1. Types Of Sanskrit Drama Mankad

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THE TYPES OF SANSKRIT DRAMA

Vith a Foreword by Dr. S. K. De, M. A., D. Lit. (Lon.)

BY D. R. MANKAD

1936

URMI PRAKASHAN MANDIR DENSO HALL, KARACHI

Printed at PRABHAT PRESS Denso Hali, Karachi

देवानामिदमामनन्ति मुनय: कान्तं कतुं चाुषं रुद्रेणेदमुमाकृतव्यातिकरे स्वांगे विभक्तं द्विधा। त्रैगुण्योद्द्रवमन्न लोकचरितं नानारस इष्यते नाटयं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधानम्।।

VII

FOREWORD

It gives me great pleasure to have this opportunity of expressing my appreciation of the work of my young friend, Mr. D. R. Mankad, who is already known as the author of several admirable papers on Sanskrit dramatic theory and practice, and recommending it to all students of Sanskrit literature.

Sanskrit Dramaturgy is one of the many subjects which still await general as well as special investigation. The allied subject of Sanskrit Poetics has just begun to be syste- matically studied, but Dramaturgy and Histrionic Art aro subjects which are still practically unexplored. As most of the original texts were still unknown, uncertain or unavailable, very few scholars have hitherto seriously ventured to under- take a critical enquiry. In popular books published in India and abroad, on the other hand, some wild theories have occasionally been set forth without the slightest justification. Now that sufficient materials are available, it is necessary to make a deeper and more accurate study; and wo can for this reason, heartily welcome the fruits of Mr. Mankad's labours presented in the following pages.

There can hardly be any doubt that the subject itself, with a literature going back to several centuries, is doserving of careful and detailed study. It is not Mr. Mankad's ambition to write an exhaustive account or to make a comp- arative study, but he limits himself to the modest object of examining critically the Sanskrit dramatic theory which directed the evolution of the different dramatic types and controlled their technique. He has been able to bring together an amount of material from an intensive study of the dram- aturgic as well as dramatic texts; and whatever judgment may be passed on the conclusions he has drawn, the docume- ntary value of his work can hardly be disputed. He has wisely eschewed the more tempting course of producing an

VIII

imposing work, containing bird's-eye views or sweeping gencralisations' on the basis of meagre and generally unreli- able facts and opinions. He realises that on the pioneer invstigator in this comparatively little known field falls the more humble but more important duty of a patient and conscientious collection of first-hand facts which are indeed the links without which the chin of historical summary or even of any kind of generalisition, cannot be properly forged. In the present stato of our knowledgo it is not expected that all the difficulties and obscurities will be solved with absoluto cortainty or that all scholars will agree with overy statemont made; but the young author, with the judgment and insight of more mature years has cxpressed very lucidly what he has to say, and has oxhibited not only a thorough familiarity with theory but also a complete mastery of details, controlled and ordered by the sobriety of trus scholarship. It will be a source of satisfaction if his little book, as one of the pioneer contributions on a difficult and complicaled problem, is able to draw the attention of interested scholars and further stimulate research in an almost untrodden field-

University of Dacca S. K. De 2 2-1936

PREFACE

After the modern revival of Sanskrit studies, Sanskrit plays are widely read and studied, but the study of Sanskrit' Dramatic theory has been most sadly neglected. A detailed and critical study of Sanskrit Dramaturgy in all its branches is a desideratum. With a view to meet with this want to some extent, I have undertaken the publication of this small volume.

In the following pages I have attempted to ascertain the nature of the types of Sanskrit Drama ($9 as well as 34794) in their origin and development. The subject being entirely such as has not been studied in modern duys, I have given full information from the original Sanskrit dramatur- gical works. Incidentally, I have ventured to discuss certain problems connected with the subject: but the conclusions drawn are mere suggestions. And I shall consider myself more than amply rewarded for my labours if they will stimulate further critical study in this direction. This forms only one chapter in the vast study of the Sanskrit Dramatic theory.

I am extremely grateful to Dr. S. K. De of the Dacca University for writing the Foreword to the present work and for encouraging me in these studies. I am also thankful to Prof. B. K. Thakore and Prof. K. H. Dhruva, both of whom have made valuable suggestions during the course of my studies.

Department of Sanskrit, D. J. Sind College, Karachi.

10-4-36 D. R. MANKAD

ABBREVIATIONS

[Following is the list of abbreviations used for the works, more frequently quoted during the course of this work.]

NS = नाट्यशाख Nir. Press. AP = अग्निपुगण (0. 825 AD.) Anandusrama S. Abh = अभिनवभारती (c. 975-1015) GOS. DR= दशरूप (c. 974-995) ed. by Haas 1912 SP= रङ्गारप्रकाश (c. 1050-1100) as qd. in BP-Introd KS = काव्यानुशासन (c. 1084-1173) Nir. Press. NI) = नाट्यदर्पण (1093-1175) GOS BP= भावप्रकाशन (c. 1175-1250) GOS PR = प्रतापरुद्रीय (c. 1275-1325) ed. by K. P. Triveds. RS = रसार्णवसुधाकर (c. 1330) Trivandrum S. S SD = साहित्यदर्पण (c. 1300-40) ed. by Kane, 1923 App. E Mtr = मातृगुप्त as quoted by राघवभट्ट on शाकुन्तल Nir. Press. SR = संगीतरलाकर ASS NSD = नाट्यसर्वस्वदीपिका A Ms in B. O.R. I. RK = रसकोमुदी ,. BSG = भरतशासत्रग्रन्थ BA = भरतार्णव " SDK = सिद्धान्तकौमुदी

XI

CONTENTS Cha. I Introductory 1 वृत, नृत्य and न.ट्य-Roots नृत् and नद-their sanses examined-these three terms-their uses and senses. II Rupaka 25 नाव्य and रूपक III Rupaka (contd.) 37 Species of रूपक (general)-Species of रूपक (individual)-नाटक, प्रकरण, समवकार, डिम, ईहामृग, व्यायोग, अङ्क, प्रहसन, वीथी, भाण. IV Evolution of Rupakas 74 V Derivative Types 89 नाटिका, प्रकरणी, तोटक, सटटक VI Nrtya-types (Upaparupakas) 39 Species of a types (general)-Species of नृत्य types (individnal)- भाण, भाणिका, डोम्बी, रासक, नाटयरासक, नर्तनक, प्रेक्षणक, हल्लीस, उल्लोप्यक, काव्य, पारिजातक, सल्लापक, शिल्पक, गोष्ठी, कल्पवल्ली, श्रीगदितम्, षिद्गक, दुर्मल्लिका, Or मत्तलिका, or दुर्मीलित, मल्लिका. विलासिका, रामाक्रीड and प्रेरण VII Evolution of Nrtya-types 129 Note A-On रास and रासक 141 Note B-On रासक and लास्य 143 VIII The Origin of Sanskrit Drama 145 Appendix I List of Plays 171 Appendix II Technical Terms 175 Indices

CHAPTER I INTRODUOTORY

CHAPTER I INTRODUCTORY

A general study of the extant Sanskrit dramas leaves an impression that our Drama was, as it were, still-born. It would seem that from the earliest plays of भास and कालिदास to the latest dra- mas of the seventeenth and cighteenth centuries, there has been very little advance in its technique. The earliest drama known, already shows a form, which was crystalised in its structure and even in its theme.1 Sanskrit dramatists, as it were, lacked in imagination and experimentation. There does not appear to have been any bold departure from the standard drama, as far as its technique goes. Nay more; even the theory, as fixed by a's a- शात्, as early as कालिदास or most probably earlier than his age, presupposes a type of drama which has been truly represented by our extant dramas. Thus our earliest dramas and our earliest theory of Dramatics, both show a form of drama which was fully developed and on which there has been very little advance. Why is this so ? Can we reasonably believe in such a state of things? We shall try to ans- wer these questions during the course of this

1. Even उभयाभिसारिका, the भाया published under the name of atfd and which appears to be his, shows all the technical details as prescribed in the theory known to us. The , the TEHT, the #fs, the anuins and the set style of the theme- all are in perfect harmony with the theory.

4 TYPES OF SANSKRIT DRAMA

little volume; but for the present, we shall have to collect data for the purpose. In order to understand the essential nature of our drama, it is necessary that we should undertake a detailed study of all the types of drama as repre- sented in practice and theory. Fortunately for us, a work of encyclopaedic nature on this subject, has recently been brought to light and published in the Gaekwad Oriental Series, under the title of भावप्रकाशनम्. Though this work belongs to a vory late period and though its text, as available, is almost a confused mass of inaccuracy, a careful study of the work helps us in formulating certain broad ideas as to the gradual development of our Drama. I shall, therefore, undertake a detailed study of the various types of Sanskrit Drama as described in our extant dramaturgical texts. Our dramaturgists have, it seems, very early, distinguished between the art of histrionics (rT) and the art of dancing (a or Ta); and as some of the types of our Drama are based on and others on area, it becomes essential for us to understand clearly these terms, before we study the forms of Drama themselves. 1. नृत्त, नृत्य and नाटय These three terms are very often explained in the works on Sanskrit Dramaturgy, but there is a divergence of opinion as regards the sense attached to them. and are usually derived from the root a, while 24 is derived from the

INTRODUCTORY 5

root 2 If we can ascertain the distinctions, if any, between these two roots, it will be easier for us to arrive at the exact senses of the above three terms.

नृत् and नट् Chronologically, the usage in literature shows a to be an earlior root; yet there is a difference of opinion about the origin of these two roots. It was Weber3, who first pointed out that is a prakritisation of Ja. There is also a view4, which takes aa to be a sanskritised root from , which according to them, would be the

2. Ha, in his ND, advances another view: (P. 28) -- नाटकमिति नाटयति विचित्रं रञ्जनप्रवेशेन सभ्यानां हृदय नर्तयतीति नाटकम्। अरभिनवगुमस्तु नमनार्यस्यानि नतेर्नाटकशब्दं व्युत्पादयति तत्र तु घटादित्वेन हस्वाभावश्चिन्त्यः । यद्यपि कथादयोपि ओ्रातृहृदयं नाटयन्ति तथाप्यंकोपायादीनां वैचित्र्यहेनूनामभावात् न तथा रञ्जकत्व्रमिति न ते नाटकम् । This view, if correct, may lead us to derive mey from नाटू and so नटू will have no place in the evolution of नाटय. But there are other considerations which militate against taking नाटू as the root for नाटय or नाटक. Most probably, with .ND's sole exception, there is no other attempt known to derive z4 from . For lengthening of the vowel there is the grammarian's sanction, as the roots with penultimate short vowel do so in forming Potential Participles. But apart from that, there is the sanction of TrRua (IV, 3, 129) in deriving नाटय from नट. Compare also the following: (NSD fol. 28) नटत्यनेन नटनं नटवृत्तावितीरितम् नटस्य कर्म नाटयं। On the whole, then, it seems correct to connect नाटय 'with नट् 3. A History of Indian Literature, Weber, 3rd odition, P. 197. 4. This view was expressed in aigf, a leadingrGujarati mon- thly journal, March and May, 1931.

6 TYPES OF SANSKRIT DRAMA

original root. But both these views seem to be erroneous (that is, if the votaries of the first view take a to be an original Prakrit root).' fz is not a Prakrit root at all, for it is not used in that form anywhere in the Prakrit Literature. Prakrit lexicons only show the root नडू, not नट्, which fact alone is enough to show that was never regarded as a Prakrit root. There are forms like seen in Prakrit Literature5 but a root like would only yield a. Thus, as far as the evidence of actual usage goes, cannot be taken as a Prakrit root. Nor is the second view correct, according to which, a would be a root later than . Here again the actual usage falsifies any such theory, i is seen in wia 6 itself, while the earliest usage of नट् is inet with in पाणिनि7, proving नृत् to be an earlier root. It is truc that much is to be taken for granted in calling a a later root, simply be- cause its usage is not seen earlier One may argue that it might have been used in spoken language only. But the continuous absence of this word in all the earlier literature, makes it probable that it was a later root. And this appears to he quite reasonable. Both I and a are used in Sanskrit

5. I am indebted for this information, to Pandit Bechardas, who is an erudite Prakrit Scholar and who was a Professor at Gujarat Vidyapith, at Ahamadabad. But it is possible that this E3 is a reflection of Prakrit equival- ents of नाटय like नद्ड etc. 6. RV.X, 18, 3; X, 29, 2; VIII, 37, 7; VIII, 81, 3; VIII, 24, 9; I, 130, 7, etc. 7. IV, 3, 110-111.

INTRODUCTORY 7

Literature8 and though there may have been some confusion in the usage of these roots at first, it seems quite likely that they soon came to denote two different concepts. a indicated a particular form of entertainment. But as this form of entertainment developed and incorporated new features into it, it became necessary to find out a word which would indicate this newly developed form of entertainment. So 2 came to denote a form of entertainment which had developed from the form of entertainment indicated by the root Ta and which for that same reason was necessarily later. Thus too, Ta seems to be an earlier root. According to this reasoning, aa will have the sense of dancing and that of acting. Now it will be seen that at the time when was given a sense different from that of a (and this must have happened when was accepted as a Sanskrit root, even if it be taken as a Prakrit root at first), the two forms of entertainment, arising from the same action, had been permanently separated and had gained their individual traits. ea, which is distinct from (as we shall presently see), must have come into existence just before the root a was dis- tinguished from za. It is probable, that the root first meant 'to danco' and later on as it developed, came to mean 'acting'. Following may support such a view:"

8. It is possible that =% is a further evolved form of a. 9. SDK P. 196.

8 TYPES OF SANSKRIT DRAMA नट नृत्ती। इत्थमेव पूर्वमपि पठितम् । तन्राय' विवेक: । पूर्व पठितस्य नाटयमर्थः। यत्कारिषु नटव्यपदेशः । Thus it may seem that a had both these sen- ses and it would be quite natural to suppose that the earlier sense was 'dancing' and as it developed it came to mean 'acting': It should also be remembered that in पाणिनि, नट्, नट, and नाटय-all the three terms are secn, and this may show a de- finite development of the word , as distinguished from a; for even in the above passage from SDK, 27 has been assigned the sense of 'acting'. not of 'dancing'. But, just as a2 is found to have been used in both the senses, ar4, too, has been assigned both these senses in certain works. In the pre- lude to a work called नाटथसर्वस्वदीपिका, a ms. in possession of the Govt. Oriental Library at B. O. R.I., the following is found: (fol. 10a)10

भरता बहुधा सन्ति नान्दिसारस्वदादयः तेषां प्रमाणमादिञ्च भरतस्स उमापतिः अत एवादिभरतप्रकार नटन स्मृतम् नाटकास्तु कथाप्राया दशरूपकस ज्ञका: शैलूषसूत्रधाराैः पुत्तिकाप्रतिमादिभि: वेशभाषाविकारादिकल्पनाभिर्वहूकृतः तस्माद्वुधस्य नृत्तस्य प्रमाण न भवन्ति ते

10. For a discussion about the identity of this ms, , see my paper on आदिभरन, in the Annals of B. O. R. I., Vol, XIII, No 11, P. 173 ff. Also cf. The same, Vol. XV, Parts I-II, P. 89 ff. I am indobted to tho Curator for the use of the ms.

• INTRODUCTORY 9

नटन नाटिकानां च तेषां करणमेव हि तस्मान्नाटयस्य शुद्धाङ्ग, शास्रसिद्ध प्रवक्ष्यति This shows that according to this work may was not the same as रूपक. It was mere वृत्त or नृत्य and this is amply corroborated by the definitions of the 37 typos of नाटय as given in this work. Further, in this work the author takes an oppor- tunity of deriving the words नाटय and नृत्य (fol. 28), wherein he describes नाय्य as the art of नट्, and then includes under it ताण्डव, नर्तन and लास्य. This classification is evidently based on some sort of differentiation between नाथ्य and नर्तन; and in the light of the above passage, it being impossible to understand नाथ्य in the sense of drama, it must have the sense of नत्य as understood by DR and others.

Thus नास्य seems to have boen used in the sense of नृत्य and नाव्य and perhaps of नृत्त. That it had both these senses is also seen in मालविकानिमित्रम्. It mentions a नाटय called छलित or चलित which was properly acted by मालविका. The charaoter of चलित as des- cribed in the drama was that of 4: it was certainly not a drama, nor was it a mere J type. As there is the express mention यथारसमभिनयति after the stanza recited by मालविका, it is obvious that it was a type which involved अभिनय: and this was the technical nature of नृत्य." नाटय, thus, here refers

11. It seems that कानिशास recognised the principle that भात was at the root of नृत्य. The fact that ho calls the two बाचार्यड भाs incarnato, suggests it. Thus also ननित was a नृत्य type.

10 TYPES OF SANSKRIT DRAMA

to नृत्य. 12 Same is the nature of ay as used in NSD. मालविकाग्निमित्रम् knows नाटय in the sense of drama also. गणदीस culogises नाटय thus: (I, 4) 13 देवानामिदमामनन्ति मुनयः शान्त ऋरतु चाक्षुषं रुद्रेणेदमुमाकृतव्यतिकरे स्वाङ्गे विभक्त द्विधा। त्रैगुण्योद्धवमत्र लोकचरितं नानारस दश्यते नाटयं भिन्नरुचेर्जनस्य बहुधाप्येकं समाराधनम्॥ This stanza characterises a27 as one where लोकचरित is seen, which would, necessarily refer to drama proper, rather than to an ordinary ar.14 12. Following note by Prof. B. K. Thakore will be interesting. पञ्चांगाभिनय and चनित are distinguished by कानिदास. Former is acting on the stage by the fully trained HE complete in all respects. It is highest proficiency in this many- sided art. aaa is the penultimate step; only after it is mastered can the pupil be taught the former. In aa, नृत्य, including (and enhancing the effects of) संगीत is per- formed as by a mere नर्नकी, then अरभिनय by itself (without नृत्य or संगीन) as by & नटी. For चनित, then, it is essential that (a) the passage to be performed must be short, (b) yet should embody several THs and WaeaTs in a sequence that is natural or at least possible, (c) that the 2nd ba'f of the performance (i. e. अभिनय or नाटय proper) should be exhibited immediately after the first half; and that (dl) the आचार्य or प्राश्िक judges this 2nd half in rela- tion to what he has just seen and heard. afer, therefore, (and a forteori the earlier stages also) is purely a school-room exercise, not a kind of public performance on the stage in any sense. 13 cf. NS I, 78. 14 Following note, too, by Prof. B. K. Thakore is worth quoting: This stanza covers the whole gamut. (a) .Tr-the merely physical movements (including appropriate expression and

INTRODUCTORY 11

All this shows that a as well as a was, at one time or the other, used in both the senses of acting and dancing. (But this should not be difficult to explain. Our earlier analysis of being used for a form of entertainment distinct from the one represented by a, would lead us to believe that almost as early as the root a2 came into existence, a distinct sense was given to it. However, it is quite possible that in the beginning, there must have been a confusion in the use of both these roots and , one being very often used for the other. And the theorists would recognise the distinction only after the sense had been fully crystalised in the popular usage. Thus the fact that we do have usages showing both the senses

movements of eye, eye-brow, face, hands, shoulders, breasts, hips and of course also the feet and their toes.) (b) -the above plus recitation or singing without any flaw or impropriety in tune with and in full accord with `the sense of the words. (c) नाटयाभिनय-the above (a) or (atb) plus acting pro- per. Where not wanted, or inappropriate, T or #ha or both would be dropped. It also distinguishes between (1) Male and female or (2) ताण्डव style and नार्य style, and recognises the intimate connection of the theatre with the iaaRa and the three Tus at the root of infinite play and variety of the real human drama which नृत, वृत्य and नाटच copy and reproduce in miniature by the use of some conventions so as to present an artistically unifiod picture, within conven- ient limits of time, spaco and resources. That is why, says the stanza, all sorts and conditions of spectators are pleased by this, as by nothing else.

