svapnavāsavadatta where Padmāvatī is seen playing with the ball ; the Bhramarakaranda (box for moths ) in the third act of the Charudatta of Bhasa where Sajjalaka, the thief, lets out one moth from the box in order to quench the flame of the lamp in Chārudatta's house ; the Pratimā ( statue ) in the Pratimānāțaka ; the Pāśa (noose) in the second act of the Nägänanda where the heroine is placing it round her neck to commit suicide etc. etc. The pleasure hills ins- tanced in the second act of the Venīsamhara as the wooden pleasure mountain on which stood the palace of Duryo- dhana ; the Hemakūtasikhara in the first act of the Vikramorvaśīya, the different conveyances as the Śibikā (palanquin) mentioned in the second Sandhi of the Nāta- vāța Prahasana, vehicles as the clay cart and the bullock cart in the Mrchchhakatika, the Kavacha ( armour ) described as being worn by Laksmana in the third act of the Aścharya- chūdāmanī etc. etc. are according to the prescriptions of Bharata, the examples of the Pusta. The Alankāra is of three kinds, viz. the Abharana, the Māla and the Vāsas. The Abharanas ( ornaments ) are of four kinds as described before. They are the Avedya (earrings etc. ), the Bandhanīya

524 ( armlets etc. ), the Praksepya ( anklets etc. ) and the Āropya (necklaces etc.). The Karnabhāra of Bhäsa furnishes the instance of the Kundalas ( earrings ) where Karna is depicted as putting on two earrings. In the first act of the Mrch- chhakatika is to be found the example of anklets where Vasantasenā hotly pursued by Śakāra and his party removes the anklets in order to give no scent through sound and thus elude the pursuit of Sakara. In the 4th stanza of the third act of the Priyadarsika are to be found mentioned, in case of the servant of the queens, all these kinds of ornaments with others with their proper places over the different parts of the body as the anklets on the feet, the girdles round the loins, the necklaces round the necks and pendulous over the breasts, the armlets round the arms, the earrings in the ears, the bracelets round the hands etc. Another instance is to be found in the 6th stanza of the third act of the Nagananda in which the necklace, the girdle and the anklets on their proper places of the parts of the body are mentioned. Bharata prescribes different kinds of ornaments in case of gods, kings and ladies. They are made of gold, silver and gems. In the end he says that they should be in fitness with the different Bhavas and Rasas.1 He, however, gives one warning that they should not be too many as they may bring about exertion and fatigue. Keeping this very con- sideration in view he says that they should be made of lac with a few gems.2 In case of the crown as the head dress the consideration should be made here, though Bharata tackles this consideration along with that of the Vāsas (dress), as the turban etc. as head dress are also prescribed. In this connection the prescription at once suggests whether the 1. N. S. (K. S. S.) XXIII. 42. 2. Ibid. XXIII. 48.

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character represented is a god or the denizen of other re- gions as the Vidyādharas, the Chāranas etc. or mortals. Among the gods even there are grades as the superior, the middle and the lower. Other kinds of head dress as the turban tied and wrapped round the heads of the ministers, the chamberlains, the rich, the priests etc. also receive atten- tion.1 This is evidently to make the effect, Rasa, realized. Bharata, however, clearly says that the ornaments should not be such as to cause exertion and fatigue ; hence they should be of brass, lac, wax, mica etc2. This clearly ex- presses how things as they are in real life are modified accor- ding to the requirements of the stage. The Mālās as des- cribed before are of five kinds, viz. the Chestita, the Vitata, the Sanghatya, the Granthima and the Pralambita. The example of the garlands used is to be found in the first act of the Mrchchhakatika where Vasantasenā removes the garlands along with the anklets in the stanza already referred to. The third kind, the Väsas, is first dealt with in connection with the dress etc. of ladies of different regions. For instance, the dress of Vasavadatta when she is placed as a charge with Padmavatī in the Svapnavasavadatta is to be of that of the lady belonging to Avanti, modern Ujjain. Bharata also describes dress in fitness with the condition of the ladies in their love relations with their lovers. For instance, the Prositapatikā (one whose husband has gone away on some work) or the Vyasanābhihatās ( those ladies who are afflicted with some troubles ) should wear dress which is dirty and they should have one braid of hair on their heads.3 This is fully borne out in case of Śakuntalā