12 TYPES OF SANSKRIT DRAMA

of 2, should refer to the period of transition during which was used in both the senses.

Whatever may be the time when and ga were finally distinguished in senses, it seems almost certain that according to the above discussion, नृत was carlier than नट्. This is borne out by the technical difference in the senses assigned to the words नृत, नृत्य and नाडय (as used in our dramaturgical works) into the nature of which we shall now inquire.

नृत्त, नृत्य and नाटय If नट is distinguished from नृत् as suggested above, there must be similar distinctions between the forms of entertainment denoted by these roots. This we can learn from the works on dramaturgy. Let us, then, see what evidence we get about the nature of these terms in various dramaturgical works.

(MMC P.59)

धीरोदात्ताद् वस्थानुकृतिर्नाव्य® रसाश्रयम् ताह्ङ् नास्य द्विधा प्रोक्त नृतवृत्यवरिभागतः भावाश्रयं तु नृत्त नृत्य ताललयाश्रयम् (SR, 7th अध्याय)

नाट्य नृत्य तथा नृतं त्रेधा तदिति कीर्तितम्। नाट्यशब्दो रसे मुख्यो रसाभिर्व्य क्तिकारणम् ॥२७॥ आङ्िकाभिनयैरेव भावानेव व्यनक्ति यत् तननत्य मारगशन्देन प्रसिद्धं नृत्यवादिनाम् ॥२८॥

INTRODUCTORY 11

All this shows that az as well as a was, at one time or the other, used in both the senses of acting and dancing. But this should not be difficult to explain. Our earlier analysis of being used for a form of entertainment distinct from the one represented by aa, would lead us to believe that almost as early as the root came into existence, & distinct sense was given to it. However, it is quite possible that in the beginning, there must have been a confusion in the use of both these roots T and ag, one being very often used for the other. And the theorists would recognise the distinction only after the sense had been fully crystalised in the popular usage. Thus tho fact that we do have usages showing both the senses

movements of eye, eye-brow, face, hands, shoulders, breasts, hips and of course also the feot and their toos.) (b) T the above plus recitation or singing without any flaw or impropriety in tune with and in full acoord with the sense of the words. (c) aa the abovo (a) or (a-th) plus acting pro- per. Where not wanted, or inappropriate, 77 or dhi or both would be dropped. It also distinguishes botween (1) Male and female or (2) moga style and amy style, and recognises the intimate connection of the thoatre with the asaRa and the three Tus at the root of infinite play and variety of the real human drama which H, wru and wzs copy and reproduce in miniature by the use of some conventions so as to present an artistically unified picture, within convon- ient limits of time, space and resources. That is why, says the stanza, all sorts and conditions of spectators are pleased by this, as hy nothing else.

12 TYPES OF SANSKRIT DRAMA

of , should refer to the period of transition during which was used in both the senses.

Whatever may be the time when and a were finally distinguished in senses, it seems almost certain that according to the ahove discussion, नृत् was earlier than नट्. This is borne out by the technical difference in the senses assigned to the words नृत्त, नृत्य and नाटय (as used in our dramaturgical works) into the nature of which we shall now inquire.

नृत्त, नृत्य and नाटय. If नट is distinguished from नृत as suggested above, there must be similar distinctions between the forms of entertainment denoted by these roots. This we can learn from the works on dramaturgy. Let us, then, see what evidence we get about the nature of these terms in various dramaturgical works.

(MMC P.59)

धीरोदात्ताद्य वस्थानुकृतिर्नाव्य रसाश्रयम् तादड नाय्य द्विधा प्रोक्त वृतवृत्यतरिभागतः भावाश्रय तु नृत्त नृत्य ताललयाश्रयम्

(SR, 7th अध्याय)

नाट्य नृत्य तथा नृत त्रेधा तदिति कीर्तितम् । नाट्यशब्दो रसे मुख्यो रसाभिर्व्य क्तिकारणम् ॥२७ आद्रिकाभिनयैरेव भावानेव व्यनक्ति यत् तन्नत्य मार्गशब्देन प्रसिद्ध नृत्यवादिनाम् ॥२८॥

INTRODUCTORY 13

गात्रविक्षेपमात्रं तु सर्वाभिनयवर्जितम् आङ्विकोक्तप्रकारेण नृत नृत्यविदो विदुः ॥२९।। (BP P. 181)

यद्यद्रसात्मक तत्तद्वाक्यार्थाभिनयात्मकम् यद्यद्धावाश्रय® तत्तत्पदार्थाभिनयात्मकम् नृत्यं भावाश्रय नृत्त रसाश्रयमुदाहृतम् नृत्यनृत्तविभागध् बहुभिवहुधोदित: तद् द्य नाटकादीनां भूयसा ह्युपकारकम् नृत्यनृत्तविभागस्तु परस्तात्कथयिष्यते

(DR I, 7-13)

अवस्थानुकृतिर्नाटय रूप दृश्यतयोऽच्यते रूपक तत्समारापोद्वशधैव रसाश्रयम् अन्यद्भावाश्रयं नृत्यं नृत्त ताललयाश्रयम्

(PR P. 100-1)

... नाटय रसाश्रयम् भावाश्रयं तु नृत्त नृत्य ताललयाश्रयम्

SDK P. 196)

वाक्यार्थामिनयो नाय्यम् ....... पदार्थाभिनयो नृत्यम्। गात्रविक्षेपमात्र तु नृत्तम् । Let us now examine the result of these various views with regard to the nature of नृत्य and नृत्त. We shall, for the present, leave apart the views expressed in NS and Abh. Following table clearly shows the various views about these terms:

14 TYPES OF SANSKRIT DRAMA

Work नृत्त नृत्य नाटय

1 MMC भावाश्रयम् ताललयाश्रयम् रसाश्रयम्

2 PR

3 DR ताललयाश्रयम् भावाश्रयम्

4 SR

5 BP रसाश्रयम् नृत्त = नाटथ

6 SDK55 ताललयाश्रयम् रसाश्रयम्

Above analysis shows that all are agreed about the technical aspect of ara; but there is a difference of opinion about the other two. It will be noted that in MMC and PR the terms I and a are 'curiously interchanged', while BP is alono in describing नृत as रसाश्रयम्, thus equating it with aR7. Let us examine the reasons for this confusion MMC and PR are very late in date, in comparision with DR and SR. They do not seem to preserve any earlier traditions about this point. Therefore, this curious interchange does not seem to be intentional; and one may rely more on DR which has been recognised as the standard text-book on dramaturgy and from which all other later works have profusely drawn their inaterials.

15 The quotation from this work as given above, when read in connection with BP and SR, suggests that the author believed in 'the same view as held by DR. About T SDK is clear; and as नृत्य is cille1 पदायाभिनयात्मकम् ,it is clearly based on भाव: s0 is नान्य base on रस, as it is tuken as वाक्यारथागिनयात्गकम्

INTRODUCTORY 15

But in order to understand clearly the import of these terms, we shall have to keep in mind the subtle distinction between ar and T. DR, after defining and a as noted above, further adds:16

आद्यं पदार्थाभिनयो मार्गो देशी तथा परम्

So do BP and SR: and SDK describes as पदार्थाभिनयात्मकम्. This clearly makes नृत्य, a further evolved form of a. ga is the original form of entertainment on which 4 was an improvement. Our above analysis shows that a involved ars and लय only, not भाव, while नृत्य, was essentially connected with a :17 and producing aa in the minds of the audience, is an art far more advan- ced than mere mafaag. Thus too, a seems to be earlier. SR clearly points out that za involved mere movements of limbs without any afda. A dancer would move his or her limbs in harmony with music (or probably this required very little of music as rhythmical movement of limbs only was essential to Ta.) There was no acting in Ta. That was added to T. Proper acting would create wa in the minds of the audience. Thus in 4, the actor had to act in such a manner that a corresponding would be created in the minds of the spectators. Imagine a child dancing on some joyous occasion and add to this motion of the child, rhythm and ताल and you have नृत्त. नृत्त

16. cf. मातरिकम usod in tho sonse of नृत्य in मालविका I, 5, 17. DR I, 15

16 TYPES OF SANSKRIT DRAMA thus, is dance, while aa is mimetic art. If we realise this essential difference between J and नृत्य (as seen in DR), it will be seen that नृत्त which is based on ars only, must be very primitive. As it developed and as the abstract notions of ara and रस evolved, this same नृत्त, incorporating as it did, further elements, assumed first the form of नृत्य and then the form of नाव्य. Thus both नृत्य and ma, it can be safely said, are further evolved forms of . This evolutionary distinction is noticed by Abh also. Abh at P. 184, gives the following divisions of Tf: (1) मसृण (2) उद्धत (3) मसृणमिश्र (4) उद्धतमिश्र (5) that which includes harmonious motions of hands and feet as in रेचकड and अङ्गहार (6) that which includes music leading to अभिनय (7) that which follows music and agats with harmonious motion of limbs. It will be seen that the first four divisions are based on a principle, distinct from the one on which are based the last three. These three can be resolved into two types only-one which has pure गात्रविक्षेप and in which hands and feet are moved in harmony with aneara and the second which includes अभिनय, with harmonious motion of limbs following music. (And it will be recognised that these two are the same as नृत्त and नृत्य). These two types of a are further on taken as distinct from aa as is undorstood from the following: प्रथम: भेदः लोकिके स्वतंत्रनृत्ते देवतातोषणादौ वा । द्वितीयः पूर्वरत्न- विधेो परिशिष्टवृत्तलक्षणतया ........ (Abh. 184)

INTRODUCTORY 17 This means that the first type, which is a was quite distinct and the second type, which is was useful in wa. Thus both these are distinct from नाट्य. It will now be seen that there is no technical difference between the views of SR and DR on the one hand and PR and MMC on the other; only there is an interchange in naming. And bearing in mind that DR and SR are both earlier than PR and MMC, the servile characters of the last two and the literal senses18 of the words and नृत्य, one is inclined to follow DR. Why, then, did शारदातनय equate नृत्त with नाव्य by calling it रसाश्रयम् ? But शारदातनय also records another view. In the tenth arer he writes:19 नाट्यस्य प्रविभागस्तु यथाशात्तर प्रदर्श्यते नाटकस्थितवाक्यार्थपदार्थाभिनयात्मकम् नटकर्मै व नाव्य स्यादिति नाट्यविदां मतम् पदार्थमात्राभिमयरूपं नर्तककर्म यत् त तनृत्यभेदेन तद् द्वयं द्विबिधं भवेत् तत्र भावाश्रयो मार्गो देशी तद्रहिता मता त्रिमार्गतालनियतं मार्गमित्यभिधीयते देशी भवेत्पुनस्ताललयैराश्रयमिष्यते This is, as if reiterating the view of DR. It is well-known that BP is a compendium of the works

18 Both नृत्त and नृत्य are to be derived from नृत, नृत्त being its Past P. P. and मृत्य its Potential P. Thus, too, नृत्य, which means 'worthy of dancing' shows an advance upon a meaning 'danced' only. 19 BR P. 296

18 TYPES OF SANSKRIT DRAMA

on dramaturgy known to शारदातनय; and he very often, mentions, with or without acknowledge- ments, various views on the subjects he is dealing with. It may have been so in this case. But the view which considers नृत्त and नाव्य as identical, is found in one other place also. NS notes a पूर्वपक्ष (which does not seem a पूर्वेपक्ष aS such, but a mere objection forestalled by the auther himself) which it has refuted. When भरत explained the origin of नृत्त, the sages asked him:20 यदा प्राप्त्यर्थमर्थानां तज्ज्ैरभिनयः कृतः तस्मान्नत्तं कृतं ह्येतत्कं स्वभावमपेक्षते न गीतकार्थसम्बद्ध न चाप्यर्थस्य भावकम् कस्मान्नतं कृतं ह्येतद्गीतेष्वासारितेषु च To this doubt the reply is given thus: अत्रोच्यते न खल्वर्थ कंचिन्नत्तम पेक्षते किन्तु शोभां जनयतीत्यतो नृत्त प्रवर्तितम् प्रायेण सर्वलेोकिस्य नृत्तमिष्ट स्वभावतः माङ्गल्यभिति कृत्वा च नृत्तमेतन्प्रकीर्तितम् विवाहप्रसवावाहप्रमोदाभ्युदयादिषु विनोदकरणे चेति नृतमेतत्प्रवर्तितम् This doubt and its answer clearly show that even according to NS, J had no other purpose than to amuse the minds of people. This a would, therefore, be almost the same as explained by DR. This summary treatment of the qdug, in NS, has been very elaborately discussed in Abh. Abhinava has summarised the argument of the

20 NS IV, 244-248

INTRODUCTORY 19

पूर्वपक्ष that नृत and नृत्य are identical, by advancing three possible issues and then has refutod all these three and then established that a and were not identical. He closes his long discussion by the remark:21 एवं नाय्याङ्गना नृत्तस्य गीतादिबदुपायेगश्च समर्थितः । But in so doing Abh brings out two or three points which are of immense valuc to us in the present enquiry. The auer, according to Abh, considered that there existed non-distinction between नृत and नाट्य, mainly for the reason that both had अभिनय in them. In saying so, the पूर्वपक्ष distinguishes two varietics of 7f. One which is absolutely void of अभिनय (and consists of bending, turning, raising of eye-brows, moving of eye-balls and feet, trembling, throbbing and bending of waist and other forms of रेचकादि) is pure नृत्त according to the qave, and the one which includes अभिनय is the same as नाथ्य (See P. 174 comm. ll. 22-3 to P. 175 Il. 1-2) Thus the controversy is about the second kind, for even the qauer calls the first variety as a5, and as such quite distinct from a. It is the second varicty that is identified with नाट्य. As against this Abh distinguishes between these two i. e. between the second variety and नाट्य. He says: (P. 177-8) ga (by which the above second variety is meant), cannot be the same as aa, for there is

21 NS. (G.O. S.) P. 181,

20 TYPES OF SANSKRIT DRAMA

no अभिनय in नृत्त as you point out to be. It may be urged against this that in नृतकाव्यs like डोम्बिका, the नतेकी tries to attract the mind of the king, by music etc., and thus these 5s must contain अभिनय. But Abh says that the अभिनय required in नृतकाव्यs is distinct from the अभिनय required in नाव्य In नृत्तकाव्यs, the नर्तकी does resort to अङ्गव्यापार by pro- per gosticulations of eyes etc., but all that is for attracting the king in whose presence she dances. Thus this अभिनय of नर्तकी excites the passion of the king: but the अभिनय of a नट is for playing the role of some one else and thus he has to show feel- ings etc., as experienced by another person and inake them manifest on the stage, by visible representation. A aa does not play any one's role and in her case she has nothing to represent visibly. All that she has to do, is to attract the heart of the king by personal appral, as it were, through her gesticulations. She has not to put on any one's dress etc. (thus आहार्याभिनय is almost absent in her case) This distinction, so descriptively, brought out by Abh, has really a very important significance. We have seen that according to DR and others, नृत्य was considered भावाश्रयम् and नाट्य Was रसाथयम्, Here, too, the नृत्त that includes अभिनय, is shown to have the capacity of exciting the la only; while the feelings evoked in the hearts of the spectators by नाटय, are shown to have a lengthy process, which really means that is evoked. Thus Abh refutes the arguments of the qaqe by

INTRODUCTORY 21

saying that his second variety of Ta has a sort of अभिनय, but it can produce भाव only, not रस, which would be evoked only by नाय्य which, therefore, is distinct from this second variety of . Now it will be seen that the distinction between नृत्त, नृत्य and नास्य as known to DR and others, is also recognised by Abh: only, he does not use the term नृत्य but embraces both नृत and नृत्य of DR by a, of which, however, two aspects correspon- ding to DR's नृत्त and नृत्य, are distinguished as shown above. It seems that this distinction between and नाट्य, was known to हर्प, भध्ट्यन्त्र and भट्लोलट, as is seen from the following quotation found in Abh: रसभावदृष्टहस्तशिग्धायय्यदङ्ं पूर्ण चापूर्ण वा कृत एव नास्यनृत्तयोः भेदस्तुल्यानुकारत्वे इति हर्षशार्तिकम्। शिक्षाहस्वेच्छान्यनृत्तकतिपयनास्याज्कृत नृतमभ्यासफल इति भष्टयन्त्र: । समयमात्र इत्यादिमङ्गलवद्विवाहादौ इति भटलोलटः । Thus the view that नृत and नाय्य arc identical seems to have sprung up out of the confusion that would arise when नृत was developing into नृत्य. At that time no distinct notions could have been formed about the two different varieties and there- fore वृत्त and नृत्य were known by the same term वृत्त. This confusion is bound to happen in such a transitional period. But when these two forms had crystalised they came to be differently known as नृत्त and नृत्य. This confusion between वृत्त and नाट्य is seen in SDK and NSD. In several other places also such a use of the term 7 is found, which

22 TYPES OF SANSKRIT DRAMA would be reminiscent of the above-noted transitional period. Now it will be seen that शारदातनय, presumably referred to such a view as has been presupposed by Abh. But in reality they all (i. e. all our extant theorists) took a to be quite distinct from 7. From the point of view of evolution, first comes नृत्त, then नृत्य and last नाटय. नृत्त is mere dance, T had gesture added to it, while E7 had speech (i. e. dialogue) too. Thus ara incorporated all the three features-dance, music and speech-which are so essential for the creation of drama. This technical difference between नृत्त, नृत्य and नाटय should be fully borne in mind for the detailed study of our dramas. 2 रूपक and उपरूपक It will now be seen that India has witnessed three distinct forms of entertainment, based on नृत्त नृत्य and नाटय, but the one based on नृत्त never seems to have attained to the position of a drama. It remained for the court-hall of the king and for the court-yard of the temple. It was an accomplishment of the courtezan from whom even the princes and princesses learnt the art. But as tho tastes of the people were cultivated and as their genoral culture evolved further, they were not satisfied by mere rhythmic dancing. They had to invent nower forms of entertainment and they soon saw that their original dance combined with histrionics and with inusic gave them the

INTRODUČTORY 21

necessary variety. This they adopted and called नृत्य. But the society was progressing fast; their mental horizon was ever widening; their abstract thinking was ever getting deeper and deeper. They then, wanted still subtler form of entertain- ment. They evolved a24; and by gradual degrees took it to a height of refinement which even to-day evokes the admiration of all the civilized peoples. The form of entertainment based on नृत्य, our dramaturgists called 3y6y* and the one based on नाटय, they designated as रूपक. There was a technical difference between रूपक and उपरूपक, which is very well brought out by हेमचन्द्र (who has appropriatod the whole passage from Abh) in the following extract (KS P. 329-330):

अथ पाठ्यस्य गेयस्य च रूपकस्य का भेदः । अयमाख्यायते-पाठये हि अङ्ग गीतं चेत्युभयमप्रतिष्ठितम्। तथा हि करकरणचारि मण्डलादि यत्तत्राङ्गोपयोगि तत्स्वरूपेण लयादिव्यास्थया चानियतमेव यथारस प्रयुज्यमानत्वेन विपर्यासात्। गेये तु गीतमङ्गं न् द्वयमपि स्वप्रतिष्ठितम्। तथा हि यस्य यादशं लक्षयति स्वरूपादिक निरूपित तन्न विपर्ययेति मन्त्रादिवत्। यद्यपि क्ाचिद्वर्णान्क प्राधान्यं यथा प्रस्थानादो, क्वचिद्वादप्राधान्य यथा भाणकादिषु भग्नतालपरिक्रमणादो, क्वचिद्गीयमानरूपकाभिधेयप्राधान्य यथा डम्बिलिकादिप्रय।- गावन्तरं हुद्धत्काराधयवसरे। अतएव तत्र लेकभाषया वल्लिमार्गः इति प्रसिद्धिः । तथापि गीताश्रयत्वेन वाद्यादे: प्रयोग इति गेयमिति निर्दिष्टम । किं च पाठये साक्षात्कारकल्पानुव्यवसायसंपत्त्युपयोगिन: पात्रं प्रति भापानियमस्य नियतस्य छन्दोलंकारादेधवाभिधीयते असक्कत्यानत्तेरपि तु यादशा लयतालादिना वादृगर्थसूचनयोग्योऽभिनयः सात्विकादि: प्रभावरसानुसारितया प्रयोगयोग्यस्तदुचि- तार्थपरिपूरण ध्रुवागीतेन क्रियते। गेये च स्तदादेरेव वस्तुभूतरूपरसादिमध्यपाति विषयविशेषयोजनया कृता प्रतीतिः साध्या .... .. व्युत्पत्त्यभिसंधानं च

*For the actual usage of the word etc. see further.