1. N. S. (K. S. S.) XXIII. 132-140. 2. Ibid. XXIII. 209-210. 3. Ibid. XXIII. 70-71.

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in the seventh act of the Abhijñānaśākuntala where before Dusyanta she appears with one braid of hair. In the same act in the 21st stanza which the king utters in her descrip- tion she is related as wearing dirty clothes, having one braid of hair with her face emaciated due to observance of various religious rites and injunctions. In cases of persons belonging to different orders of society as the Muni, the Śrotriya etc. or in different conditions as the Unmatta, the Pramatta, that is, the demented, the intoxicated etc. Bharata prescribes the dresses. For instance, the Tāpasas ( those given to austerities ) are to put on the dress of barks of trees and they should have skins of wild beasts1. The instance is furnished in case of Śakuntalā who being brought up as a hermit girl is described as wearing barks in the first act of the Abhi- jñānaśākuntala where she taunts Priyamvadā for having tied her breasts fast with the Valkalas ( barks ) or as in the first act of the Pratimānataka where Rāma puts on the Valkalas while leaving for the forest. Various directions suggesting the different Rasas are to be found in dramas as in the second act of the C. K. where the Vighnarät ( chief of the impedi- ments ) enters in a dress suggesting the Raudra Rasa ( Rau- drojjvalaveśah Sambhrānto Vighnarāt ) or as in the third act of the same drama where the Pāpapurusa ( sinner ) enters in a dress suggesting the Bībhatsa Rasa ( Bībhatsaveșaḥ Pāpapurușaḥ ) or as in the fifth act of the same drama where the king enters in robes suggesting his helpless and pathetic condition ( Vikrtamalinaveșo Rājā ). The instance in sugges- tion of the Śrngāra Rasa is to be found in the first act of the Āścharyachūdāmaņi where Śūrpaņakhā enters dressed in a beautiful and delicate garb ( Lalitasukumāraveșā Śūrpa-

1. N. S. (K. S. S. ) XXIII. 127.

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ņakhā ). The Abhinaya under the Angarachanā is concerned with the general make-up such as painting with different paints, make-up of the beard, hair on the head etc. Under this head comes up first for consideration the different paints used. Bharata gives different colours, the original ones and their combinations and points out their importance in the words that the person painted with appropriate colours makes himself or herself taken up for the original character1. In this connection he says that the gods, the demons, the oceans, the conveyances, the different weapons, the mountains etc. are supposed to be endowed with life. These also become embodied ( Śarīrinaḥ) due to ceratin reasons., Hence he prescribes different colours in their connection. Bharata also prescribes here colours for the people hailing from different regions. In the Bhāratavarsa his prescriptions in connection with colours of kings, happy people, different castes and persons belonging to different status of the society accomplish well the effect described above. In ancient India colour as distinguishing different classes of society ( Varnas ) had, thus, a great significance. To take an example of the weapons endowed with life, the weapons of Krsna are represented as personified in the Bālacharita by Bhāsa. They figure there as Chakra ( discus ), Śārnga ( bow ), Kaumodakī ( mace ), Śańkha ( conch ) and Nandaka (sword) in the very first act. To take another example is pertinent. In the third act of the Uttararamacharita the two rivers, the Tamasa and the Murala, are to be seen conversing that the Ganges preserved Sīta in her abandonment. In the fifth act of the Prasannarāghava are to be seen the Ganges, the Yamunā, the Sarayu, the Godavarī and the Tungabhadra along with 1. N. S. (K. S. S.) XXIII. 83-84.

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the Sägara (ocean). The rivers, thus, are to be seen per- sonified. It becomes clear that it is to have the effect, Rasa, accomplished that Bharata gives such prescriptions. He then gives directions as to the make-up of the beard which is to be of four kinds, viz. the Śukla ( white), the Śyāma ( dark ), the Vichitra ( variegated ) and the Romaśa ( shaggy ). Their propriety in case of different Rasas is pointed out as he says that those persons who are the Śrngārīs should have the Vichitra beard whereas those who are Duhkhitas ( afflicted ) should have the Syama beard. In case of the make-up of the hair also some directions are furnished which are to be observed ; for example, the hermits are to have long hair whereas the Sakyas, the Śrotriyas etc. should have shaven head. This is obviously in propriety with the Bhavas cherished towards such perons. In case of Rasa also Bharata makes express mention as for the Śrngārīs the pres- cription is that the hair on the head should be curled ( Sirah Kuñchitamūrdhajam )1. Thus giving details in connection with the Angarachana Bharata says that it arises because of different characters, hence it should be thus known.2 The Abhinaya under the Sañjīva treats of the entry of the living beings ( Prāņinām Praveśo )3. The introduction of live cattle on the stage is admitted even by Wilson as he says, " The introduction of the latter is frequent, and could not always have been imaginary, being, as in the Mricchhakati especially, indispensable to the business," wherein the word 'latter' is used by him in reference to the ' cars with live cattle' in the sentence just preceding4. These are as said before the Chatuspadas ( quadrupeds ), the Dvipadas ( bipeds ), and