24 TYPES OF SANSKRIT DRAMA

गेये नास्ति। पाठये तु तदेव प्रधान भरतमुनिप्रभृतिनां तथव मूलतः प्रवृत्तेरित्यल बहुना अप्रस्तुतप्रपश्चेनेति। It will be seen that गेय of हेमचन्द्र is our नृत्य or उपरूपक and his पाठय is our नाटय or रूपक 22 The chief point of distinction between the two forms is that the 3y6q had mainly to do with the bodily gestures and music, while both these occupied a secondary position in रूपक. Thus उपरूपक would place greater emphasis on कायाभिनय, while रूपक would require सातत्विक and other अभिनयs. To this distinction between रूपक and उपरूपक we shall have to revert later on: just now it is sufficient to note these salient features of both the forms. The above distinction brought out by KS is also borne out by other works. BP, very clearly mentions (P.221) that रूपकs were रसात्मक and उपरूपकड were भावात्मक; also it calls (P. 255) the उपरूपकs as नृत्यभेदा: and रूपकS as नाटयमेदा: The distinction (P. 181) that नाटय is वाक्यार्थाभिनयात्मक and नृत्य is पदार्थाभिनयात्मक also points to the same principle. After thus understanding the technical nature of रूपक and उपरूपक, it will now be easier to study their divisions in details. Let us take up 594 first.

22. KS's गेयरूपक is termed नृत्काव्य by Abh. It also uses the term गीयमानरूपक of. P.174-183

CHAPTER II

RŪPAKA (Nāțya and Rūpaka)

CHAPTER II

RŪPAKA (Nātya and Rūpaka)

THE word रूपक is to be derived from रूप a root, the exact sense of which, in earlier literature, has not been as yet settled. 54, a substantive formed from this root, has been used in some of our early works. According to Sten Konow', this word occuring in the fourth Rock Edict of arntas, refers to a shadow device, which leads to the acceptance of the existence of shadow-plays in ancient India. But Keith2 takes &4 to mean visible representation. Do3 supports him. It seems that Keith is inclined to take this word in connection with puppet-play or Pantomime, which existed in India. He thinks so, because in AmPn4 of the Buddhist cannon, the term 4517 occurs and there, just before in the text, there is a mention of a puppet. This sense may hold good in the case of the Fourth Rock Edict of अशोक, as अशोक there, speaks of exhibiting spectacles of the dwellings of gods, of elephants and of bonfires. This sense would be admirably suitable for the compound yaaa," where it is obvious that some art is referred to. That &4 in

1. San. D. P. 54 2. San. D. P. 54 3. IHQ Vol. VII, P. 544 4. V, 394 (See San. D. P. 54) 5. Milindapanha P. 344

28 TYPES OF SANSKRIT DRAMA

these earlier references, alludes to some sort of art of representation, seems definite enough from the very context; and there is every reason to believe that it referred to visible representation, as its later sense attests. 84, in this sense, is used in NS, but only in the compound wrsq, which occurs there five or six times.6 There are some more places where the word ay is seen in NS,7 but the sense applicable in every case is either 'form' or unH, or mere beauty. These have no reference to our enquiry, in which q is to be taken as meaning visible representation: but there is one term aaey used in NS, some four or five times,8 the sense of which is not easy to determine. It may refer to some sort of special feature of dramatic representation, as it is used in connection with पूर्वरङ्न. रूप also seems to have been used to designate some afaaq in NS, at one place.9 But these references do not lead us anywhere. Only the definite term Frey bears testimony that 4 meant a dramatic representation, as early as NS. There is an interesting point in connection with this early sense of रूप. रूपयति and other forms of , when used in the stage-directions, mean 'to 6. NS XVII, 133; XVIII, 1; 4; 184; XIX, 46; 128; XXVII, 50; 60. 7. NS I. 29; XIX, 58; 79; 122; XXI, 35; 67; 177; XXII, 79; 84. 8. NS V, 32; 36; 40; 45; XXXI, 213; 329; also cf. XXI, 5-7 and SR 7-1312. 9. NS XXXI, 320

RŪPAKA 29

act so as to represent visibly a particular situation or emotion', An analysis of our extant dramas shows that roots नट्, रूप and अभि+नी and their forms like नाटितकेन, नाटयेन, नाटयति रूपयति रूपयित्वा etc., are used whenever such a stage-direction is intended. All mean the same thing; but a careful investigation reveals the fact that ay is invariably used in earlier (i. e. earlier than DR) dramas, while an exclusive use of नाटु and अभि+नी is seen in all the later dramas. With a view to ascertain this, I have collected evidence from all the dramas of note and following is the result: वररुचि's उभयाभियारिका has no occasion for such a stage-direction. I have examined afd प्रतिज्ञा, र्वप्रवासवदत्ता, मध्यम, पञ्चरात्र and चारुदत्त of भास and have found that ar is used only twice, once in सवम and once in चाहरत while is not used at all in these plays. कालिदास's dramas show a fair proportion of both these roots. विक्रमोवशीयम् uses रूप 10 times and नाट् 12 times. In मालविकाभिमित्रम्, रूप् and नाद both are used 7 times. In अभिज्ञानशाकुन्तलम, both the roots are used 11 times. निरूप्य in all the other dramas is used in the sense of 'closely observing', but in अभिज्ञानशाकुन्तलम्, it has been twice used in the sense of 'visibly represeuting', as in मदनबाधां निरव्य10 कोमुदीमहोत्सव, which seems to be a fairly early drama,! uses a once and &9 twice. भगवदज्जुकम् has no such stage-direction. In all the

10 अभिज्ञानशाकुन्तनम्, Nir. Press, P. 85, 67, 93. 11 See ABORI XII, P. 50ff. The arguments advanced there are plausible.

30 TYPES OF SANSKRIT DRAMA

three dramas of हर्प, नाट only is used to the exclusion of र्ू, while in मत्तविलास of महेन्द्रविक्रम, a drama of the same age as हर्'s, only रूप is used. In भन्रभूति, नाट is usual, but उत्तररामचरित uses रूप once in the V act. आश्चर्यचूडामणि, a drama of this age, has used ai2 only two times and 12 times. मुश्राक्षस has नाट only. वेणीसंहार uses नाटू in most cases but has used रूप twice. धूर्नविटसंवाद, which is certainly earlier than DR, uses a once. These are all the dramas admitted on all hands to have been composed before DR. I have also examined a number of dramas composed after the time of DR, and they all show an exclusive use of नाट, with only one exception of the dubious पार्वतीपरिणयम्, which uses रू 4 times and ना 3 times. Of the later dramas I have examined among others, all the available भाus and प्रहसनs, पारिजातमजजरी, कोमुदीमित्राणंद, कर्णसुन्दरी, विदग्धमाधव, पार्थपराक्रम, the six dramas of वत्सराज, उन्मत्तराघव, कुन्दमाला, सत्यहरिश्चन्द्र, प्रसन्नराघव रतिमन्मय and कमलिनीकलहंस. All these show नाट only.12 If this analysis means anything it seems cortain that by the time of DR, ay as a root, was definitely superceded by a2. Only the earlier dramas show ay, not the later ones. This has an interesting parallel in the usage of the word a9n. It is found that 4, as a generic term for drama, came iuto general prevalence only after DR's age. The above analysis of the dramas also shows that

12. I have not examined dramas of very late dates (i.e. of 17th and 18th centuries) as their evidence is useless in such an enquiry-

RUPAKA 31

whereas almost all the dramas later than DR, use the generic term रूपक in their प्रस्तावनाs, the earlier dramas are, as if by conspiracy, silent about that word. Not one drama of a date earlier than DR has used this word.13 In the works on dramaturgy, again, NS does not know the word F4 as a generic term for drama, but Abh knows it and अभिनव was almost a contemporary of धनज्ञय, if not later. Earlier term for designating the dramatic genre was ma and in some cases ay (as in दशरूप in NS). The result of this analysis puts a somewhat curious fact before us. It seeme that a was the earlier root meaning 'to represent visibly' and zT the earlier term meaning a drama. In the course of evolution &4 came in the field,14 both as a root and as a substantive ( & ). The root 54 held sway side by side with a for nearly a thousand years and more and then dropped out and नाट survived; but रूप developed into रूपक, su- perceded and held field ever afterwards. This shows that 59%, as a generic term for drama came into vogue about the ninth or tenth century. Let us now see the results of this whole discussion. We have examined the terms a, ,

13. पार्वतीपरियाय uses रूपक and also both रूपू and नाडू but as its date is a matter of uncertainty we may not attach any value to it. I4. There is enough ground for the evolution of such a sense of the root.

2 TYPES OF SANSKRIT DRAMA ma and aun: and following seem to be the senses attached to them: '(a) Tf: Dancing: (b) T: Dancing+music+a little of acting. This is based on Hrs. (c) a24: (a) + (b) + full histrionics. This is based on TaS. (d) रूपकः नाटय + taking the role of some one else. To explain : (a) A person experiences an emotion and not being able to control himself begins to exhibit the emotion by moving his limbs. In so doing he has no consideration for others. He jumps and moves i. e. dances just to satisfy himself irrespective of others around him. This is Ta. This art, therefore, is exclusively subjective. TH, therefore, can very well be illustra- ted by the random dancing of a child. (b) But soon one comes to realise that a particular movement of hand or foot or a parti- cular movement of eye, lip, eye-brow etc., con- veys a particular emotion to others. Thus the random dancing comes to be regularised. A dancer, experiencing joy himself wishes to show this to others, and dances in a particular ma- nner; this shows to the other that the dancer feels joy. This is r. In this, an objective ele- ment creeps in. The dancer has an eye to others who look at him. He may, at times, take the help of music in expressing his emotions.This

RUPAKA 33

is supposed to be based on mas, because the dancer as well as the spectator does not go beyond that stage. Dancer experiences an emo- tion (aa), and shows it by his dance and the spectator realises that a. It seems that in the spectator knows by the gestures of the d that she experiences a particular emotion, but it is not essential that the spectator himself should experience the same emotion. This art therefore, is based on "a and is mostly subjective, being objective only partially. (c) But in aa the dancer experiences an emotion and so interprets it in acting that even the spoctator looses his identity and feels that emotion. A aaa, for instance, is dancing before a king and wishes to stimulate the fecling of love in him. She dances and acts in such a manncr that the king's emotion of love is fully excited. This is a. Here the art is mostly objective, but only partially subjective, as the aaa may not al- ways feel the same emotion horsolf. मालविका's लित, referred to carlier, is of this type. Various types of 73 described in works like NSD also, fall under this class.

(d) So far we have concerned oursclves with one art only-that of oxpressing one's own emo- tion by some sort of visible representation. Dance, music and histrionics-all would contribute to this end. But there is another art also. A person knows that at the time of parting from

34 TYPES OF SANSKRIT DRAMA

far, TIH experienced highly tragic mood. He wants to show to others the feelings experienced by ₹IH. He comes before them, dresses and acts in such a clever manner that the audience, for the time, loose themsolves and experience the same emo- tion as represented by the actor. This process, it will be seen, includes the whole of the iza-process and adds to it the element of giving visibility to the part played by him by means of dress etc.15 Thus 54, which as an art was originally distinct from नाट्य caine to be combined with it. रूप as a distinct art consisted in taking the form (role) of some one else, by means of the accessories like dress etc, and ara was acting etc. In what we call drama, both these came to be combined together and this new art was given the name of E9 and later on of रूपक. Its distinction as रुपक was settled about the 9th or 10th century; earlier the drama was known by the terms नाटक, नाट्य or रूप. In course of time $44 became the generic term and ars a designation of an individual type. So, originally the art first designated by and and then culminating in the synthetic form of was distinct from the art designated by the term &4. Later on both these were combin- ed into a synthetic form. But it should be noted that at this transitional stage, the usage of 15. This, therefore, is completely an objective art. In it the actor has no personality of his own. He imposes upon himself another personality and exhibits the same before the audience. So both ways this art becomes objective.

RUPAKA 35

the terms cannot have bcon very rigid. There- fore just as there is a possibility of confusion in the usage of नृत्य and नाट्य as shown earlier, there is also a possibility of confusion in the usage of the terms नाट्य and रूपक with reference to drama. And we have shown above how and when these terms were finally distinguished from one another.16

Thus we have fixed the nature and exact meanings of these terms. But there were some other terms which had, more or less, a similar sense. संगीतक17, काव्य, प्रेक्षा, समाज and such other terms referred to the same art but emphasised one or the other element therein. Thus, संगीतक would na- turally have a predominence of music, lor of poetry and प्रेक्षा of visible elements. समाज may refer to any assembly, but in the Ashokan edicts, it

16. The following definitions given by DR corroborates the above conclusions: अव्स्थानुकृतिर्नाटयं रूपं दशयतयोच्यते । रूपकं तत्समारापान् And all the later dramaturgists have copied down these definitions. 17. It seems that earlier still, there was anothor term which designated some sort of dramatic representation. aure's उभयाभिसारिका has this: कुसुमपुरपुरन्दरस्य भवने पुरन्दरविजयं नाम संगीतकं यथारसमभिनेतव्यम् where the name पुरन्दरविजय and the instruction यथारसममिनेतव्यम् make it possible that the term imianu also had a sense of dramatic representation. भगवदज्जुकम् also uses संगीतकम् in this sense in its प्रस्तावना. cf. फामसूत्र too. फाव्य, too, seems to have been used in the same sense: of. NS-नाटीसंज्ञाश्रित काव्ये, XVIII, 106.

36 TYPES OF SANSKRIT DRAMA

seems to have been used to refer to some sort of spectacles. But all these were loosely used and were mostly current in the transitional period. नाट्य and रूपक Were the only two terms which sur- vived finally, ganing the ultimate ground as the generic term for 'Drama'. We can, now, take up a detailed study of the varieties of रूपक as recognised by our dramaturgists. I shall, in what follows, collect all the available data about the y4s with a view to ascertain their general nature and reserve for another section the discu- ssion of such problems as would arise from such data.

CHAPTER III

RŪPAKA (continued) Types of Rupaka

CHAPTER III

RŪPAKA (continued) Types of Rupaka-general

IN this chapter, we propose to collect data from our dramaturgical works, first about the number of specics and then about the nature of ays individually, adding, at the end of each va- riety, such remarks as may arise from the collec- ted data, and reserving a comparative study of the growth of these individual types till the end of the chapter. Although all our known works on dramaturgy, more or less, follow a, a detailed study evinces certain differences of views: it is, therefore, ne- cessary to collect data from all the extant works. In so doing, I shall procced in strict chronologi- cal order, so that it will be easy to detect the growth of the type under consideration. Remarks appended to the details of each type embody a careful sifting of the materials collected and put in clear terms the phases of the growth traceable in the different dramaturgical works.

Number of Species.

NS .recognises नाटक, प्रकरण, अद्व, व्यायोग, भाण, सम- वकार, वीथी, प्रहसन, डिम, ईहामृग, (XVIII, 2-3). But अङ्ग is alternately named as sufears (XVIII, 8). Fur- ther on नाटी is called a mixture of नाटक and प्रकरण. (XVIII, 106)

40 TYPES OF SANSKRIT DRAMA

AP has these same types but it also enumcrates seventeen types of उपरूपकs in the same list, without designating them as such, but in- cluding all the 27 (10+17) types under the general head नाटक. (338, 1-4) DR (I, 11) has the same ten varieties, in- cluding नाटिका under नाटक. भरत's नाडी has, here, deve- loped into नाटिका. KS (P. 317) notes 12 &44s with the addition of नाटिका and सट्टक to the usual list. ND cnumerates 12 रूपक3, including नाटिका and प्रकग्णी under रुपकs and adding the following note: नाटकप्रकरणयो: प्राधान्यभाह। अङ्क इति उत्तप्टिकाङ्गो न पुनरवस्था- सामान्यादिरूप: । (P. 26) But in his treatmont of नाटिा (P. 124-122) and प्रकरणी (P. 123), a trend, to consider them as sub- varieties of as and aT is clearly visible; and dis- tinctly enough it enumerates twelve types. Of course नाटक aund प्रकरण are called predominent. (P. 26) BP also follows NS in the ten varieties, pointing out, however, the predominence of aa (P. 221). It takos नाटिका as an admixture of नाटक and प्रकरण. RS has the same ten varieties as NS (TII,), but it expressly notes that wiz% is the basis of all the other varieties thus: आहुः प्रकरणादीनां नाटकं प्रकृति: बुधाः अतिदेशव लप्राप्तनाटकाङ्कोपजीवनात् अन्यानि रूपकाणि स्युर्विकाश नाटकं प्रति ।

RŪPAKA 41

PR does not note नाटिका. SD has the same ten types and takes नाटिका as an उपरूपक. MMC notes that some include नाटिका and प्रकरणी under उपरूपक (P. 73), which may refer to the SD school. भगवदज्जुकम्, a प्रहसन, has the following: अथ तु नाटकप्रकरणोद्भवासु वारेहामृगडिमसमवकारव्यायोगभाणसलाप- वीथीउत्सष्टिकाङ्कप्रहसनादिपु दशजातिपु (P. 3) Remarks This last evidently refers to a distinct prin- ciple of division, for नाटक and प्रकरण are here, taken as the basis of the other ten types, while according to the usual theory as seen above they themselves form the first two types. Out of these ten types, again, सल्लाप and वार are not seen in the list of the main रपकs anywhere, though सल्लाप occurs as an उपरूपक. About वार, which is not found anywhere as a रूपकप्रकार Prof. K.H. Dhruva suggests as follows (in a letter to me): "The word नाटयवार is used in भावग्रकाशनम्. वासवदत्तानाट्यवार occurs as the name of a drama in ND. Abh. speaks of वासवदत्ता- नाय्यधारा as a composition of सुबन्धु. This नाव्यधारा of सुबन्धु is alluded to in the beginning of दण्डी's अवन्ती- सुन्दरीकथा. हेमाचार्य calls सुबन्धु to have been a minister of चन्द्रगुप्तमारय and बिन्दुसार Abh (on 18, 1) has अनया आर्यया चन्द्रगुप्तबिन्दुसारादयोऽपि संगृह्न्ते इति, and it refers to this नाट्यधारा. In both the words-नाय्यधारा and नाव्यवार- नाट्य is equivalent to 'act'. Therefore नाथ्यवार means 'collection of acts', and नाट्यधारा moans 'serics of

42 TYPES OF SANSKRIT DRAMA

acts'. Thus नाट्यवार and नाट्यधारा are synonyms of F. They were used at about the 4th century B.C., if not earlier. To use the एकशेष वार as seen in भगवद is improper." However वार here is taken as a type of drama and it is not in accordance with NS.