1. N. S. (K. S. S.) XXIII. 147. 2. Ibid. XXIII. 151. 3. Ibid. XXIII. 152. 4. W. D. p. 108.

529 the Apadas ( footless ). The example of the quadrupeds is to be found in the first act of the Abhijñānaśākuntala where the charioteer is introduced as speaking to the king, Dus- yanta, in connection with the condition of the antelope hotly chased. The direction occurring just before his utterance is 'Rājānam Mrgañchāvalokya' which means looking at the king and also at the deer. As some actor represented Dusyanta it follows that in the absence of any other direction suggesting the dummy deer the living deer was also introduced. The running horse is well described there. Another instance is to be found in the seventh act of the same drama where Sarvadamana, the son of Dusyanta, is seen playing with the cub of the lion. No direction as to the cub being a stuffed representation is given, con- sequently the living cub was introduced. In case of the peacock introduced there the directions are explicitly men- tioned. They are, 'Mrttikāmayūras Tișthati ' and 'Praviśya Mrņmayūrahastā Tāpasī', wherein the words, Mrttikā and Mrnmaya, mean clay. Hence in this case the peacock was not living but only of clay. In the fifth act of the Bāla- rāmāyaņa a living bird ( Sārikā) was placed in the dummy of Sītā to deceive Rāvana. The above are instances of the bi-peds. The footless may be instanced in the fourth act of the Bālacharita by Bhāsa where Kāliya (a snake with five hoods as the direction points out ) is introduced. Dāmo- dara (Krsna) is seen effecting the entry with the serpent and then dancing the Hallisaka on its five hoods. It also utters the 7th stanza. This makes clear that the serpent was a stuffed representation with some mechanism. The Abhinaya in all the above kinds and divisions, no doubt, constitutes the activities of the original characters who have, therefore, to be represented. The necessity, thus, 34

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of the actors crops up. These actors should so far as possible represent the original characters in various aspects. As pointed out before Bharata in this connection lays down some prescriptions in the thirtyfifth chapter of the N. S. (K. S. S.) ; for instance, he says that the servants should be represented by those actors who are slow, dwarfish, crooked etc. etc. and those fatigued and tired should be represented by the lean and the thin whereas those without any disease by fat persons.1 The actors should represent in fitness with the country and the dress. The Sukumāra kind of representa- tion should be made by the ladies as it is they only who are full of graces2. Bharata gives answer to the question as to how a Nata may look like a king in the representation. He says that the Nata will look like a king when painted with colours, decorated with ornaments and putting on the dress suggesting grandeur3. Other qualities, physical and mental, required in the characters are pointed out in accor- dance with which the actors are to be selected. It is quite evident that these long prescriptions are to make the re- presentations seem appropriate and natural and, thus, make the spectators realize Rasa. In some dramas there occur descriptions which give graphically the physical forms as in the Madhyamavyayoga of Bhāsa where Bhīma describes in the 26th stanza the form of Ghatotkacha who also des- cribes Bhima's in the 27th stanza. The 4th and t e 5th stanzas in the second act of the Abhijñānśākuntala mainly detailing the merits of the chase and giving the description of the physique of the king incidentally are instances in point.

1. N. S. (K. S. S.) XXXV. 2-5. 2. Ibid. XXXV. 23-24. 3. Ibid. XXXV. 39-40.

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The 23rd and the following stanzas in description of Paraśu- rāma in the second act of the Mahavīracharita ; the 54th stanza describing the form of Tādakā in the second act of the Anargharaghava and the 18th and the 19th stanzas des- cribing the form of Parasurāma in the fourth act of the same drama are some other instances. The description of Tādakā in the above mentioned stanza gives her as moving with tongue the human bone stuck between her teeth. The human bone, the long tongue and teeth are all to be false and consequently made of paper, lac etc. In the Rāma dramas Rāvaņa is represented as ten-headed ( Daśānana, Daśagrīva, Daśakandhara etc. ) which points out that he is to have ten heads. In order to meet such requirement and others of a like nature Bharata lays down that in case of characters having many arms, mouths, deformed face etc. etc. the dis- criminating skill should be used and such forms should be represented using clay, wood and skins1. All this is very cleverly prescribed in order that the actors may fully represent the original characters and there may be no deficiency what- soever in the complete realization of Rasa. The actor was called the Śailūșa, the Nața and the Kuśīlava as the conversa- tion of the Vidūsaka with the Sūtradhāra in the Prastāvanā to the Adbhutadarpana shows. In the Nirbhayabhīma- vyāyoga also the actor is called the Kusīlava in the words of the Sutradhara. As pointed out before the actor was to have a regular training as can be borne testimony to by the state- ment of the Sūtradhāra in the Prastāvanā of the Karpūra- charita Bhana. He says that in the representation devised to be given by only one actor, his younger brother has been trained well ( Suśiksita ). The skill and the merits of a

1. N. S. (K. S. S.) XXXV. 9-10.

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trained actor were the most needed for the intended effect when it is seen that even the Stradhāra, his brother and the Pāripārśvaka who were the directors took roles of the principal characters as the Sūtradhāra in the Ratnāvalī and the Priyadarsikā plays the parts of Vatsa ; his younger brother those of Yaugandharāyana and Drdhavarman in the above two plays respectively as Kieth says1, though it is only his younger brother who is mentioned in the words of the Sūtradhāra in the Prastāvanās of the two plays as taking the roles of Yaugandharāyaņa and the Kañchukī of Drdhavarman and not of Drdhavarman himself. The Pāripārśvaka plays the Vița in the Rasasadana Bhāna. They may take such other roles also as affect powerfully the various currents in dramas. The instances are available in the Mālatīmādhava wherein the Sūtradhāra and the Pāripārśvaka assume respectively the roles of Kāmandakī, the Nun and Avalokitā, her pupil. Instances of other actors are to be found in the Dhanañjayavijaya where the Sūtradhāra says that Śyāmalaka has already assumed the role of Arjuna ; in the Śrngāratilaka Bhāna where the Sūtradhāra says that his paternal aunt's son, Kamaleksana, expert in various acting, has already entered the stage in the role of Bhujangaśekhara and in the Adbhutadarpana wherein the Sūtradhāra reminds in anticipation Romanthaka for playing the role of Mahodara, Rāvana's help in love affairs. The actors, thus, had to be very careful, cautious and possessed of skilful training in order that the intended effect may be fully accomplished. How far the actors themselves realized Rasa is a point already considered in the discussion of the various interpretations of