Morcover these ten varieties of भगवद०, again, would yield 12 types, if taken along with नाटक and प्रकरण which are, here, taken as the basis of the other varieties. This may, then, seem to preserve the same tradition as KS and ND school. But from the above analysis, it will be seen that whercas KS and ND substantially agree with the theory of ten ayas (though by in- cluding one of the sub-varieties, they preserve the tradition of 12 रूपक3), भगवदज्जुकम् is quite alone in its enumeration of the 12 ays, as it takes नाटक and प्रकरण as the basis of othor species, which shows that it followed a tradition quite distinct from that of NS.

This statement of भगवदज्जुकम् takes नाटक and प्रकरण as two generic terms. We have got some other references, too, which treat these two as the generic terms for drama. अभिज्ञानशाकुन्तलम् uses both नाटक and प्रकरण in its प्रस्तावना in distinct senses. When the सूत्रधार asks: अथ कतमत्प्रकरणमाश्रित्य ............ , he, as if it were, suggests that 57 was equivalent to the later रूपक; while कतमत् may probably, refer to the fact that there were some varieties of प्रकरण. And then the सूत्रधार rcplies that he was

RUPAKA 43

going to perform a new a775 etc., which would mean that नाटक was a variety of प्रकरण. There is another fact which we have already pointed out that ay4 as a generic term for drama, came into prevalence only in DR's time. Earlier dramas either do not use any generic term or use the word नाटक in their प्रस्तावना. शूदक's पद्मप्राभृतकम्, a भाण recently brought to light, twice refers to a कुमुद्वती- प्रकरण. At P. 23, there is a passage as follows: कुमुद्वतीभूमिकाप्रकरणपात्रमुपनय (probably to be emended as कुमुद्वतीप्रकरणभूमिका ... .) and at P. 25 the following is seen: किमिदं तालपन्रकेभिलिखितम्। कि व्रवीषि-नाटकभूमिका इति। (गरहीत्वा वाचयति) कुमुद्वतीप्रकरणे शूर्पकासक्तां राजदारिकां धात्री रहस्युपालभते।

Here, too, प्रकरण and नाटक seem to have been used in a generic sense, though u, here, may well be the type known to NS as the low taste of the priucess indicates: but aas is certainly used in a generic sense. भास in his प्रतिज्ञा uses प्रकरण in a generic sense. सूत्रधार in the प्रस्तावना says: ततस्तव गीतप्रसादिते रव्चे वयमपि प्रकरणारभामहे। This word yRw cannot be taken in its usual technical sense here. (as has been wrongly done by Keith) as we shall make clear further. These few but decisive statements are enough to prove that both नाटक and प्रकरण were taken as generic terms at some time or other. With this conclusion, well accords the fect that AP takes #27 as a generic term, for it desig-

44 TYPES OF SANSKRIT DRAMA

nates the 328th chapter as नाटकनिरूपणम्. ND, too, considers नाटक and प्रकरण as the predominent types. With this concur the views of BP and RS. But this (particularly RS) may lcad us to believe that other types had sprung up from e. And that would be a very important question, for it may be takon to mean that other types were non-existent at first and came into being only very late, after the 24 type had perfected. That this view cannot be sound we shall see later, when we shall disouss the question in details.

Types of Rupaka-individual 1. नाटक

Def. ND defines it thus (P. 28) नाटकमिति नाटयति विचित्रं रजनाप्रवेशेन सभ्यानां हृदय नर्तयतीति नाटकम्। अभिनवगप्तस्तु नमनार्थस्यापि नटेर्नाटकशव्दं व्युत्पादयति तत्र तु घटादित्वेन ह्स्वाभावधिन्त्यः । यद्यपि कथादयऽपि श्रोतृहृदयं नाटयन्ति तथाप्य- ड्कोपायादीनां वैचित्र्यहेतूनामभावात् न तथा रजजकत्वमिति न ते नाटकम्। तथा नाटकं प्रधानपुरुषायेपु राज्ञां तदअ्ञभूतेष्त्रमात्यादीनां च बहूनां व्युत्पादकमिति कतिपयव्युत्पादकानि प्रकरणादीन्यपि न नाटकमिति। NS (XVIII, 10-91) Hero : Renowned. Plot : Renowned. (It should be noted here that by 'renowned' our theorists mean a plot that is taken from any work which is famous in the author's own times, such as रामायण, महाभारत, वृहत्कथा etc.). It may depict the life-incidents of a king or it may have a divine hero. It should have grandeur, luxury, and prospority of every kind, various, रस3 and भावड,

RŪPAKA 45

resulting from joy and sorrow. Act : Def. is so called because, in it the incidents rise gradually into mas and ₹s. (14) Keeping in mind the whole action, one should make an act (i. e. the first act) upto the extension of farg. The first act should complete one thread, बीज and should slightly commence विन्दु. There mnay figure the king, queon, servants, family-priest, mini- ster and merchants and it should not have only one TH. Angor, negligence, grief, curse, distur- bance, marriage, and marvellous scenes should be represented directly, while battle, deposition of a king, death, besieging a town should not be dire- ctly repiesented, but suggested by aTE, etc. Hero should never be killed. Duration of the action in an act, must last only for one day. Many threads of the plot may be woven in one act, provided these do not hamper the necessary progress of the action. At the end of an act, all the characters should make their exit. Knowing the divisions of the day, one should arrange the various actions in an act. If an incident is not completed at the end of the day, act should be completed all the same, and the remaining portion should be sugge- sted by means of naaa, etc. Horo should be pre- sent in the act: but a aT4, is full of conversation between servants. There may be five to ten acts. yas may occur between any two acts, in order to effect the necessary abridgement of the story, having neither high nor middle characters, nor

46 TYPES OF SANSKRIT DRAMA noble speech, but only Prakrits. After the break of an act, action with one month's or one year's (but in no case, with more than one year's) duration may be suggested (in a a). If a character goes on a long journey, the act should be completed then. DR (3, 1-43) When सूत्रधार retires another actor - स्थापक- should enter and introduce the drama. He should suggest the plot, ao and one of the characters and pleasing the audience with sweet verses, he should describe a season, resorting to भारती वृत्ति. In this introductory scene, he may employ the aters with profit. In आमुख, the सूत्रधार may converse with नटी or मारिष or विदूषक on a subject pertaining to himself, hinting at the plot. Of this (आमुख or प्रस्तावना) there are three forms: (1) opening of the story (कथोद्धात), (2) the entrance of a character (qa5) and (3) the particular presentation (प्रयोगातिशय). कथोद्धात is that in which a character enters taking up the remark of the सूत्रधार or the sense thereof. Thus it is of two kinds. mans is one, in which a person is hinted at by the resemblence of some season. प्रयोगातिशय is one, in which a character enters in accordance with a reference by the Haur by the words 'Here he is'. Hero must be full of noble qualities, धीरोदात्त, powerful, desirous of fame, highly energetic, pre- server of the Vedas, of a famous descent, king or a divine person.

RŪPAKA 47 Plot: The dramatist should select his plot from sfagtH etc., and whatever in the original story is incompatible with the hero or T, should be abandoned or fashioned otherwise: and deciding beforehand what to give up, he should bring into play the acceptable and disregard the rest. The body of the plot should be divided into बीज, विन्दु etc., (the five अवस्था), into मुख etc., (the five संधिs), and into fire अर्थप्रकृतिs with their sub- divisions and अनुसंधिs. (The पताका incident should be void of irans; so too, the naf should be with- out afas.) Thus dividing the body, he may arrange a facarns or an act directly as it suits his purpose. विष्कम्भक may just follow प्रस्तावना: but wlenever the plot is interesting from the beginnig, it should open with an act directly, following the enya. Main 7, all throughout, should be nourished by भाव, विभाव, अनुभाव, सात्विक aत व्यभिचारी and should never be overclouded by other tas nor should the excessive रम cloud the plot or नास्यालंकार. Long journey, death, battle, revolution of kingdoms, siege, cating, bath, sexual intercourse, besmearing the body and putting on clothes should never be shown directly. So, too, the death ot the hero should never happen: and yet whatever is necessary should not be given up. KS (P. 317) points out that 'दिव्याश्रमेपिनम' in NS, refers to a hero having some divine help, but does not mean a divine hero. Thus there

48 TYPES OF SANSKRIT DRAMA

must be only mortal heroes in a नाटक. Heroine, however, may be divine e.g. ऊर्वशी. MTR. एंगार or वीर should be predominent. Plot must be famous but slightly imaginary too. ND (P. 27) notes that the hero may be a क्षत्रिय i.e. not necessarily a king.

BP (P. 223 ff). Referring to the element of imaginary portion in the plot of a नाटक, it is here remarked that even मातृगुप्त allows (भाषित) it. In रामानन्द, a drama, the description of विभीषण, even be- fore aiar's capture, is imaginary. It is noted that even काहल requires पताकास्थानड and at the close of the बीज, the commencement of बिन्दु in the first act. नाटक should have नान्दी and प्रस्तावना. चित्रावलि* has an act, having action co-extensive with one day: but there may be an act within the space of half a day as in गोरीगृह. * It is stated that सुवन्धु divides नाटक into पूर्ण, प्रशान्त, भास्वर, ललित and समग्र. पूर्ण may have all the five संधिs e.g. कृत्यारावण, प्रशान्त should have प्रशान्त रस prominent. It should have the following afas : न्यास, न्याससमुद्गेद, वीजोक्ति, बीजदर्शन and अनुददिष्टसंहार. It should have सात्वती style, so द्रौहिणी. e.g. स्वप्रवासवदत्ता. In it, when the queen, under calamity, being taken away from the king is placed in the hands of मागधिका, मुखसंधि called न्यास occurs. प्रतिमुख of न्यास is called

*Prof. K. H. Dhruva suggests that these may be the titles of the first acts of उत्तरराम० and नागानन्द respectively.

RUPAKA 49

संधिमेद e. g. seeing पद्मावती's beautiful face decorated with विशेषक, the king knew that अवन्तिका was still living. बीजोकि happens when the king through anxiety cries out 'एहि वासवदत्ते का क् यासि।' बी जदर्शन occurs in searching for the other, on seeing one out of the two objects which were always associ- ated, by sight or touch : c. g. चिरप्रसुप्त: कामो मे वीणया प्रतिबेोधितः । तां तु देवीं न पश्यामि यस्या घापवती प्रिया। And when the words - कि ते भूयः त्रियं कुर्याम् - are not used, it is called by भरत and othors, अनुरिटिसंहार. In भास्वर typc, again, there may be the following संधिs: माला, नायकसिद्धि, अङ्गग्लानि, तस्याः परिक्षय: and मात्रावशिष्टसंहार. When the नायक and प्रतिनायक are both renowned, माला- संवि is caused e.g. चन्द्रगुप्त and नन्दन. When another man achieves the desired object by deceiving the नायक (? प्रतिनायक), there happens नायकसिन्ि e. g. रावण was deceived by मारिच. ग्लानि happens when विमर्द ctc. are seen e. g. besicging of लङ्ा by the वानरs after cross- ing the ocean. परिक्षय happens when the hero is over- powered by the cnemies' forces c. g. रामलक्ष्मण's being tied up by नागपाश. मात्रावशिष्टमंहार happens when after killing the enemy, the females captured by him, are tcsted e. g. सीता's ordeal after रावण's death. This भास्वर type may be full of भारती stylc and heroic and अद् भुत रसs e. g. बालरामायण. ललित may have कैशिकी style and erotic रस e. g. ऊर्वशीविप्रलम्भ. It will have the following five संधि- विलास, विपलम्भ, वियोग, विशोधन and उदिष्यार्थेपसंहृति, विलास happ- ens when the hero and others enjoy according to

50 TYPES OF SANSKRIT DRAMA

seasons e. g. वत्सराज's enjoying of वसन्तेश्सव. विप्रलम्भ is separation of lovers by jealousy or by will e. g. वत्सराज's separation from वासवदत्ता. विप्रयोग, (the text has विप्रलम्भ once more, but it is incorrect) is that sepa- ration between lovers which is caused by curses etc. e. g. ययाति's separation from शर्मिष्ठा. विशोधन is purification of faults on account of fear of scandal c. g. सीता's by राम. उदिट्टार्थेपसंहृति - as in विक्रमे्वशीय - the message of इन्द्र 'May ऊर्वशी live with you long, being your wife.'

समग्र type will have all the वृतिs and all the characteristics and is represented by महानाटक. उपक्षेप, परिहार, परिन्यास, विलोभन - those eleinonts should be present in all the types, युक्ति, प्राप्ति, समाधान, विधान, and परिभावना should be present in the प्रशान्त type only and अज्ञापवाद, संफेड, प्रसङ्ग, विद्रव and संग्रह with their sub-divisions should be present in HRT type, while विरोध, प्रणय, पर्युपासन, पुष्प and वज्र should necessarily be woven in the ललित type. But a नाटक in which various elements of all the types are seen, is called GIaR and it has been called समग्र. SD (VI, 7 ff) Acts must be arranged after the fashion of गोपुच्छ. This has been taken by some to mean that the acts should be made gra- dually shorter (क्मेणाङ्कः सूक्ष्म: कर्तव्यः) while others say: 'Just as in the tail of a cow some hair is short and some long, so too, some complete threads should be woven in मुखसंधि and others in प्रतिमुखसंधि and so on.'

RUPAKA 51

There may be a mrf, which should occur in the bulk of an act, having रञद्वार, आमुख, बीज, फल e. g. in बालरामायण the गर्भाङ्क called सीतास्वयंवर. Remarks It will be soen that all the theorists follow implicitly the outlines of the technique as detail- ed by NS, making only very minor changes. In spite of the details seen in DR or BP or ND which are not found in NS, it will be at once noted that these later texts merely elaborated upon the materials found in NS, never showing a fundamental departure from the principles re- cognised therein. Even rs and others, when quoted, show themselves in general agrcement with NS. SD perhaps stands alone in recogni- sing the गर्भाड्क, though as early a drama as तरियद्शिका uses this device. MTR would, at first, secm to hold a distinct view when he allows an imagina- ry admixture in plot, but, most probably it only means, as seen in DR, that the poet had certain liberty of making adjustments in the original story. But सुवन्धु, as quoted by शारदातनय, seems to preserve some distinct tradition, probably unknown to NS or at least not recognised therein. The five types of dramas as detailed by yarg, show a fairly elaborate development in drainaturgical tech- nique as well as in practice. 2. प्रकरण NS (XVIII, 93-105) Plot should be imagi- nary and all that is said about the body of the

52 TYPES OF SANSKRIT DRAMA

drama etc., under नाटक, should be applied to प्रकरण, too. Life-story of a r or a minister or a merchant or a priest or an अमात्य or a सार्थवाह is woven in it. There should be no उदात्त hero, n0 divine element, no kingly luxury. It should have all the बाह्यजनs, having दास, विट, श्रेष्टि, also more of वेशस्त्री and less of कुलस्री; but where there is a story of a सचिव, ब्राह्मण, पुरोहित श्रेष्टि, अमात्य or सार्थवाह, there should be no वेश्या and if at all there is a वेश्या, there should be no कुलजा. There may be five to ten acts. DR (3, 44-45) Hero should be either an e or a विप्र or a वणिक् : he should be धीरप्रशान्त in nature, fallen on bad days and ready to do a good turn. Heroine may be a कुलजा, वेश्या or both. The former must always stay in the inner apartments and the latter outside and they should not cross one ano- ther. ETUT is threefold according as the heroine is कुलजा, वेश्या, or both. Examples : DR (avaloka): वेश्या alone - तरङ्गदत्ता, कुलजा alone - पुष्पदूषितकम्, both - मृच्छकटिकम्. ND (P. 177 ff) notes that the hero may be धीरोदात्त or धीरप्रशान्त and remarks : यस्त्वमात्यं नेतारमभ्युपगम्य धीरप्रशान्तनायकमिति प्रकरण विशेषयति स वृद्धसम्प्रवायवन्ध्यः। यदाहु :- सेनापतिरमात्यश् धीरोदातौ प्रकीर्तितौ- इति। The heroine may be low-born and hence appopriately the hero too, may be low-born. ND argues that if in this case, the hero is high-born the incident in the drama पुष्पदूषितकम्, wherein the mother-in-law, in the absence of her son, aban-

RUPAKA 53 dons her daughter-in-law and the abandoned daugh- ter-in-law stays at the house of शबरसेन, would be improper. So also, when the heroine is a वेश्या, even immodest manners may be allowed e. g. in विशाखदत्त's देवीचन्द्रगुप्तम् the utterance of कुमारचन्द्रगुप्त with reference to माधवसेना आनन्दाश्रुजलं सितोत्पलरुचाराबध्नता नेत्रया : प्रत्यङ्वेपु वरानने पुलकिषु स्वेदं समातन्नते। कुर्धागेन नितम्बये।रुपचयं सम्पूर्णयोरप्यसौ केनाप्यस्फृगताऽप्यधो निवसनग्रन्थिस्तवेोच्छ्वासित : ॥ ND divides saTr into seven types (which are also seen in KS) according as the hero or the result or the plot is imaginary. 1. Hero is ima- ginary and the other two famous. 2. Result is imaginary, 3. Plot is imaginary, 4. Hero and result are imaginary, 5. Horo and plot are imagi- nary, 6. Result and plot are imaginary and 7. All the three are imaginary. (N. B. whatever is not imaginary may be taken from some earlier poet or from stories like महाभारत.) Then again, the heroine may be कुलजा, वेश्या, or both and thus the above sev- en types will yield 21 types. T'hese, again, are pure if there is कुलजा or वेश्या only or mnixed if there are both. Thus pure=14; mixed=7. Here, too, it is pointed out that if the plot refers to a householder, there may be a gaar, as in पुष्पदूषितक and if otherwise, a वेश्या only, as in तरङदत्ता and if the hero is a विट like मूलदेव (पद्मप्राभृतकम्?), both, but वेश्या, in the last case should be the chief heroine.