1. K. S. D. p. 362.

533 the Rasasutra of Bharata. That their activities were needed to make the spectators realize Rasa stands as an undoubted fact constantly emphasized. The actors, however, represented the characters who were seen moving through various situations and circumstances which formed the plot of the drama. Hence these situations, circumstances etc. also were arranged in a manner as to lead to the intended effect, Rasa. This arrangement, no doubt, had two purposes to serve from two standpoints, viz. from the standpoint of the hero who was to achieve some definite object from among the Dharma, the Artha, the Kāma and the Moksa ( as dramas as the Bhartrharinirveda proves ), each either separately or mixed with the other, and from the standpoint of the spectator in whom the realization of Rasa was to take place. The first standpoint was the basic con- sideration with the compilers of traditions, stories, conve- tions, annals etc. whereas in case of the dramatic piece the second one was the guiding factor and the first one was kept only secondary. This accounts for the changes introduced in the plot of a dramatic piece and the consequent variation of the subject-matter of the plot from that of its counterpart in traditions, stories etc. dealing with subjects, divine or heavenly or infernal or human or belonging to any other region. No such question arises in those cases where the plot is wholly invented. It is there that Rasa becomes the guiding factor. The cases of borrowing and modification in the light of Rasa can be attested to by many dramatic pieces. The story forming the basis of the plot of the Abhijñāna- śākuntala, for example, is simple and short. Many motives, devices, characters and many other elements are not to be even found there which, however, are centres of interest in

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the drama. In the Mahabharata the Adiparva version of the story which deserves consideration due to being older than Kālidāsa's work, the other version as given in Svargakhanda of the Padmapurāna being later than even Kālidāsa's as Kale concludes1, simply gives Dusyanta as reaching in course of hunting the hermitage of Kanva during his absence when his foster-daughter, Sakuntalā, entertains him. The king is fascinated by her charms. He learns from her the account of her birth etc. The Gandharva marriage results by mutual consent on condition of her son being made the successor. After sometimes the king returns to his capital but does not send for her as he feels afraid of the sage, who, however, divines everything. He approves of the marriage of the daughter who is after sometime delivered of a son. The sage, then, without waiting for the king's message, sends her to his residence. The king discards her in order to avoid public censure, but a voice in the air exhorts him to accept her and her son as his own wife and his own son. He obeys and Śakuntalā is made the chief queen. It may be said here that in the above version love between the pair and the attainment of Śakuntalā is the aim but the version as it stands is prosaic and dull. It receives life when touched with the magic of the dramatist's genius. The various movements and expressions of the king, the two female companions serving as mouthpiece of Śakuntalā, the lack of any mention of the condition of Sakuntala's son being the successor in order to remove the sense of bargaining, the introduction of the sage, Durvasas ' curse and the ring as its antidote, the loss of the ring and the consequent forgetfulness of Dusyanta, the fisherman's getting the ring and the restora- 1. K. A. S. p. 51 (Introduction).

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tion of the king's memory, Matali's troubling the Vidūsaka, Dusyanta's journey to heavenly regions, Mārīcha's hermi- tage etc. etc. are items brought in by the skilful hand of the artist in order to keep aflame the interest and show Rasa in various stages of development and growth. The Rāma drāmas as the Adbhutadarpaņa, the Āścharyachūdāmaņi etc. show to what extent the modification in the basic story is made in the light of a particular Rasa kept up as principal. Further instance is to be seen in the plot of the Mālatīmādhava. Here the skilful artist gets a freer latitude than that in cases where the basic story is adhered to as in the above instance. In con- formity with the injunctions of dramaturgy which say that the subject-matter of a Prakarana type of drama must be invented, Bhvabhūtī has, practically speaking, invented the plot as the elements culled from different books of the Kathāsaritsāgara transform in his crucible beyond recogni- tion. The artist has got suggestions from other sources also as the Vikramorvaśīya of Kālidāsa, the Kāmasūtra of Vātsyāyana etc. but the baser metal has been transmuted into pure gold. The Srngāra Rasa has been kept up as the principal sentiment while others as the Raudra, the Bibhatsa, the Bhayanaka, the Karuna and the Adbhuta do its maiden service. The artist's hand at work with the utmost freedom is to be seen in those dramatic types whre the plot is wholly his creation as in the Bhana etc. In them Rasa intended to be depicted as principal is seen in full and unchecked by any impediment whatsoever. Rasa, thus, is the guiding factor in determining the subject-matter forming the plot. The subject-matter, however, may have such incidents as are indispensable and at the same time devoid of Rasa ( Nīrasa ). These incidents have to be given place in the plot, therefore

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they are indicated through the Viskambhaka or the Praveśaka or the Chūlika or the Ankāsya or the Ankāvatāra as seen in the dramatic pieces. These means are not supposed to be included in the body of the plot which is enjoined to be overflowing with Rasa. But then the body of the plot even though overflowing with Rasa may cover such a wide canvas as to try the patience of the spectator, and thus, tell upon his pleasure. This wide canvas, therefore, is reduced to a short one by such means as keep the interest alive. These means consist mainly of narrations as in the fourth act of the Venisamhara where Duryodhana and Sundaraka enter into a series of questions and answers for- ming the narration of the battle. Such instances are also to be found in the Rama dramas as in the sixth act of the Anargharäghava where the two Vidyādharas, Ratnachūda and Hemängada seated in an aerial car, narrate the battle between Ravana and Rama and their troops or as in the seventh act of the Prasannaraghava where the Vidyadhara and his mate narrate the battle between Rāma and Rāvaņa. Such means serve to reduce the plot to a tolerable limit. This purpose is sometimes served by those means also which are employed for indication, that is, the Viskambhaka, the Praveśaka etc. as in the Śuddhaviskambhaka to the fifth act of the Mahāvīracharita Sampāti and Jațāyu engage themselves in narrating Rama's doings in the forest and destruction of Khara, Dūșana etc. or as in the Praveśaka to the third act of the Venisamhara in which the Rāksasa narrates in a few sentences the destruction of so many Kșattriyas as may cover a long space if depicted in detail. It becomes clear, therefore, that all these means were to shorten the wide canvas to a tolerable limit in the light of

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the principal sentiment. The division of the plot into the Sarvaśrāvya, the Niyataśrāvya and the Aśrāyya in suita- bility with the stage requirements are without any doubt to help the maturing of Rasa as the stage aims at that function. The Ākāsabhāșita ( speech in the air ) is a device which is the backbone in the Bhäna type of drama, for without it the whole fabric falls and consequently no Rasa, either the Vira or the Śrngāra, can be suggested. When the subject-matter of the plot has been determined in the light of Rasa it is seen growing like an organism. It starts with the Bīja (first seeds ) and culminates into the Kārya (final fruition ). The Bīja is the laying of the foundation of the particular Rasa in its initial stage as in the Viskambhaka of the first act of the Ratnāvalī Yaugandharayana's first words uttered behind the curtain express it. When the Bija is intercepted in its growth, there must come some connection which may renew it. This connection is obviously to renew the growth of the sentiment initially depicted as in the first act of the Ratnāvali Sāgarikā on hearing the bard's recitation uttered behind the curtain in praise of Udayana is reminded of her father's promise to give her hand in marriage to Udayana. The Śrngra Rasa that was to be depicted between Udayana and Sāgarikā seemed to have gone into background due to the subsidiary thing, the worship of the god of love. The sentiment thus shown growing, intercepted and connected may be further helped by comparison or contrast when a similar or dissimilar sentiment is depicted simultaneously on a smaller or a larger scale. The incident treated on a larger scale ( the canvas here is smaller than that in the main plot ) is the Patākā. The instance is furnished in the episode of the love of Makaranda and Madayantikā in the Malatīma-

538 dhava very cleverly woven together with the main plot. The sentiment in this episode is the same as the principal one in the main plot; how it helps the development of the principal sentiment in the main plot is clear when it is seen that it is Makaranda who puts on the dress of Mälatī who in her turn gets a chance to elope with Mädhava. The incident treated on a scale smaller than that of the Patākā is the Prakarī. An instance of it is to be found in the same drama where Saud- āmanī finds out Mālatī and helps Mādhava to save his beloved.1 There may be some indications which suggest the incidents and thus help on the development of Rasa. These are the Patākāsthānakas ( the episode indications ) recognized to be of four kinds as already said. For example, the illustration of one kind is to be found in the fourth act of the Ratnävalī where the king at first removes the noose from the neck of Sāgarikā taking her to be Vāsavadattā whose dress she wore but later on discovers his mistake, consoles Sāgarikā in her grief and rejoices in the unexpected union. All these are to be seen coming into use before the culmina- tion, that is, attainment of the desired object by the hero and the realization of pleasure in the spectator. Then again the seeds sown in the beginning may be seen at various stages along with the different stages in the development of the principal Rasa. The beginning, the Arambha, marks the anxiety for attaining the copious fruit as in the Viskambhaka of the first act of the Ratnāvalī where Yaugandharāyana in the 7th stanza expresses his anxiety to attain the result ( fruit ) which is the union of Udayana with the princess of Ceylon. Hence the sentiment to be developed is the Śrngāra. The second stage, the Prayatna, marks the effort made 1. R. S. III. 13-14.