54 TYPES OF SANSKRIT DRAMA

It wants the absence of the abundance of कैशिकी and points out that the fact that मालतीमाधव shows an abundance of कैशिकी, militates against वृद्धाभिप्राय. BP (P. 241) notes that कुलजा should use Sanskrit and वेश्या Prakrit. SP enjoins ouly pure विष्कम्भक in a प्रकरण, It says that विट, शकांर, कुटिणी etc., चेट and others should always be there. Examples: पद्मावतीपरिणय has विप्रचरित, मृच्छकटिक has वाणिजम् चरितम्, मालतीमाधा has कुलस्त्री, तरङ्गदत्ता has गणिका and मृच्छकटिक has both. SD takes मृच्छकटिक to have विप्र- नापक, भालतीमाघत to have अमात्यनायक and पुष्पदूपितक to have a वणिकू hero. RS divides a प्रकरण into शुद्ध, धूर्त, and मिश्र. मालतीमाधव having कुलस्त्री is शुद्ध, कामदत्ता having गणिका is धूर्त and मृच्छकटिक having both is मिश्र. Remarks

मृच्छकटिक: The hero is a ब्राह्मण and yet both the कुलजा and वेश्या are seen in this drama which militates against the express injunction of NS, ' ND and others. DR has this drama in view when it enjoins कुलजा to remain in the inner apart- ments and वेश्या outside. The plot of the drama is imaginary except perhaps the last incident of आर्यक's revolt, which seems to have its basis in historical facts. BP's injunction that कुलजा should speak in Sanskrit is not followed here. No element in मालतीमाधव goes against the theory as detailed above, though it has no विदूपक or विट

RŪPAKA

and others, but these were evidently out of place in a ga type (according to ND). It should be noted that, here, too, मालती resorts to Prakrit. Keith considers भास's प्रतिज्ञा to be a प्रकरण (San. D. P. 102), which as we have already pointed out is incorrect. It seems that he has been led away by the word प्रकरण in the प्रस्तावना; but there the teri प्रकरण is used in a generic sonse. Not a single essential condition of 93u is fulfilled by प्रतिज्ञा.

3. समवकार Def: DR (avaloka): समवकीर्यन्तेऽस्मिन्नर्था इति समवकारः NS (XVIII, 109-122): It should start with देवासुरs having famous and noble hero. An act may have 3 कपट3 (frands), 3 विद्रवs (disturbances) and 3 iRs, having 12 heroes and a duration of 18 नाडिकाड, Every act must have कपट, विद्रव, प्रहसन, वीथी. First Act may have 12 नाडिवs, second four and third two, which completes the action. One नाडिका is equal to से मुहूर्न. As to the subject-matter, विद्रव may be three- fold according as it is caused by (1) siege (2) fight or water (3) fire or clephant. 4z may be three- fold according as it is causcd by (1) fate (2) ene- my (3) happiness or misery. WaK may be threc- fold according as it is caused by धर्म, अर्थ and काम, which would be the respective aims of life. उष्िक्, अनुष्टुभ and the difficult metres (उष्णिग्वानुष्टम्वा बृत्तानि च यानि बन्धकुटिलानि) should be used in this type.

54 TYPES OF SANSKRIT DRAMA

DR (3,61) संधि: except विमश, वृति: मन्दकेशिकी, वीथ्यङ्गS may be used profitably. Plot: famous, describing देवासुरs. Heroes: gods and demons, 12. रसः वीर pro- minent. Acts: 3, First act may have two afas. KS (P. 320): Plot: It must contain gods and demons, the subject-matter being imaginary or famous. $42 may be caused (1) when one guiltless is deceived by another (2) when the deceived one is also guilty (3) when both are not guilty, but deceit is caused accidentally. According to some, there must be heroes and counter-heroes in each act. An adjustment in the number of the heroes is allowed. ND (P. 124): रस: वीर and रौद्र. With regard to the division of the duration in each act it is noted: एके तु प्रत्यक्क' ययोदितद्विगुण कालमानमाहु : । Metre: सग्धरा etc., not गायत्री etc., but some allow गायत्री etc. BP (P. 248-250) notes that the first act should have the first two w'fas, second the first three सधs and the third the four सधि except ि नर्श Three varieties of u are thus explained. (1) when crotic is resorted to only for procreating a son, otherwise practising vows eto., it is धर्म शृ गार. (2) when erotic is indulged in for getting money, it is ariaran and (3) when it is indulged in the company of another's wife, gambling, wine etc., it is कामशंगार. SD follows BP in the matter of afes in each act.

RŪPAKA 57

RS illustrates धर्मशंगार by पार्वतीपरमेरश्वर's love. Examples: BP and others: अमृतमंथन. RS: पयोधिमन्थन. Remarks. There is one point in the above theory that draws our attention at once. भरत wants उष्णिकू and other difficult metres for this type. ND, later as it is, wants aqu and others pointing out at the same time that some allowed maFf etc. ND, thus, allows only the classical metres, not the Vedic ones. Obvious inference from this would be that NS had in view some specimens which actually used sfeora or other difficult Vedic metres. Does it refer to an earlicr age when these Vedic metres werc actually in vogue and therefore natural ? NS mentions that a HHaFR was performed before gods. It, at least, supports the above suggestion. The injunction in BP and SD, according to which each act should have afas commencing from gaaf is difficult to explain. Does it refer to three distinct incidents to be commenced and developed in each of theso three acts and finally to bring about a connection and a fitting end of all these three ? Compare in this connection ND (P. 39). While discussing saas otc., it is noted that they should not be omployed oven in TFR. बहद्धध्वपि समवकारस्य परस्परासम्नद्ाङ्कतवादपरेषा तु ...... etc. This distinctly states that in anask acts were not connected with one another. Keith considers vaua of ara, (out of the sarlier

58 TYPES OF SANSKRIT DRAMA

dramas) to make the ncarest approach to GR but it should be remembered that in समवकार, story of gods and demons is essential, and that though in a, fraud is seen in the first act and disturb- ance in all the three, no Wa is seen all through- out the drama. At the same time it is noteworthy that H, who otherwise uses simple verses, has used many difficult classical verses in this drama.

It will be seen that समवकार, डिम, and व्यायोग are all alike, more or less, and yaua cxhibits all the characteristics of व्यायोग as described by NS, DR and BP, except that it has three acts and difficult verses, which, however, would be quite natural in a type which essentaily represents haughty ₹4. May this not suggest a transitional stage ?

4. डिम

Def: DR (avaloka) .... because it involves the procedure of injuring on the part of the hero - fe being equivalent to aara 'injuring', KS notes that डिम, डिम्ब and विद्रव are synonymous, and because विद्रव is present herc, it is called fen. NS (XVIII, 129-134): Plot: renowned, Hero: 16, renowned and उदात्त. Acts: 4. रसs Except erotic and humourous, all the haughty रसs. वृत्ति: सात्वती and aHf. There may be fight, tugging, magical illusion, many males, gods, serpants, राक्षसs, यक्षs, and cyclonic accidents. DR (3, 59) वृत्ति: except कैशिकी, संधि: 4,, void of विभर्श.

RUPAKA 6xamples: BP: वृत्रोद्वरण, तारकाद्रण. SD: NS: DR: त्रिपुरदाह. RS: वीरभदतिजम्भणम्.

5. ईहामृग

Def: DR(avaloka): This kind of drama is called ईहामृग beeause in it the hero pursues (ईहते) a woman as unattainable as a gazelle (मृग). KS: ईहा चेष्टा मृगस्येव स्त्रीमात्रार्था यत्र.

NS (XVIII, 124-128): Plot: A divine hero and a divine lady. Haughty males, becoming angry for the sake of a lady, causing संकोभ, सम्फेट, शृंगार may be caused by the capture of the heroine. Whatever heroes, रसs, वृतिs are in व्यायोग, the same should be here, only here the union of the hero with the heroine should be effocted. DR (3,64): Plot: mixed. संधिs: 3. नायक and प्रतिनायक my be divine or human, both being famous, धीरोद्धत and the latter may loose his end by improper acts. A semblence of love on the part of the one who tries to obtain divine woman against her will by capture etc., may be presented. KS (P. 322) first quotes the NS passage whcrein the following occurs: ईहामृगस्तु कार्य: मुसमाहितकाव्यबन्धक्ष। यद् व्यायोगे कार्ये

and then comments upon it thus: कार्यशब्येनाड्क उच्यते। तेन एक एवाक्कः । It, thus, allows only one act and twelve heroes.

60 TYPES OF SANSKRIT DRAMA

ND (P. 131) wants ateags. Acts: 1 or 4. - Quarrel should be caused by a divine woman. If it has one act, the action must last for one day only; if four, for four days, SD: Acts: 1 or 4.

Examples: BP: कुमुमशेखर, RS: मायाकुरज्, SD: कुसुमशेखर विजय. Remarks

NS notes only one point of difference betwoen - व्यायाग and ईहामृग, by saying that in the lattor the _- union with the heroine should be effected, which - would naturally suggest that in aram the union should rot be cffected. How. then, shall we classify मध्यम of भाम as a व्यायोग, in which union with the heroine is effreted ?

6. व्यायोग or व्याग्ाम

Dof: DR(avaloka) ... because in it men disagree with one anothor (व्यायुज्यन्ते).

NS (XVIII, 135-137): Plot renowned. IIero: renowned. Act: one. Many males fight there as in WHR, but the number may not be the same i. e. 12. Hero may be divino or a king. There must be various kinds of fighting and it should be full of haughty Ts. DR (3,60): Hero: स्यातेद्धत संधि: roid-of गर्मadd fTa. Plot: Fighting not caused by & woman, as inn the case ol जामदग्न्यजय. Action must .last. for .onee day onls

RŪPAKA 61

KS (P. 323) notes that it is like a sequal (शेषभूत) to डिम. By 'few females' he takes it to be void of heroine etc., but allows maids to be present. It is once called व्यायाम here. BP (P. 248): Hero: धीरेद्धत. There may be 3,4 or 5 but never more than ten heroes. It should have a विष्कम्भक. वृत्ति: भारती and आरभटी. Examples: DR and ND: जामदग्न्यजय. RS: धनजयजय SD; सौगन्धिकाहरण. N.B. one सौगन्धिकाहरण published by Nirnaya Sagar Press is a प्रेक्षणक and not a व्यायोग. It, therefore, seems that there were two dramas of the same name. Remarks That मध्यम of भास should not be taken as a व्यायोग has been already suggested by us under ईहामृग. Very close relations between समवकार, इहामृग, डिम and व्यायोग are apparent from the theory.

7. अङ्क or उत्सृष्टिकाङ्क Def: DR(avaloka): It is called उत्सृष्टिकाङ्क (instead of merely er) for the purpose of distinguishing it from the eE (act) included in a play. KS (P. 324): one which is characterised by women who are grieving i. e. whose sight, life and breath are about to flee away (उत्क्रमणोन्मुखा दृष्टिर्जीवितं प्राणा यासां ता उत्सष्टिका: शेचयन्तः स्रियस्ताभिरङ्वित इति तथोक्तः) ND quotcs KS. NS (XVIII, 138-145) : Plot: renowned but rarely imaginary. Heroes: ordinary persons, not divine. रसः करुण (chief). No fight etc., and full of the wailings of women. वृत्ति: भारती.

62 TYPES OF SANSKRIT DRAMA

NS has a note that whenever a fight of a divine hero is represented, it should be so done in भारतवर्ष; for all the land thorein is charming, fragrant and golden: there is constant joy in the form of love-sports of ladies in garden etc. (I think that this does not refer to ag only but to all the forms of drama, otherwise the condition about the divine hero would directly militate agai- nst the above injunction that there should be no divine hero in an g.) DR. (3, 63) has a note that there may be ga as well as victory and defeat by speech only. ND. (P. 130 ff): Act: 1, as the action must be over in one day. BP (P. 251): वृत्ति: सात्वती and आरभटी. Act: one according to Bharata, two according to ars and three according to व्यासाजनेयगुरु. संधिः मुख and निर्वेहण according to ans. Here is a note that usually death should not be represented on the stage, but if the dead one is going to be revived, it may be allowed. Revival is illustrated as follows: In रामानुजाह्वय of लक्ष्मणसेन; in नागानन्द, of जीमूतवाहन; moreover death of mortals by divine porsons, (as of the sons of सगर by कपिल as in गङ्गाभगीरथ) should be suggested in प्रवेशक (thus explains शबक the word 'भारतवर्षे' in NS). Examples: SD: शर्मिष्ठाययाति, RS: करुणकुण्डला. 8. प्रहसन NSj (XVIII, 146-150): It is divided into two kinds - शुद्ध and प्रकी्ण. It (शुद्ध) should be arranged with humourous speeches of भगवत् तापस, विप्र and

RUPAKA 63

others, having कापुरुषs: thus it should be full of hu- mourous speeches, having no विकृत language, poems full of a etc., with the plot moving on to a fixed goal. प्रकीर्ण has hataerae, servants, cunuchs para- sites deceitful persons and a ua and is full of coa- rse dress, gesture etc.

Popular story or a story full of $y may be woven in a प्रहसन, having धूर्तेक्तिविवाद. It may have वीथ्यङ्गS. DR (3,55-58): divides it into three kinds as - शुद्ध, विकृत and संकीर्ण. शुद्ध is the same as in NS, विकृत is प्रकीर्ण of NS and संकीर्ण, here, is accepted as a dis- tinct kind as it has वीथ्यङ्गs. रसः sixfold हास्य. KS (P. 324) explains the अविकृतभाषाचार of NS as not being विकृत i. e. असत्य and अश्लील. ND (P. 128) notes that it should have संधि, वृत्ति and act as in भाण. SD. allows संकीर्ण to have two acts. RS says that it should have the following ten elements (which are not the वीथ्यङ्s as given by others) : अवलगित, अवस्कन्द, व्यवहार, विप्रलम्भ, उपपत्ति, भय, अनृत, विभ्रान्ति, गद्गद्वा and प्रलाप. Each one of thesc is defined and illustrated. Examples: BP. सरन्ध्रिका - संकीर्ण, सागरकौमुदी - शुद्ध and कलिकेलि - विकृत, SD कन्दपकेलि - शुद्ध, धूर्तचरित - संकीर्ण and लटकमेलक - संकीर्ण with two acts. RS: आनन्दकेाश. Remarks : NS requires भगवत् etc, in the शुद्ध type: now भगवत् is a very unusual term in ;this connection.

64 TYPES OF SANSKRIT DRAMA

Can it refer to any actual प्रहसन which had a भगवत् as a character, as in waegay, or does it refer to that play itself ? दामकप्रहसन: This is a peculiar piece arranged much after the fashion of धनजयविजय, with which it shares the feature of wholesale borrowings from various writers. The piece itself i. e. the main incident about ar4s, covers only three printed pages. Two more pieces, as short as half a printed page each, are appended to the first one. Last two pieces present no J. In the first piece, M is a genu- ine imitation of a विदूधक as in स्व्रप्नवासवदतम् and others. No one can seriously call this a प्रहसन. Of course, it opens with all the eclat of a nalqar, but the rest is merely reminiscent of the dialogues and monologues in our present-day school-gather- ings. Might not these three pieces have served the same purpose in an assembly of some king, just to divert him ? In that case, this play must have been cnacted, at a time, not very remote from the composition of m4-dramas, for otherwise, many of the humourous hits contained herein, would have been lost upon the audience. As a matter of fact, the aa in this small piece is evoked only by the conscious imitation of the funny expressions seen in the dramas of a and others, and much of it would, certainly, be lost upon an audience which was not well-conversant with those dramas.

If this drama was ever treated as a yaur, it

RŪPAKA 65

must have been in very ancient days indeed, as its technique is simplicity itself. It is completely written in Sanskrit, which may classify it as a Ja type. No extant theorist presupposes such a specimen, and no recent dramatist, after the strong convontions created by these theorists, would cven dream of composing such a piece. Most certainly it is not the 14th drama of H, as Mr. Ramakrsna Kavi suggests: its very nature precludes it from being designated as an independent drama. It is merely a selection of scenes or half-scenes from various dramas for the diversion of soine patron. नाटवाटप्रहसन: This, too, may not be considered as a representative specimen of the 5a7 as detailed by our theorists. It divides itself into two tifes, instead of acts. The incidents narrated in both these are absolutely unconnected with one another, and though one or two characters of the first afa are repeated in the second ufa, the throad of the story is not the same. This feature, it will bo seen, is common to दामकप्रहसन too, and though the present one has better claims for being regarded as a play, its technique is loose and does not conform, at places, to the rules laid down by NS and others. It rescmbles in nature more to the popular dramatical spectacles like रामलीला and भवाइ, for there are certain features present here, which are not seen in any of the extant Sanskrit dramas, nor are they mentioned as admissible by any theorist. For illustration निद्रालकुटर says: "Oh करट,

66 TYPES OF SANSKRIT DRAMA

narrate the guu", even when no aa is present on the stage. But 7a enters on hearing these words of the chieftain. Thus these entrances and exits are so abrupt and at times so unwarranted that they indicate an open-air theatre. In the प्रस्तावना, only the सूत्रधार figures and he carries on his monologue by resorting to aFRTfoa which is remarkable. But why are the incidents in the two ufas unconnected as far as the thread of the story goes ? We have seen this feature to be present in a7R and in seems to be reminiscent of a time when these spectacles were performed just for diversion. Of course, this will be a specimen of the dar type as it is so coarse. लटकमेलक: This is a coarser type of प्रहसन which would therefore be classified as yari according to the rules laid down by NS.

प्रस्तावना in this प्रहसन is, on the whole, regular as it shows all the necessary features - like giving the title and the name of the drama and the au- thor etc., - but it is peculiar in so far as it has TaR alone present on the stage, throughout the HEGEGi. There is one very peculiar feature in these coarser types of EH#. As noted before, entrances of the characters are either abrupt or are annou- nced beforehand, not in the course of the conversation that might precede but by speci- al verses recited in aqez. In this drama there are severil oecasions when this has happened. See pp.

RUPAKA 67

5, 6, etc. On page 7 the following is seen: सभा :- कुलव्याधे, समाहूयतां जन्तुकेतुनामा महावैद्यः । कुल :- (जन्तुकेतुमाहूय) This shows that कुलव्याधि did not actually leave the stage but called aloud keeping his placo on the stage. It should be remembered that the ph- ysician was not supposed to be in any adjoining room, from where he was to be called, but he was to sbe called from his house: such a device for the purpose is both crude and unusual. See also pp. 12, 14, 17, 20, 21. हास्याणव: This too, is a संकीर्ण type: and shows the same features about the entrances of the charact- ers, See pp. 22, 23.

मत्तविलास: This is a specimen of the शुद्ध type and as the nature of the ga type requires, does not show any indecent language or low taste as is the case with the above four seurs. Though the chicf characters in this drama are a arurfase and his wife, the plot is pleasant without being coarse. Of course, it is not as exalted as भगवदज्जुकम्, but genuine mirth is excited by the clever situation created by the author.

भगवद्ज्जुकम् : This प्रहसन scems to represent the शुद्ध type, inspite of its having a nforar as a character. This गणिका, like वसन्ततेना of मृच्छकटिक, is a lady as noble as a goo and seems to be as consistent in her love as her namesake. The whole piece has an exalted air about it. Even in the conver-

68 TYPES OF SANSKRIT DRAMA

sation between the teacher and the pupil, there is nothing that may be termed coarse. It is a masterpiece of simple techniqne and plot-structure. It is easily the best of our प्रहसनs. The गणिका is a lady of accomplishments and refined taste and does not show any lower traits like the common harlots that figure in नाटवाट or लटकमेलक or हास्यारणव. I have noted above that the presence of गणिका in this प्रहसन, may constitute a difficulty in calling it a प्रहसन of the शुद्ध type; but the गणिका as represented here, is a lady of culture and accom- lishments and does not present any traits of a वेशस्त्री as such. Her consistant love for रामिलक raises her to the level of a कुलजा. Moreover, the भगवत् seems to be the chief character in this drama; the for turns up incidentally and provides a suitable incident for the development of the drama. Thus we can call it a शुद्ध type. It has no विकृतभाषा ( in the sense of KS ), the love throughout is ex- alted and the humour is not excited by dull and vulgar catch-phrases but by genuine witticism and in the last portion by the funny situation created by the exchange of souls. Stage-setting suggests the usual classical Sanskrit theatre and not an open-air square as is the case in other nars. Mention in NS that a ga type may have a, aivH etc., has been already noted as peculiar. In this drama the teacher is addressed as aiqa and the title of the drama bears witness to the importance of his character. The word aaa occurs about 40 times in this small piece. May

RŪPAKA 69 it not be that the NS passage in question refers to this play ? That this drama seems to belong to an earlier period is indicated by many traits present therein. 9. भाण NS (XVIII, 151-154) divides T into two types according as the hero describes his own experiences or those of others: but it should be carried on by one character only. There must be speeches in the air, with fitting histrionics. There must be धूर्त, विट and others. Ta in the text would be better emended as 4ai, which is actually the reading in KS (P. 325), which has borrowed these verses bodily from here. 4 DR (3, 53): One expert faz describes vile incidents experienced by himself or by others, by means of speeches in the air, by addressing (an imaginary person) and answering himself. He should suggest and "nn, by describing valour and beauty respectively, mostly resorting to atef style. Act: 1. Plot: imaginary. संधिsः सुख and निर्वहण with their sub-divisions. Ten sorts of oenas are in place. KS (P. 325) remarks that this type is mostly for the diversion of the ordinary people (gurr.). 212374wA ND (P. 127) adds that it is popular: it should have शद्गार predominent; also वीर and हास्य may receive subordinate treatment. It should have only one act, for the action must last only

70 TYPES OF SANSKRIT DRAMA

for one day. There should be वाचिकाभिनय only, not सात्विक or आङ्ञिक. Here, some want imaginary story and बिट to be a hero. BP (P. 244) mentions the view of काहल and others about UT which differs from the above in only one point that it should have uatr only (ETar- रैकरसाश्रयम्.) This is also the opinion of भोज. Examples: RS: शृनारमज्री is the chief illust- ration as it exhibits all the ten areias. SD. लीलाम वुकर. Remarks पद्मप्राभृतकम् : The स्थापना is peculiar. In it the aT recites five consecutive verses without even one line in prose. The frist verse being a benedictive stanza has the character of the usual R. Other four stanzas describe the vernal season. Even at the end of the fifth verse there is no indication of any character entering. Throughout the स्थापना only the सूत्रधार is on the stage; and no other character like mfq is introduced to carry on the dialogue about the usual matters of the name of the drama etc., nor does the H9nT himself supply the information. It treats of TIR only, having no suggestion of वीर or हास्य. Though the faz indulges in smart conversation with different hataerae, most portion is taken up by him in talking to his friends whom he meets and who are in one or the other way connected with the various hataerae.

RŪPAKA 71

There are only two wifas and one act. It has no amaa nor a stanza which can take the place of one. धूर्तंविटसंवाद: It has no नान्दी verse, or one which can take its place, as a benedictory verse. Rn4a is direct, short and to the point. Only the ETaR enters who in his speech addresses his wife as ana even when she is not on the stage, and urges her to sing in praise of monsoon. Then he himself sings one verse describing monsoon but no af enters and no verse is put in her mouth. This is rather queer. It may be that TaR is su- pposed to resort to आकाशभापित, though there is no response like 'किं व्रवीषि'. There is NFR only. विट, here, goes to the वेशवाट, but talks to only one or two hataerae and then discusses certain principles regarding the conduct of वेश्याs and such other allied subjects, all of which seems to be a faithful illustration of उक्तिप्रत्युक्ति, for all the while the two friends are strolling in the गोष्ठीशाला and discussing these subjects. There is almost no dramatic technique. As a matter of fact there is no plot. One cannot distinguish between a and निर्वहण. It is merely an incident that happens to a faz, who feeling anxious, moves out and going into the aRTaTE without any set purpose, begins to discuss the subjects with his friend who happens so meet him. It is very peculiar. उभयाभिसारिका: it has शद्वार only. It is much simpler in technique than the later ars and yet

72 TYPES OF SANSKRIT DRAMA

forms a model for the later oncs, as it describes a faz starting out to bring about a union between two lovers who had been separatod due to some misunderstanding. On the way, he comes across six hataerae and converses with them in his clever manner. पादताडितकम्: It treats of शुद्गार only. शद्भारभूषण, रससदन, शृङ्गारतिलक, शङ्गारसर्वस्व and मुकुन्दानन्द are all alike in nature and reveal the set type, showing two afas, one act, predominence of IFR, suggestion of Heroic and most of the Tas. मुकुन्दानन्द is called a मिश्रभाण in its प्रस्तावना but no such division of wT is known to our extant theory. What is it ? Does it rofer to the mixture of Sanskrit and Prakrit? It is there. Also see further under भाण-उपरूपक, कर्पूरचरित has only Heroic and resembles चतुर्भाणी in technique.

It will be seen that the only fundamental difference between the earlier and later theorists is about tas, earlier exponents (like Kohala and others) requiring F only and the Jater writers allowing Heroic, too. This must actually refer to general development of this type of drama, and the fact that all the four भाणs published in चतुर्भाणी show aT only and no suggestion of Heroic at any stage, may go to prove their priority to DR and other later works. 10 वीथी Def. DR (avaloka) .... because it is like a

RŪPAKA 73

arf. i. e. a street or a series of sub-divisions. ND वक्त्रोक्तिमा्गेण गमनादू वीथीव वीथी. (P. 132). NS (XVIII, 155- 166): Act: 1. It should have one or two actors only. It should have the 13 वीथ्यङ्कs. DR (3, 62): वृत्ति: कैशिकी, संधि and अङ्ञ as in भाण. T#: WaR to be suggested and others may be touched. It should have one or two characters. KS (P. 325) interprets the एकहार्य and द्विहार्य of NS as having one or two actors and notes that in the case of one actor, speeches may be carried on by questions and answers. ND (P. 132): All heroes, all रसs. संधि: मुख and निर्वहण. It, at this stage, quotes काहल's definition of वीथी: उत्तमाधममध्याभियुक्ता प्रकृतिभिस्निधा। एकहार्या द्विहार्या वा सा वीधीति (त्यभि) संज्ञिता ।। Thus कहल allows all sorts of heroes here. शंकुक, it is here pointed out, does not desire a heroes in वीधी and reserves them for प्रकरण, भाण etc. BP (P. 251) first lays down that वीध्यज्षs as well as areras are proper here and then notes that कोहल allows option about लास्याङ्s, while मोज positively prescribes them on account of QFR being the prominent रस. RS: Heroine: सामान्या or परकीया but कुलजा is not proper. Examples: BP: बकुलवीथी, इन्दुलेखा etc. SD: मालविका. RS: माघववीथिका.

CHAPTER IV EVOLUTION OF RŪPAKAS

CHAPTER IV EVOLUTION OF RŪPAKAS

I have already suggested that नाटक and प्रकरण are the two types of full-fledged drama, into which all the other types gradually developed. It is, now, easier for us to consider this suggestion. The details of the various individual types of syrs that we have gathered here from different sources, give us a fairly definite idea about the nature of each one of these. From a comparative study of these details, it follows that there runs a common thread between all these types, showing their inter-connections. Let us dwell upon this a little. The first and foremost criterion in this rega- rd, is the number of acts'. It will be seen that there are five types which may be designated as

1. Compare the following view expressed by Prof, K. H. Dhruva, in his Introduction to the Gujarati translation of TENH: (P. 22ff.) " In the gradual erolution of dramis, one-act drama is the original type. Ancient sages, being free from the daily programme of their rituals, resorted to it as an innocent moans of diversion ...... ... This drama of the 8th century B. C., was a one-act drama and was entirely composed in Sanskrit ....... At this age (i. e. at a later age whon the one-act drama had evolved into a form having many acts) certain professional actors would perform their dramas before the Ha's of the town; but for household purposes one-aot play was always wel- come. The short interval of dusk being fixed for such performances, lengthy dramas with many acts had no scope for their domestio life."

78 TYPES OF SANSKRIT DRAMA

ono-act dramas; and it is easily understood that one-act dramas, being simple in structure, are the most primitive types of dramatic forms, from which other complicated types must have evolved. 2UT वीथी, अङ्क, प्रहसन and व्यायोग should have, according to the unanimous sanction of all the theorists, only one act. Let us distinguish between these and find out if there are any threads, suggestive of a serial evolution or mutual connection. Out of these five varieties, HT is at once, distinct by its having only one actor. All other forms presuppose dialogue, while T is essentially based on monolo- gue and to obriate the difficult of its being rende- red monotonous by having no fosrgf, the ingen- ious method of आकाशभाषित is adopted. This makes the performance lively and audience interested. Thus, this essentially monologous form combines the elements of dialogue into its very structure, without which it would be reduced to the state of & नृत्यप्रकार. This monologous nature of भाण, combined with the fact that it was allowed only one act, shows its primitive nature. ateft is a mere variant of HT with which it has many features in common. Both have one act. भाण has erotic रस, so has वीथी. FS are allowed in both the cases. IT was par erecllence a hataerae drama. There are indi- cations that arf, too, had such a nature. RS all- ows for वीथी, सामान्या or परकीया heroine, but no कुलजा. So too, काइल allowed all heroes even अधम, though शंकुक does not want an अधम hero. This may sugg- est that atft, as it distinguished itself from r,

EVOLUTION OF RŪPAKAS 79

assumed a nobler role, discarding the coarser nat- ure of . Another point in which areft differed from T, as it developed, is the fact that theory allows in it, one or two characters. KS well points out that in the case of its having one cha- racter, speeches in the air may be resorted to, and in the case of two characters, the story may be carried on by questions-and-answers. Thus the nature of ateft, as described in our extant dra- maturgical works is transparent enough to show how it has developed from a type like HTT. Take out two characters and aoufa heroes and you have UT and add to T these two features and you have वीथी. Then the art takes a step further. People became familiar with forms of drama, having more characters than one. Artists could see that this gave richness and varicty to the drama, and they soon adopted this feature. It was at such a time that भाण gave rise to प्रहसन and वीथी to अङ्क. The coarser side of UT, stressing the humour- ous side of the plot and subordinating uan, gave rise to प्रहसन2 while वीथी, stressing the tragic side

2. प्रहसनs have been distinguished as शुद्ध and संकीष, and though, in the main, they conform to the rules of our dramaturgy, the extant #iafd types present some intrinsic features which are never soen in other oxtant dramas or in our theory. We have already noted that the aa type shows a queer peouliarity about the entrances of the characters. It seems that a character entered in three different manners. Sometimes, a character, before it actually entered the stage, was announced in one or

80 TYPES OF SANSKRIT DRAMA

of life created arg3. These changed their fars as it suited their subject-matter. rar differed from these types only in one point that it should have fight etc., in the plot. It must be noted that अङ्क, प्रहसन, and व्यायोग can have any number of characters and this fea- ture being a definite advance on HIT and afeft, prepared the ground for further development of the drama. With many actors to play the role of various characters in a plot, it was easy to extend the action from one act to many acts. Thus

two verses. Sometimes, without any indication in the conversation between characters already present on the stage, a character 'would be introduced by the stage -- direction - ufeu - inspite of thore being no haste or emergency for such a procedure. Sometimes, again, a character already present on the stage would call aloud anothe. character who is not supposed to ba in tha vicinity, as in aendan. All these three ways are unusual. They presuppose an open - air theatre such as a temple court - yard, without almost any stige- setting. Such a feature of entrances is actnally present to-day in our popular rustic spectacles like aaT in Gujarat. It, therefore, to my mind, refers to a lower development of the dramatic technique. This trait, combined with the fact that this type of naua, caters for the coarser taste of the low-class people, may suggest that this aaid type may have been earlier to evolve than the JE type. 3. It will be seen that the period of one-act dramas had no need of a word for 'act'. s, at that time, designated & particular type of drama, but later on when this type n fell into disuse and when complicated dramas developed, it came to mean an act.

EVOLUTION OF RUPAKAS 81

arose more types, showing a plot extending over many days and involving many characters, thus necessitating more acts. डिम, ईहामृग and समवकार arose at such a period, far is a direct development of व्यायोग. NS has a general note that whatever heroes, वृत्तिs and रसs are in व्यायोग, they should be present in ईहामृग too, only that here the union with the heroine should be effectod. Thus इहामग with its four acts, is an elaboration of व्यायेग4, which has only one act. Of course there is some distinction in plot betwcen these two. डिम too, is a variant cf व्यायोग. Both डिम and ईहामृग should have haughty vws. Heroes are many in व्यायोग. व्यायोग represents scenes of mild fights, while fe has terrible fights and disorders of eve- ry sort. समबकार also is akin to व्वायोग and डिम. It culminates in haughty aus, having cyclonic distur- bances etc., but it also shews the relieving fcature in the form of शुद्ाररस wheh sheila iorm a threrl of the plot. Elaborate instruct ons about plot-arr- angement (c. g. three dinerent threads in three sections vielding in all nine threads) show that out of these eight varietics, this form of drama- समवकार - was tho most complicated one. समवकार with 12 heroes, 3 कपटड, 3 विदवs, 3 शज्वारs, and with its duration of 18 नाडिकाs, had reached a point of development which soon led to the standard types - नाटक and प्रकरण. It may be argued that sau7 may have beon

4. That KS, and SD allow ovon ono aot to Sergn cloarly shows its nearnoss to न्यायोग.

82 TYPES OF SANSKRIT DRAMA

the first type to evolve and or might have been developed from it by the process of condensation; for both these types show the following features:

भाण प्रहसन (1) one actor (1) many actors (2) आकाशभणित (2) no अकाशभणित (3) one act (3) two acts.

Thus either nanr may be taken as an elabo- ration of the original or or HT may be taken as a condensation of nan7. For, natural growth takes place both ways (1) towards a greater simplicity by analysis or (2) towards a greater complexity by synthesis i. e. by additions, reduplications, joining various threads etc. But it is enough to point out that condensa- tion of many actors into one is neither more artistic nor more convenient nor more natural: and r by this featurc alone is fully entitled to be taken as the first type to evolve. It is, how- ever, possible that two distinct kinds of spectacles one embodying monologue and the other dialogue might havo run parallel in the course of evolution, monologue having stopped at Ho and arft, while the dialogue developed into the higher types. But against this militate the number of acts, low theme of the subject-matter etc., in a प्रहसन. ऋग्वेद shows both monologue and dialogue, but from the dramatical development as seen in our dramaturgical books, it is safer to presume that while both these forms of representation

EVOLUTION OF RUPAKAS 83

were known to the society, monologous form was the first to be resorted to as a regular dramatic form, from which other forms developed as shown above. At any rate, I suggest that we take H1OT as our first dramatic evolute as a working basis and at the end of this volume, we shall see how this working basis stands. It is at least clear that नाटक and प्रकरण presuppose these types and must have developed from them. ईहामृग and डिम stop at four acts. नाटक and STT with more elaborate setting, would require more acts and are allowed five to ten acts. Explicit instructions that a Aau should have no Ff hero, no divine element, no kingly grandeur, but should have all the arasas, having दास, विट, also more of वेशस्त्री and less of कुरुस्त्री, show that this type preserves the coarser and more popular side of life, as represented in , ctc. Of course, as it was a full-fledged type, ha- ving the sanction of critics, and theorists, it had an alternative of having 5a5 as a heroine and a aT etc., as a hero. But the very sanction :hat it can have a HAFT as a heroine, and the clear mention in NS that it must have more of aTat, leave no doubt whatsocver about its coarser nature. TEF, on the other hand, was the literary drama par excellence. It combined and sublimated the elements seen in व्यायोग, अङ्क, डिम, ईहामृग and समवकार and yet alled an individuality of its own. It can have करुण, शद्गार or वीर as a predominnt रम. Its plot muat be renowned, which would mak. the

84 TYPES OF SANSKRIT DRAMA

hero a noble character. NS notes that it may depict the life-incidents of a king or it may have a divine hero and it should have grandeur, luxury and prosperity of every kind. DR goes further into details and requires the hero to be full of no- ble qualities, noble and calm, powerful, desirous of fame, highly energetic, preserver of aas, and of a famous descent. All this shows that Ias was the drama of the upper classes of the society, that it was the ideal perfection to which this class of literary and artistic presentation could attain, that it was amongst plays what a aoy was amongst poems. Thus a common thread runs through all these types and a serial evolution of a and aur from the earlier types is indicated. But if this thesis is correct, the statement-नाटकप्रकरणोद्दवासु etc., - seen in ay would directly militate against it; for it clearly states that other types have sprung from ares and yau. But this should not hamper us. Indian mind has always been slow to recog- nise historical evolution and when once e and yaT became fixed types of full-fledged dramas, it became quite natural for an ordinary reviewer to suppose that the lesser types had sprung from them. That rs was accopted as the drama proper is seen in its treatment in all the text-books of Sanskrit Dramaturgy. They invariably start with e, describe all the details necessary for a FEs and then merely give the points of distinctions in which other types differ froin it: other points

EVOLUTION OF RŪPAKAS 85

remaining common. This practice of treating re as the drama proper and other types as its variants, is as old as NS. It would be seen that the theorists, for the sake of brevity and conveni- ence, would resort to such a method: it would be far more convenient to describe the full-fledged type first and then to note down the differences in the case of other types, than the other way. This practice, adopted by all, would lend colour to the belief that the other types had sprung from F1F. This would thus explain the reference in भगवदज्जुकाम्.

Moreover, as the fully fledged types of 2 and sau came to be fully graspod and gained in popularity, new dramatists would attempt to compose more and more plays of these types, the composition of new plays of the lower types would cease to be attractive, the older ones (of the lower types) already there in the !literature would also gradually lose in popularity and only the best or the most widely known amongst them would be preserved. This will explain the fact that we do not get very early specimens of one- act plays, which I have assumed to be the earliest bases of the later developed types. Thus it is that we do not possess earlier specimens of भाण, प्रहसन, वीथी etc. Of course, we can never be positive in the matter, for we know too little of the plays of the lower types that might have once existed. And yet there is some evidence to show

86 TYPES OF SANSKRIT DRAMA

a wider prevalencc of these one-act plays in the earlier days. In Appendix I, I have given a list of the dramas as quoted by our extant dramatur- gical works. But even here there is a handicap. The dramaturgical texts from which we get these data, date from the 10th century downwards, for, the earliest amongst these are DR and Abh. However these lists will give some idea of the extent to which these different types had developed.