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to attain the aim when it is not obtained as in the second act of the same drama where Sāgarikā unable to obtain sight of the king draws his picture on the board in order to have his full view. All this shows how the sentiment of love in the form of longing for a sight of the king long cherished in Sgarikā is satisfied through indirect method. The third satge, the Prāptyāśā, is the possibility of success with effort and with fear of failure. The illustration is to be found in the third act of the same drama where the king is unexpectedly united with Sāgarikā. He cannot check himself from ex- pressing this sudden turn of fortune as he calls it rains without clouds.The Vidūsaka at that expresses his suspicion to the effect that the queen Vasavadatta may reach there and acting as an untimely gale bring about separation. The union hangs in the balance. Various emotions, thus, make the main sentiment chequered and more attractive. The fourth stage, the Niyatāpti, marks the certainty of success for the risk is absent as in the third act of the same drama the Vidūşaka at first brings Vāsavadattā herself taking her to be Sāgarikā and finding out later on his mistake says that Sāgarikā will have to live a hard life thenceforth. This is the beginning of doubt about the union which, however, becomes certain when the king decides in the last sentence of the act to appease the queen. The last stage, the Phala- yoga or the Phalägama, is the attainment of the desired object. The illustration is the attainment of Sāgarikā by the king leading to the consequent culmination of the Śrngāra in its Sambhoga aspect. From the view point of the minister Yaugandharayana the main object to be achieved was the attainment of monarchy by the king, and as it was predicted by a seer that Ratnāvalī's (Sāgarikā's ) suitor would become

540 monarch Sāgarikā was to be obtained by the king. The aim of the king was to gain the hand of Sāgarika. These were the aims and objects to be achieved by the original charac- ters but from the view point of the spectator the realization of the Śrngaa Rasa was the main object. The Bija, the Bidnu, the Patākā, the Prakarī and the Kārya respectively combine with the Arambha, the Prayatna, the Prāptyāśā, the Niyatäpti and the Phalagama and give rise to the five Sanshis respectively. They are the Mukha (opening), the Partimukha (progression), the Garbha(development), the Avamarśa (pause) and the Nirvahana or the Upasamhrti (conclusion). As said before in the third and the fourth Sandhis the Patākā and the Prakarī may not be present for they are not the indispensable elements. To what extent the poet has to exert himself for the proper and appropriate arrangement of the plot in respect of its development from the Bija to the Kärya through the Mukha to the Nirvahana Sandhi is lucidly described by Viśākhadatta through Rākșasa in the 3rd stanza of the fourth act of the Mudrārāksasa. The trouble experienced by a playwright and a politician is the same. The Sandhis described above are undoubtedly concerned with the object, at its various degrees of attainment, placed before the original characters for achievement. They mark the different gradual stages of the development of the main plot. From the view point of the spectator they show the development of the principal Rasa at its different stages. The Abhijñānaśākuntala depicts the Śrngāra Rasa. Dușyanta starts for the hunt and is shown chasing a deer of the hermi- tage of the sage, Kanva. The background for Rasa is pre- pared. Dusyanta reaches the hermitage and is blessed by a Vaikhānasa (sage) with the future birth of a son to him.

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The seed is cast when the Vaikhanasa says that the king should go to Kanva's hermitage and accept hospitality from his foster-daughter, Śakuntalā, in charge of the place in his absence. The Śrngāra Rasa receives here an open start. It goes on developing through the various reflections of the king and Śakuntalā in respect of their union when it seems to be intercepted for some time by such incidents as the chase etc. This whole canvas marks the Mukha Sandhi. The sentiment thus intercepted is revived when Dusyanta says to the Vidūșaka, his companion, that the latter has not obtained the fruit of his eyes as he has not seen the object worthy to be seen ( Śakuntalā ). This statement of Dusyanta serves as the Bindu ( connecting link ). Dusyanta, however, thinks that he is recognized by some of the sages, therefore he asks the Vidūsaka to tell him the pretext under which he may visit the hermitage again. This is the Prayatna on the part of the king. These two factors, viz. the Bindu and the Prayatna clearly testify to the Srngāra Rasa being continued and developed further. This is the Pratimukha Sandhi. The effort that is made bears fruit as Dusyanta is successful in securing union with Śakuntalā. The Śrngāra Rasa is develo- ping; it, however, is again intercepted by the curse of the sage, Durvasas. The hope of its continuation is there as the words uttered by Kanva in reply to Śakuntalā's query as to how she would live when removed so far away from the hermitage and separated from him, show. The words are benediction wishing her placed as the housewife. This is, no doubt, the Prāptyāśā ( the hope of success ). The Śrngāra Rasa again comes into view when the chance of union comes up. Śakuntalā has bidden farewell to the hermitage and is present in the open court of the king, Dusyanta. The two