Moreover we have seen that in earlier times the common term for drama was नाट्य and when नाट्य was separating itself from the -type, no new terminology must have been created all at once. We shall see further that most of the eight types of रूपक (and even प्रकरण) are traceablc to some vulgar T or T type: and as these types went on . transforming themselves into Hra types, the new types were also designated by the older terms (cf. "T and its variants):5 and it was only after the नाट्थ types had fully developed into प्रकरण and नाटक that an attempt to give them a dramatic termino- logy must have been made. Till then, all that was dramatic was eitber नाट्य or नाटक, प्रकरण, too,

5. Out of the terms designating the five one-act plays, at least three- बीथी, प्रह्सन and माण most probably, existed earlier than the time of the evolution of our first drama- tic type. HIW as a form of mere TH is known to SR. प्रहसन and बीरथा as नाटयांगs are known to NS. This means that the sense of these terme have changed, elementary idea denoted by the terms remaining as the predominent feature of the later dramatic types designated by them.

EVOLUTION OF RUPAKAS 87

seems to have been used in a generic sense. Later on, they saw the fullfledged type of r2s and relegated all other types to the subordinate class. This seems to be the reason of the rather loose terminology about the types of drama in earlier times.6

6. One point of distinction may be noted with regard to these types. Just as there were different THs prescribed for different types, so also the subject-inatter varied according to the different types. An analysis shows that out of the five one-act dramas भय, प्रहसन and वीथी should have imaginary plots and de should have renowned plot; but it is allowed an imiginry one on occasions. arT has renowned plot. ईशामृग, समदका and डिम which are the developments of न्यायाग, he renowned plots. This

may suggest that our drama was sacular and resorted to myths, history and divine logends as it devcloped: but of this later. That differant TEs were prescrired for different types will be seen from the following also: (Abh II, P. 450-I) :-

इदमिह मीमांस्यं-य एते उत्सष्टिकादयो रूपकभेदाः ते तावदेकरसा एव, यद्यपि नाटकादयेोऽप्येवमेव। तथाहि सर्वरसयोग्यनायामपि नाटके प्रकरणे च धर्मार्थादिवीर एव प्रधानं परमार्थतः सर्वेयु नायकभेदैपु वीरत्वानुगम- दर्शनात । समवंकारे तु यद्यपि हि शद्वारादित्वभुक्ततं तथापि वीर एव प्रधानं रौद्रो वा, डिमव्यायोगयोरप्येवम्। ईहामृगेऽपि रौद्रप्राधान्यमेव, नाटिकार्यां तु शरङ्गार एव प्रधानम्। एवं तावद् वीररोद्रश्द्वारा यथास्वं [किं] पुमर्थलयप्राणभूतत्वेन वर्तमाना एतेगु प्रयोगेपु शान्तबीभत्सरमौ तु

88 TYPES OF SANSKRIT DRAMA

चरमपुमर्थयोगात्तत च सर्वस्य नाधिकारोऽपि कस्यचिदपश्चिमजन्मनेIS- धिकारान्नाटके यद्यपि तत्फलप्रधानतया प्राधान्यमवलम्बेयातां तथापि नासौ प्रचुरप्रयोग इत्ति तयो: पुरुषार्थप्रवरप्राणितयोरपि वीरादिरसान्तराध्या- वा पेनावस्थापनम्। एवं तावत्पुमर्थविषयो रूपकरसविषय एव परमार्थ:, तथापि त्वितिवृत्तवैतत्याद्रसान्तरप्रयोगोऽपि तदङ्गतया तत्र भवति। एवं तत्प्रधानचेष्टायोगाद्वृत्तिवैचित्र्यमतोचितमेव । उत्सष्टिकाङ्कप्रहसनभाणास्तु करुणहास्यविस्मयप्रधानत्वाद् रजकरसप्रधानाः, तत एवात स्त्रीबालमूर्खा- दिरघिकारी।

CHAPTER V DERIV ATIVE TYPES

CHAPTER V DERIVATIVE TYPES

I consider the following types as derivative types i.e. types that are later than and derived from the full-fledged नाटक and प्रकरण. There is some evidence to corroborate this view and I shall consider the same at the end of this section. Let us first see the traits of these types as recognised in theory. 1 नाटी or नाटिका NS (XVIII, 106-168): A mixture of the plot of नाटक and प्रकरण causes what is called नाटी. It must have many females, four acts, graceful hist- rionics well-arranged as, profuse song, dance and music and erotic enjoyment. A king may act there: it should represent anger, conciliation and दम्भ. It must have नायक, देवी and परिजनs. Abh. (NS G. O. S. vol II P. 435ff.) By well-arranged अङ्गs अभिनव understands the अङ्s of कैशिकी. अभिनव has some discussion about the heroine in नाटिका. According to him रतिसम्मोगादि would refer to the younger heroine and कोधप्रसादनदम्भादि wou- ld refer to the देवी. Following will be found useful: (P. 435-36) ननु यस्या: करोधे। भवति सा न काचिदुक्तेत्याशंक्याह नायकेति। नायकस्य येयं देव्याद्या नायिका तथाभिलषितनायिकान्तरविषये दूतीकृतं सपरिजनं परिजन- समृद्धिर्यस्यां। एतदुभयप्रधानं सर्वे तत्रेत्यर्थः। तत्रका नायिका तावद्वयारव्यातां भवति। षदपदेयं नाटिकेति संग्रहानुसारिणो भट्टलोल्लटाघाः। श्रीशंकुक- स्त्वयुक्तमेतदित्यभिधायाष्टधेति व्याचष्टे। तथा हि देवी कन्या च ख्याताख्या-

92 DRAMA OF SANSKRIT TYPES

ताभेदेन चतुर्धा, कन्या त्वन्तःपुरसङ्गीतकभेदेन द्विधेति। घण्टकादयस्तु आहु :- नाय को नृपतिरित्येतावन्मात्रं नाटकादावुपजीवितः न तु प्रख्यातत्व्रमपि तद्मेद- द्वयादन्येऽष्टाविति षोडशभेदा इति। नायको नृपतिरिति ये प्रथमा पठन्ति तैर्यत्रेत्यध्याहृत्यैकवाक्यतायां तूभयस्य कार्यम्। अन्ये प्रथममार्यार्ध पृथगेव च वाक्यं योजयन्ति प्रकरणभेदातप्रकरणलक्षणांशान् उत्पाद्य वस्तु नाटकलक्षणांशाच्च नृपतिर्नायकः स्थिते यत्रेत्यभिप्राये नाटिकैवंभूतेति। DR (3, 46 52): Plot should be taken from TTor and hero a king, from नाटक. 3, 48 suggests that it may have even 1, 2, 3 or 4 acts. देवी should be the elder queen, born of a king, serene and मानिनी; while the heroine should be मुग्धा, दिव्या and very beautiful. Heroine may remain in the vici- nity of the king, by her connection with the har- em, while the hero may remain apprehunsive thr- ough the fear of the queen. It sholud have the four elements of कैशिकी in respect of the four acts. ND (P. 120-122): Out of the two heroines, queen and the 1, each one or both may be ren- owned or otherwise, thus yielding four types of नाटिका. It is noted here that the plot in a नाटिका is sparse. BP (P. 243): Hero should be renowned and धीरललित. रस: erotic, वृति: कैशिकी. संधि: except अवमश. It should have no विट, but विदूषक may figure there. Examples: BP: प्रियदर्शिका. SD: विद्धशालभजिका. RS: मालविकाग्निमित्र. 2. प्रकरणी or प्रकरणिका ND (P. 122) recognises this type calling it a variation of नाटिका wherein the hero should be taken

DERIVATIVE TYPES 93

from yao and the heroine should belong to the hero's class. It is noted that नाटिका and प्रकरणिका both concern themselves with erotic enjoyments, but while the former treats of the royal love, the la- tter depicts the love of merchants eto.

SD follows ND

MMC notes this but has nothing special. 3. ताटक or त्रोटक BP (P. 238, 4-14): This is a variety of नाटक. According to हर्ष, नाटक with a contact between divi- ne and human elements and with acts void of विदूषक, becomes ताटक. But others do not accept this view. According to these others, it may have 9, 8, 7, or 5 acts and a mixture of divine and human.

SD (VI. 273) adds that it must have विदूषक in each act. Examples: BP: मेनकानहुष-9 acts; मदळेखा 8-acts; स्तम्भि- तरम्भकम्-7 acts. (both these are void of विदूषक); विक्रमेवशीयम्-5 acts.

4. सट्टक BP (P. 269): It is a variety of नाटक based on नृत्य. वृत्ति: कैशिकी and भारती. रसः no terrible रस. No संधि. It should be full of शौरसेनी, महाराष्ट्री. According to some the king should not speak in Prakrit, others prescribe मागधी or शौरसेनी for him. It should have, in place of ergs, four parts with curtain being dropped on account of the impossibility of छादन, स्खलन, भ्रान्ति etc.

34 TYPES OF SANSKRIT DRAMA

ND (P. 213) notes that it should have only one language, not a mixture of Sanskrit and Pra- krit. It should not have विष्कम्भक or प्रवेशक. SD (VI, 276): It should have Prakrit only and mostly अद्भुत रस. अङ्कब should be called जवनिकाS. N. B. BP calls it नृत्यभेदात्मक and thus treats it as a मृत्यप्रकार.

Remarks That नाटिका and प्रकरणिका should be taken as the derivative types is self-evident from their very names. Both are derivative names. Moreover, though नाटिका, known to NS as नाटी, seems to have been recognised rather early, its dependence on e, is clear from its plot. auf seems to have enjoy- ed quite a temporary existance, there being found almost no example of the type. And the very fact that it has been recognised by such a late work as ND and by no other earlier work, goes to prove that it was a futile attempt on the part of the later theorists to create a new type, perbaps on the analogy of नाटिका. तोटक, as it is recognised by हष, is rather early and yet its derivative character is clear, As a matter of fact there is very little distinguishing element about it. HF, on the other hand, may not have been a derivative type, inspite of BP's mention that it is a variety of नाटक. BP itself, later on calls it a नृत्यत्रकार. It must have been a popular spectacle, as its loose technique shows. That there were no regular acts

DERIVATIVE TYPES 95

but a drop-curtain was required, shows an irregu- lar and therefore unsettled nature of this type. As a matter of fact, drop-curtain, in earlier San- skrit Literature, is not suggested anywhere. Mo- reover, the very name of the type is Prakrit and the preponderence of Prakrit languages indicates a popular and perhaps a more primitive type than aifea. The differences of opinion with regard to the language to be used in this type are themse- lves enough to prove its unsettled character.

IRREGULAR TYPES

Keith in his Sanskrit Drama enumerates some types of Drama, which he calls irregu- lar. Type represented by the a is distinct and is fully discussed by Keith and De. Allegori- cal dramas like प्रबोधचन्द्रोदय and others form another group and though they have existed from early times, theory has not recognised them separately. For all these the student is referred, to Keith's book. There are, however, one or two points wh- ich I shall like to touch upon here. Was there a dramatic type called 3H57? Compare the following verse seen in the description of the preface of a drama named नवग्रहचरितम् by घनश्याम in the Descriptive Cat. of San. Mss. Tanjore, vol. VIII, P. 3693.

प्रहसनडम रूकनाटकसटटक काव्यद्विमजरीभाणान्। देवीताटंकलिपिं कृतवान्यध्ान्यमिष्टशतचम्पूम् ॥ This verse places डमरूक, with प्रहसन and others.

96 TYPES OF SANSKRIT DRAMA

There is however a Ms. of a drama callod डमरूक by घनश्याम described in the Descriptive Cat. of the San. Mss, in the Govt Oriental Library, Madras, Vol XXI-kavyas, No. 12519, which seems to be a type distinct from all other types hitherto known. It is described therein as a peculiar dramatic work. Instead of acts it has ten ssars into which it is divided. They are named as: राजानुरजन, कलिदूपण, सुकविसंजीवन, कुकविसतापन, अबोधाकर, शान्दिकभज्न, पग्डितसर्वस्व, जातिस तर्जन प्रभुवर्णन, अखण्डानन्द. But as far as this particular work is concerned it is needless to suppose that it was actually recognised as a particular type in theory. It seems to have been an attempt on the part of FT to create a new type without any backing of theory. That H possessed this love of experimentation is seen from another of his work नवग्रहचरित which too has been described as a dramatic type. There is also one other drama which seems to have been irregular. A drama named ययातिदेवयानीचरित by an unknown author is described in the same Cat. of Madras, Vol XXI. It is not divided into acts etc. There is no regular enTqaT, and yet in what appears like a प्रस्तापना, वेत्रधार, instead of a सूत्रधार enters. Thore is a भरतवाक्य also. But these seem to be stray efforts by indivi- dual writers at innovations. They are, however, not recognised in theory, as all these poets are very late in date.

CHAPTER VI NRTYA-TYPES (Uparūpakas)

CHAPTER VI NRTYA-TYPES (UPARUPAKAS)

Species of Nrtya-Type-general

NS does not mention any 3eys but treats of नाटी which is the same as नाटिका of the later theorists, and we have seen that it is a derivative type. But Keith says (Sanskrit Drama, P. 349) : "Needless to say, though omitted in the aa quotations are found ascribing to Bharata the doctrine, though he mentions in them but fifteen with several variations of name". He, in this connection refers to Hall, DR P. 6. It is true that some terms, which in later works, did designate certain Tyeyas are seen in NS; but this mention of them is very incidental and often vague, afford- ing us no clue as to their real nature. AP (अध्याय 328) enumerates the following seventeen varieties, without calling them y595s and without defining or discussing them: तोटक, नाटिका, सट्टक, शिल्पक, कर्ण, दुर्मल्लिका, प्रस्थान, भाणिका, भाणी, गोष्टी, हल्लीशक, काव्य, श्रीगदितम्, नाट्यरासक, रासक, उल्लोप्यक and प्रेक्षण. DR (avaloka) mentions the following seven incidentally: the following verse which is quoted in this connection may have been an old verse: डोम्बी श्रीगदित भाणो भाणीप्रस्थानरासका: । काव्यं च सप्त नृत्यस्य भेदा : स्युस्तेऽपि भाणवत् ॥

100 TYPES OF SANSKRIT DRAMA

Abh, incidentally, mentions the following nine (P. 183): डाम्बिका, भाण:, प्रस्थानम्, षिद्गक: भाणिका, प्ररेणम्, रामाक्रीडम्, हल्ीशकम्, and रासकम्. Abh does not call them by the name 44 and it seems that he did not take them as such. The point is discussed further on by us. DR, PR, RS and MMC do not note 3ueyas as such. KS adds श्रीगदित and गोष्टी to the list of Abh. SP mentions fourteen and defines them but all these are treated by BP.

BP (P. 255) has these twenty : तोटक, नाटिका, गोष्ठी, सल्ाप, शिल्पक, डाम्बी, श्रीगदितम्, भाणी, प्रस्थान, काव्य, प्रक्षणक, सटकम्, नाट्यरासकम्, लासक (रासक), उल्लोप्यक, हलीश, दुमन्निका, मल्लिका, कल्पवल्ली, पारिजातक.

But on P. 256 ff., are defined these types individually where HE% is omitted (it is later treated as an additional variety) and TOT is added, and भाणी of the above list, is included under भाणिका. Further on at P. 265-66 under the heading रासकम् it has twelve verses which describe the following types, almost in identical wordings as Abh : प्रस्थान, verses 1-2 and 7; काव्य 3-4; डाम्बिका 5; भाण 6; शिल्पक 8; भाणिका 9; रामाक्रीड 10; and रासक 11-12. ND (P. 213) has fourteen: सट्क, श्रीगदितम्, दुर्मीलिता, प्रस्थान, गाष्ठी, हल्लीशक, नर्तनक, प्रेक्षणक, रासक, नाट्यरासक, काव्य, भाण or भाणक, भाणिका.

NRTYA-TYPES (UPARŪPAKAS) 101

SD has eighteen :

नाटिका, त्रोटक, गोष्ठी, सटक, नाव्यरासक प्रस्थानक, उल्लाप्य, काव्य, प्रेक्षणकम् , रासकम्, सल्लापकम्, श्रीगदितम्, शिल्पकम्, विलासिका or विनायिका (according to others it is included under दुर्मल्लिका, so विश्वनाथ notes), दुर्मल्लिका, प्रकरणिका, हल्ीश and भाणिका. Remarks 1. The above will show that the lengthiest list is given in BP. But on an analysis of all the views, we get some more types recognised at one time or the other. कर्ण (AP), दुर्मीलिता (ND), which, however, may be the same as gifam of BP, नर्तनक (ND), विलासिका (SD), षिद्गक, रामाक्रीड and प्रेरण (Abh) are the additional varietics. This will bring the numbar to 20+5= 25. Moreover, प्रकरणिका which has been taken as an 3veys by SD, is taken by others as an offshoot of प्रकरण. So also, नाटिका and तेटक may be taken as the derivative types, as sugge- sted by us. 2. The peculiar situation, given rise to by the non-mention in Bharata of the 3T4Fs, has been thus explained away by Mr. K. S. Ramaswa- mni Sastri in his Introduction to BP(p. 51): "From what has boen said before and from certain statements contained in the presont arane it scems to be probable that काहल and hi follow- ers who made the नाय्यवेद easily accessible to the dramatists by their works, had invented the 396748 whose number differs with cach authority. ai's definition of साटक, one of the उपरूपक qnoted hy

102 TYPES OF SANSKRIT DRAMA

RGIaa is another proof of the existence of the उपरूपकs before the time of हर्ष. The commentary of अभिनवगुप्त also on the last portion of the 4th Ch- apter of the नाटग्रशास where some references from काहल to the उपरूपकs are made, supports' the contention that काहल may be the inventor of these उपरूपकs. हेमचन्द्र and 7 support the same view in their works."

It will be my purpose to show later on that the syFyas, as known to SD, represent a gradual growth which can be traced even to-day and that therefore no one person can be called the inven- tor of these types. It should be remembered that नाटय was considered distinct from नृत्य and that our रूपकs were based on नाटय, while the उपरूपकs were ba- sed on . As NS had no occasion to discuss and define the types based on i naturally we do not find any such statement therein. So, too, DR and Abh had no occasion to speak of them. Tt is true that हेमचन्द in the 12th century counts but 11 464s, while BP has as many as twenty. But it would be wrong to argue from this that these nine additional varieties came into existence in the period between KS and BP. There are indi- cations in BP itself that शागदातनय followed earlier

1. I do not know on what grounds Mr. Sastri makes this statement. It is true that Abh mentions some 34045ig and we have duly noted them. But nowhere does Abh note that he was quoting the verses in question from nga. It is, however, possible that Abh quoted these verses from some older source, but there is no indication whatsoever to know that source dofinitely.

NRTYA-TYPES (UPARUPAKAS) 103

works and traditions and it should be remembered that AP knew seventeen varieties of so called 3464ms. It seems highly plausible that rhythmic dance while it was incorporating the histrionic art in it, was, at the same time, gradually deve- loping these 39647s: and it may be that $s had for the first time arranged and defined them. And, all the evidence cited by Mr. Sastri goes to connect कोहल's name with the rise of the ऊपरूपकड but not with their invention. KS (P. 325) after treating the $47s twelve in number, has a general note to the effect that 'and others' in the fe refers to ares and others, which have been defined by ar and others. As against this KS i self has a note at the end of that section that the details about the गेयरूपकs or उपरूपकs should be learnt from ब्रह्मभरत etc. ब्रह्मभरतकेालाहलादिशास्रभ्याऽवगन्तव्य :- which elear- ly shows that KS connected ma's name with these types.