542 disciples of Kanva convey their preceptor's message to the king. He forgets everything done by him at the hermitage. Gautamī then uncovers the face of Sakuntalā in order that the king may recognize her, but that means fails. This is the Garbha Sandhi. The Śrngāra Rasa goes into oblivion as the attainment of the desired object is thwarted by the curse which takes effect. The stop occurs but the certainty of union and the culmination of the Śrngāra Rasa is assured when the invitation from Indra is received. This marks the Niyatäpti stage of the seed developed in the previous Sandhi. Here Räghavabhatta in the com. points that the description of Madhurikā and Parabhrtikā in connection with the spring till the arrival of the king in mournful dress is the Prakarī according to its definition given in the Bhāvaprakāśikā as quoted by him. This whole canvas, therefore, constitutes the Avamarśa Sandhi. The king while returning victorious over the enemies of Indra happens to pass through the blissful region inhabited by the sage, Mārīcha, and is there united with his son and Śakuntalā. Here is to be seen the convergence of the various incidents so long diverging to different directions. The Śrngāra Rasa in its Sambhoga aspect thus reaches its culmination when the two long-separated lovers are ultimately united together. The whole canvas is devoted to the Nirvahana Sandhi. All these Sandhis have different parts numbering 64 as already described. The sentiment kept up as the principal is shown in its various stages simultaneously with the gradual achieve- ment of the principal object by the hero. The Bālarāmā- yana depicts the achievement of extraordinary excellence Lokottarotkarsa )1 by Rāma, for the Ārambha is made with 1. R. S. III. p. 214.

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an action with that end in view; the Bija is the Utsaha of Rama1. The principal Rasa, therefore, is the Vira with plenty of the Adbhuta as the skill ( Kauśala) has to be un- common (Lokottara )2. The Adbhuta Rasa is here mostly used by, and in respect of, the party rival to Rāma who is the hero. Though Rama's extraordinary deeds are also described which suggest the Adbhuta Rasa, yet the Adbhuta Rasa comes in explanation of his heroic achievements. Rāma surmounts every barrier by virtue of his superior equipments, hence the principal Rasa is the Vira. The first Sandhi wherein the Bija and the Arambha combine and develop has twelve parts which show Rasa at various stages of development. The first is the Upaksepa, which is the sowing of the seed, which commences when Śunahśepha says that the venerable Viśvāmitra has sent him as his repre- sentative to Janaka who has invited Viśvāmitra to the sacrifice. He has come as the representative as Viśvāmitra himself has gone to Ayodhyā to fetch Rāma, the enemy of the Rāksasas. The Upaksepa (suggestion), thus, is the beginning of the Vīra Rasa. It has its Parikara ( enlarge- ment ) when a Rāksasa in the deceitful garb of a hermit says that he has been sent by Malyavān to bring information of Viśvāmitra and visit the cities of Mithilā and Ayodhyā. He cogitates over the impending evils. He says that Viśvā- mitra capable of doing things by virtue of religious prescrip- tions etc. is the natural enemy of the Rāksasas ; and so is Daśaratha. This gives scope for the enlargement of the Vīra Rasa as Rama's heroism over them will come into display. The Parinyäsa ( establishment) of the seed is its lodgment as when the Räksasa in the false garb of the hermit

1. R. S. III. p. 210. 2. B. R. I. (Āmukha). 2.

544 sees Sunaḥepha and asks him as to his studies, his preceptor, the latter's whereabouts etc. As a spy he also extracts from him the information as to his own wherabouts. This dialogue makes clear the prowess of Viśvāmitra and the apprehensions of the Rāksasa; it marks the establishment of the seed and paves the way for the excellence of Rama and the consequent depiction of the Vira Rasa. Thus all the parts of all the Sandhis can be illustrated in reference to the principal Rasa directly or indirectly. All these 64 parts form together with other incidents the main body of the dramatic piece. This whole body, if presented continuously and ceaselessly on the boards, will lose its fascination. The delectableness even if present there to the greatest extent is sure to be lost in effect by the diffusiveness, hence it (plot) is presented in several portions called the acts. The Nāțavāțaprahasana has two Sandhis instead of two Ankas ( acts ). These acts are to be overflowing with Rasa. To suggest the particular Rasa depicted therein sometimes even the acts are named, as the third act of the Bālarāmayana is named the Vilaksalankeśvara ( distracted Rāvaņa) wherein Rāvana is depicted distracted with love for Sītā, the fifth act is named the Unmattadaśānana (mad Rāvaņa ) wherein Rāvana is again depicted as love-sick and the eighth act is named the Viravilasa which overflows with the Vira Rasa. Any incident which is inseparably connected with the acts but at the same time is devoid of Rasa is to be indicated through one of the ways pointed out before. The act, thus, is to concern itself with the depiction of Rasa. It may be that one act may depict Rasa which is subsidiary, but it should in one way or the other tend to the development of the principal Rasa. As said above the principal Rasa in the Bālarāmāyaņa

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is the Vira. There are other Rasas also depicted in the piece but they are all subsidiary to the Vira Rasa. In the beginning following the 2nd stanza the Sūtradhāra says to the spectators that he should be examined in the extraordinary skill of representing a dramatic piece teeming profusely with the Vira and the Adbhuta Rasas ( Vīrādbhutaprāyarase Prabandhe ). The Adbhuta Rasa, however, comes in as the effect of the Vira. Moreover, in the last but one stanza of the tenth act Räma utters words which express that what was dear to his heart has already been fulfilled. They also express Rama's heroism in various aspects as the Yuddha- vīra in matters of the breaking of Śiva's bow and the making of the bridge over the ocean, the Dayävira in installing Bibhīsana on the throne of Ceylon, and the Danavīra in the gift of the Puspaka to Kubera. Hence the Vīra Rasa figures as the principal sentiment. The contents of the Bāla- rāmāyana begin with the going of the sage, Viśvāmitra, to Dasaratha's court for fetching Rama. They end with Rama's installation on the throne of Ayodhya after the destruction of the Rāksasas during his fourteen years' exile in the forest. These contents have been based by the skilful hand of the artist on various motives and arranged in ten acts. The first act concerns itself mainly with the suggestion of Ravana's love for Sītā whom he wants to marry ; he thinks of drawing and stringing Siva's bow in fulfilment of Janaka's oath but does not do so under pretext and leaves the place threatening evil to any future husband of Sītā. This depiction of the Śngārābhāsa with the Raudra pre- pares the ground for the Vira Rasa of Rāma who is to act more heroically towards such a formidable rival to Sītā's hand. In the second act Rāvana is at first seen seeking 35

546 through his man the aid of Parasurama -- a plan in which he is repulsed. Then he is to be seen lovesick for Sītā. In this condition he is intercepted by the arrival of Paraśurāma. Both are then seen engaged in exchange of hot words. Thus the presence of the Śrngārābhāsa is alternated with the Raudra Rasa. But both Rasas tend to the development of the Vira Rasa in Rāma who is to face victoriously later on both these personalities. Thus whatever the motive handled by the artist the subsidiary Rasas in different acts may be shown as helping the principal Rasa. Sometimes an act within an act is also to be seen as in the seventh act of the Uttararämacharita the representation of a collection of the sad incidents of Sītā's troubled life is held. The purpose served here is the intensi- fication of the pathetic condition of the hero and the consquent intensification of the Karuna Rasa. In the third act of the Bālarāmāyana the representation of the choice marriage of Sītā ( Sītāsvayamvara ) takes place which according to Śinga Bhūpāla leads to the excellence of the hero. Śinga- Bhūpāla cites one instance in excellence of the subject-matter.1 As the hero and the subject-matter both ultimately lead to the excellence of Rasa, any kind of act within an act con- cerns itself ultimately with Rasa. The acts into which the subject-matter is thus arranged in portions do not generally coincide with the five Sandhis. That is to say it happens that one Sandhi sometimes covers one or two or more complete acts with a portion of the succeeding act. Then again the illustration of the combintion of the five elements (Arthaprakrtis ) with the five stages ( Avasthās ) respectively is also rare. The Mālatīmādhava furnishes an instance where the acts, the Sandhis and the combination of 1. R. S. III. 210-211.

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the five elements with the five stages all coincide as shown by Devadhara and Suru.1 Here the Śrngāra Rasa in its various stages of development is to be marked more clearly. The Mukha Sandhi covers the first two acts. As the Kārya is the attainment of Mālatī by Mādhava its Bīja is their mutual love. The Ārambha is the anxiety of Kāmandakī to unite them together. All the incidents in these two acts converge to that end. The Śrngāra Rasa is intercepted as Nandana is to marry Mālatī for her father thus wanted to please the king. It is, however, resumed in the Pratimukha Sandhi which extends over the next two acts, as in the third act the Bindu comes in when Madhava and Mālatī meet again. This meeting continues in the fourth act where in the 5th stanza Kämandakī says that she will make effort for bringing about the union even at the cost of her life. This is the Prayatna. The Śrngāra Rasa thus develops on through circuitous course. Then comes the Garbha Sandhi com- prising of the fifth, the sixth and the seventh acts. The Patākā dealing with the love affairs of Makaranda and Madayantikā and the Prāptyāśā (hope of attainment of Mālatī by Mādhava ) through various stratagems of Kāman- dakī etc. are to be found. The Śrngāra Rasa is seen develo- ping in which a pause comes in the Avamarśa Sandhi which covers the next two acts, that is, the eighth and the ninth. Here the Prakarī is the street fight to save Makaranda accord- ing to Devadhara and Suru and the Niyatāpti is to be seen when the king has appeased Bhūrivasu and Nandana. But according to Singa Bhūpāla as pointed out before the episode of Saudaminī in the ninth act is the Prakarī. In this case

1. B. M. M. (Introduction) pp. 43-44.

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the Niyatäpti may be interpreted that stage where Saudāminī says that she has saved Mālatī from being killed by Kapāla- kundalā. The union is certain as all impediments have been removed. The Śrngāra Rasa here is variegated by other Rasas but it reaches its culmination in its Sambhoga aspect when in the tenth act Madhava is seen actually in union with Malati. This is the attainment, the Phalāgama, of the desired object, the Kärya, and this marks the Nir- vahaņa Sandhi. The Śrngāra Rasa seen in its various stages of development reaches culmination here. Rasa, thus, is the guiding factor of all the other consti- tuents of a dramatic piece, whether in a book form or re- presented on the boards. As has been seen it determines the nature of the spectators, the theatre, the character etc. That it determines the different types of drama also will be considered next.