3. Here I should point out that these vari- eties known to the different writers, though bear- ing the same names, had not been simultaneously and uniformly developed. Thus the varieties known to Abh, for instance, were very primitive when compared to the same varieties as described by BP and SD: and it will be wrong to designate all of these as aueuas. But as I hope to clear this point later on, I shall not enter into details just now. 4. The word JV4F should naturally have

104 TYPES OF SANSKRIT DRAMA

come into vogue, after the acceptance of the word 54 by the dramaturgists. We have seen that though &y is seen in NS, aus seems to have come into general prevalence only after DR. The word 3yays is still later. The types usually considered as उपरूपकs were earlier known as नृत्यभेदs only. DR, does not know the word 34647. So also KS, ND, and BP, do not know it. Both KS and ND use the word s4% for these additional varieties, KS calling them haouas and ND describing them by अन्यानि रूपकाणि. It is in SD that we meet with a defi- nite usage of the word 3y64s. ND closes with this remark: एतानि च स्वल्पमात्ररज्जनानिमित्तत्वाद्व द्वैरनभिहितत्वान्व वृत्तावेव कीर्तितानि। This means that they were still in the process of being recognised as dramatic types, for as the types of they were recognised earlier. Out of the seven forms defined by Abh, some are found in the list of these earrs as given by BP and others: But Abh did not consider them as cyoqas. They are more like mere dances. Abh has a note,

एवे प्रबन्धा वृत्तात्मकाः न नाय्यात्मका नाटकादिविलक्षणाः । which shows that they had no element of drama and that they were based on I (of the 2nd variety as shown before), which according to later tradition would refer to T.

NRTYA-TYPES (UPARŪPAKAS) 105 Species of Nrtya-types-individual

1. भाण

Abh (P. 183): In this नर्तकी gives the descrip- tion of नृसिंह, सुकर etc., with terrible movements of limbs ...... He classifies भाणक as उद्धत and भाणिका as उद्धतमसृण.

BP (P. 268ff): There are two distinct princi- ples of divisions recognised here, according to which TT has nine difforent varieties. It is Ja when a शुद्ध (i. e. Sanskrit) language is used, संकीर्ण when two languages (Sanskrit and Prakrit) are used and faa when many languages are used. There are other three varietes. It is saa when the plot is terrible, afoa when the plot is charming and ललितोद्धत when the plot shows elements of both. Plot: There may be deseriptions and praises of हरि, हर, भवानी, स्कंद and प्रमथाधिप. It must have te- rrible action. It must have no females, while it must be descriptive. Also it may have praises of kings in wns, unfolding their virtues etc. It must be full of music, dialogue (HarRn) and deco- rated by noble (scenes).

Whatever action is difficult and involves skill should be woven in a aor.

Music: A शुद्ध भाण is punctuated by seven विश्रामs, each विश्राम showing a varying programme of

106 TYPES OF SANSKRIT DRAMA

First विश्राम has वर्ण, मत्तपाली, भग्नताल मात्रा. Second भग्नतालगाथा, द्विपथक, वसन्त. Third विषमच्छिन्नमात्रा, भग्नताल, मागधी, रथ्या. Fourth द्विपथक, रथ्या, and वसन्त. Fifth रथ्या, भग्नताल, मार्गनिका, द्विपथ, विषम. Here is a note that the भाण called नन्दिमाली should be included under this type, as those who consider it as a distinct type, know not ma's view. And, then, नन्धिमाली is described as follows: (1) The plot is recited or acted with refe- rence to an आकाशपुरुष, using the word भाव (भावप्रयोगवान्) to be applied to noble persons. '2) It consists mostly of terrible action. (3) Sometimes it has descriptions excluding females. (4) It should be full of गाथा and other ways of राजस्तुति, (5) and accompanied with good music and (6) noble speech. (7) It may have praises of ब्रम्मा, रद्र, स्कन्द, and other gods. There is a general note that whatever has been said with regard to acts, uifas etc., with reference to भाण of the रूपक type holds good in this case too. In the Introduction to BP it is noted that the first set of verses (i. e. those that do not apply to the नन्दिमाली type) are also seen in SP. SP also recognises नन्दिमाली and includes it under this type. But the present NS contains no reference to नन्दिमाली. ND (P. 215), too, has the same six types of भाण, on the same two principles and bis माण or भाणक contains nothing new.

NRTYA-TYPES (UPARUPAKAS) 107

Remarks

It will be noted that the नन्दिमाली type as described in BP, differs from the ordinary type of उपरूपक भाण only in one respect; the former has आकाशमणित and acts etc., while the latter shows the absence of both these elements.

2ं भाणिका

BP (P. 262): Plot: भाण, having mostly हरिचरित for its subject-matter, with accepted metres in eTS, वर्णs, मात्रs etc., becomes by graceful gestures, नाणिका. There may be nine or ten different threads, but the plot must be sparse, full of विट, पीठमर्द and विदूषक, and excitement should be created in the audience by various turns of speech. रसः mainly erotic. Heroine: शक्ष्णनेपध्यनायिका. संधि• void of गर्भ and विमर्श, रीतिः पांचाली. Music and dance: ten arenas are in place as in भाण. It should have दिव्यचारीs, should have graceful acting, वृत्त punctuated by ताल, at times रथ्या etc., and should be void of अर्धेदि्ग्ाहनिवरणगायनवसन्तमतपाली, विश्राम and 3FIl8. It should be performed by females. Of course, लय and ताल may be adopted at proper places. Example: वीणावती. ND (P. 215) recognises this type but has nothing distinct. SD. (VI, 305 ff): संधि, मुख and निर्वहण. धृत्ति, कैशिकी and भारती. Act: 1. Heroine: noble. Hero: मन्त. SD requires the following seven अss here: उपन्यास, विन्यास,

108 TYPES OF SANSKRIT DRAMA

विबोध, साध्वस, समर्पण, निवृत्ति and संहार, which are defined as under: when कार्य is incidentally described it is उपन्यास, when gloomy speech is uttered it is विन्यास, when doubt is removed it is विबोध, when there is boasting it is साध्वस; again समर्पण constitutes in taunting through anger, beginning of निदर्शन is निवृत्ति and actual achievement of fruit is संहार. Example: कामदत्ता. Abh, (I. P. 183) calling भाणिका as उद्धतमसृण describes it thus: In भाणिका, there is amusement due to play with children, नियुद्ध, lions or pigs or playing with banner etc. Remarks

As far as BP's description is concerned if any one wants to see two distinct types described under the caption of भाणिका, as the editor justly does he shall have to distinguish between भाणिका and भाणी, former being based on नृत्त etc., and the latter being a form of उपरूपक having संधि, अज्ग etc. This भाणी seems to be the same as डाम्बी of BP and भाणिका of SD. Compare their details.

3. डाम्बी or डाम्बिका

Abh (I. P. 183) notes a type called डम्बिका छन्नानुरागगर्भाभिरुक्तिभिर्यत्र भूपतेः । आवर्ज्यते मनः सा तु मसृणा डोम्बिका मता॥ BP (P.257): Act: 1. वृत्ति: कैशिकी and भारती. रसः Heroic and Erotic. Heroine: ऋक्षणनेपथ्या मन्दोत्साहा and परूपनायिका.

NRTYA-TYPES (UPARŪPAKAS) 109 Example: कामदत्ता. Editor of BP says: "This dresft is known accor- ding to some as wfora and the same fact has been stated here in the line डम्येव माणिकोदात्तवायिका, विश्वनाथ followed that view and described this kind of drama as wnfor with the same description as found here and with the same arem as an example. The definition of भाणिका as given by शारदातनय and भोज is quite different from that of विश्वनाथ."

Remarks on 1, 2 and 3.

Bearing in mind the descriptions of भाण, भाणिका, भाणी and डोम्बी as given in BP, one can see that भाणिका differs from भाण in the following points: (1) It is mild, (2) It has mostly हर्चरित, with nine or ten threads, (3) It has no faerr, उत्ताल and अर्धोद्धाह etc. (4) It should be performed by females. भाणी and डोम्वी are almost identical. Also it would appear that SD has no counterpart for BP's भाण, while it describes भाणिका, which, however, has similarity with BP's भाणिका, but is wholly iden- tical with BP's डोम्बी. Abh's डोम्विका and भाणिका are, again, distinct. भाणिका as defined by BP, though having a preponderance of dance-elements, contains enough elements to transfer itself into mform of SD. Thus there seems to be running a common thread through भाणिका of SD and डोम्बी of BP (which, too, is called भाग्डिका or भाणिका), yielding sufficient data for

110 TYPES OF SANSKRIT DRAMA inferring a serial evolution, डोम्बी or डोम्बिका of Abh representing the earliest stage and डोम्बी of BP or भाणिका of SD the last stage of the same form of entertain- ment: while भाणिका of BP is a variety, probably more primitive and representing the transitional stage from डोम्बिका of Abh, (Abh's भाणिका is an earliar form of BP's भाणिका) to भाणिका of SD. And this भाणिका itself has a counter-part in भाण-उपरूपक, which seems to have enjoyed a temporary existence as an indepen- dent variety, as it emphasises the उद्धत acting. But in भाणिका and भाणी of BP, again, there ara sufficient elements (e.g. 9 or 10 threads, heroes विट, पीठमर्द etc.,) todevelop themselves into भाण रूपक. भाण रूपक seems, therefore, to be the definite ultimate dramatic form to which डोम्बिका, भाणिका, भाणी, डोम्बी, भाण उपरूपक (all of which are either नृत्त or नृत्य types, with the possible exception of भाणिका of SD and डोम्बी of BP), passed on imperceptibly. आकाशभणित, which is a very important element of the भाण रूपक, though not seen in any of these forms, is recognised by BP in the case of the नन्दिमाली type of भाण.

4. रासक BP (P. 265 ff): This section of BP is hope- less for its textual accuracy. Under the head of ua%, this section defines, in identical verses which have been quoted by Abh at P. 183, eight forms of dances, the last of them being रुसक. It is thus defined here: मण्डलेन तु यन्नृतं तद्रा(v.]. हल्ली)सकमिति स्मृतम् । एकैकस्तस्य नेता स्याद्रोपस्त्रीणां यथा हरिः ॥

NRTYA-TYPES (UPARUPAKAS) 111

अनेकनतकीयोज्यं चित्रताललयान्वितम्। आचतुष्षष्टियुगलाद्रासकं मसृणोद्धतम् ॥ Out of these two verses, the first is always quoted as the definition of हल्ीसक by others (see ND, Abh and elsewhere) and even BP shows the v.l. हल्लीसक, which may be the correct reading. The second of the above verses is the same as is given by Abh as the definition of 47, and this seems to be the original definition of t.

But BP has another definition of रासक(on P. 269, 11. 13-19), where it is described thus: (1) Act: 1. (2) void of सूत्रधार. (3) It must have well-arranged (सुश्लिष्ट) नान्दी (4) It should have five पात्ड, (5) three संधि, (6) various languages, (7) कशिकी and भारती वृत्तिs, (8) वीथ्यङ्ड, (9) prominent hero, (10) famous heroine, (11) उदात्त भावड and (12) उन्रेत्तर. A third definition of wa5 is also seen in BP at P. 265, 11. 10-13: लब्ध्वा दुग्धमहोदधौ सुरगण: पीत्वामृतं यस्तदा पिण्डीश डखलिका विशेषविहितो युक्तो लताभेद्यकैः। चित्रातोद्यविचित्रितर्लययुतो मेदद्वयालंकृत: चारीखण्डमुमण्डलरनुगतः सोऽयं मतो रासकः ॥ It should be remarked here that though this verse defines u, it is pnt in this edition under the section of नाटयरासक. One more definition of w46 is seen in BP under नाटयरासक, consisting of one verse, which is the one given in ND as the definition of ₹ns.

112 TYPES OF SANSKRIT DRAMA

SD (VI, 288-290) substantially agrees in the second version of BP, by defining रासक as one which should have (1) five पात्रs, (2) मुख and निर्वहण, (3) various languages, (4) भारती, and कैशिकी वृत्तिs, (5) no सूत्रधार, (6) one act, (7) वीथ्यङ्गड (8) art (कला), (9) श्िष्टनान्दी, (10) famous heroine, (11) foolish hero (JGr in BP seems to be more in harmony with the nature of रासक, as defined here, than मूर्ख as read here), (12) उदात भात्रs and (13) उत्तरोत्तर.

There is a note that some allow प्रतिमुख, too. Example: मेनकाहितम् ND (P. 214) calls that type as रासक which has 16, 12 or 8 heroines dancing with special postures as पिण्डीबन्धs etc.

5. नाव्यरासक

This section, too, as printed in BP is so much confused that I shall quote it in extenso and then shall try to determine the exact nature of the type: षाडेशद्वादशाष्टौ वा यस्मित्त्यन्ति नायिका: । पिण्डीबन्धादिविन्यासै: रासकं तदुदाहृतम्॥ पिण्डनाद्भवेत्पिण्डी गुम्फमाच्छृंखला भवेत्। भेदनाह्भेद्यको जातो लताजालोपनाहतः ॥ एते नृत्तात्मना कार्या नाट्यवन्त: क्रियाविधौ।

नाय्यस्यावधयो ह्योते पिण्डाद्या दृश्यजातयः । नव मेदा विधीयन्ते ह्यनुकार्यनुरागिणः ।। कामिनीभिर्भुवो भर्तुश्ेष्टितं यत्र नृत्यते। रागाद्वसन्तमालोक्य स ज्ञेयो नाट्यरासक:॥।

NRTYA-TYPES (UPARUPAKAS) 113

चर्चरीमिति तां प्राहुर्वर्णतालेन तत्र तु। प्रविशेत्कामिनीयुग्मं समचर्यादिशिक्षितम्॥

ततस्तदेव वर्णान्त आलीढद्दयसंस्थितम् ॥ चोलिकाभिदुतं तालं वादकानां प्रदशयत्। पश्चधातकसंज्ञार्थजनस्तस्मात्प्रवतते ॥ नृत्तेन विभजेत्खण्ड: चतुमिस्निभिरेव वा।

परिक्रम्य च निष्कमेत्ततोऽन्यद्द्वितयं विशेत्। एककालस्तु निःसंधि: प्रवेक्षो निर्गमस्तयोः ॥ पुष्पाज्जलिप्रयोगं तु मात्रातालेन योजयेत्। उभयो: पात्रयो: पश्चात्पात्राणि प्रविशन्ति हि॥। बद्धा पणवतालेन रथ्यावर्णादिवर्णकैः । शुष्कगीतप्रयोगेण ततो गायन्ति गायकाः ॥

पात्रैथवैकत्रसंयुक्त्रै पिण्डीबन्धं तु कारयेत्।। ततो मल्ाभिधं तालं शुष्कवणयोगतः । मुरजाक्षरवाद्य तु हन्याइण्डद्विदण्डकैः ॥ एवं नृत्त क्रमेणाद्यो हयपसार: समापयेत्। अपसारत्रयं चान्यदेवमेव प्रकल्पयेत्।। तत्रापि पूर्ववन्तृत्त कामतस्तु लयक्रमः । कथयेद्रासकस्यान्ते शुभार्थ वचनक्रमम् ॥ It will be seen that the first of these verses is a description of u and the next three verses give the explanations of the technical terms पिण्डीबन्ध etc. पिण्डीवनध is so called because of the hu- ddling up closely, शृंखला is so called by an arrange- ment of limbs like knitting, भेदक by भेदन and लताबन्ध by being arranged in the form of a net. Then the fifth verse in the above quotation

114 TYPES OF SANSKRIT DRAMA seems to be the original dofinition of नाट्यरासक, particularly as ND (P. 315) has this very verse alone as the definition of नाट्यरासक It is that, wherein, females dance out the doings of a king.

The remaining verses explain the programme of music and dance to be followed in ra. When it has वर्णताल it is called चर्चरी, wherein two females, clever in HHa4f etc., may onter embra- cing one another by their limbs and moving right and left. They retire after some dancing and then enters another pair of females. Their exit aud entrance must be simultaneous. This new pair may perform the scattering of flowers by ar. After this, other characters may enter with ara. and रथ्यादिवणs. Then the singers sing with शुष्कगीता्रयोग. Then पिण्डीबन्धन formed by many पात्रs, by means of लता, भेद्यक, गुल्मक etc. should be performed. Then there may occur मळताल with शुष्कवर्णप्रयोग and मुरजाक्षरवाद्य may be beaten with दण्डद्विदण्डक. Thus with such dancing, the first 378R would be over. Three such ayars with dancing, as before should be performed, with proper rhythm. From the last line in the above quotation it seems that this musical scheme may be applied to रासक also.

Appendix II to BP contains the following additional definition of नाटयरासक at P, 403: पूर्णनेपथ्यप/त्रेण नान्दी यत्र विधीयते। मुखदिसंधिसंभिन्नं कनिदर्वृत्तचतुष्टयम् ।

NRTYA-TYPES (UPARŪPAKAS) 110

यत्र पात्राण्ययुग्मानि न कदाचन सूत्रधृत्। कल्पयोऽथवा नटनटीप्रवेशेनामुखक्रमः ॥ दिव्य वा मानुषं वाथ मिश्र वा वस्तु यत्र । -- विप्लम्भरसप्रायं यक्ष प्रख्यातनायकम् ॥ कामिनिभिर्भुवो भर्तुश्रेष्टितं यत्र दृश्यते। रागाद्वसन्तमासाद्य स ज्ञेयो नाट्यरासकः ।।

An analysis of this would give the following characteristios of नाटयरासक: (1) full ard to be recited by the characters behind the curtain, (2) संधिड like सुख and others, (3) at times all the four afas (4) no single cha- racter should enter, (5) सूत्रधार should be brought in or आमुख may show the presence of नट and नटी, (6) plot may be divine or both, (7) रसः विप्रलम्भ, (8) famous hero, (9) females should sing and dance the doings of a king. SD (VI, 277-79) has this: (1) one act, (2) बहुताललयस्थिति, (3) Noble hero, (4) पीठमर्द as उपनायक, (5) prominent हास्य with शद्गार (6) heroine-वामकसज्जिका, (7) मुख निर्वहण-संधिड, (8) all लास्यानs, (9) some allow all the four संधि expt प्रतिमुख. Example: संधिद्वयवती-व्रीणावनी; संविचतुष्टयवतीः-विलासवती Remarks on 4 and 5 Both these are treated at length and yet as far as BP is concerned the text as printed in G. O. S., is hopelessly confused. In this connection the readings noted in the Appendix II at P. 408, seem to throw quite a flood of light and would be help-

116 TYPES OF SANSKRIT DRAMA ful in reconstruoting coherent text for both these types. Thus P. 263, 1. 23 to P. 266, 1. 14 describe both these types out of which, following reconstru- ction can be made:

रासक

(1) P. 263, 1. 23 to P. 264, 1. 7 and 264, 1. 10 to P. 265, 1. 9 describe one type of rern. (2) P. 265, 1. 10 to P. 265, 1. 13 embody another view agreeing in essentials with (1). (3) P. 266, 1. 13-14 give perhaps the earliest known definition of ua (as the same verse is quo- ted by Abh at P. 183), which also does not differ much in essentials from (1) and (2) above, as all these treat it as a danoe-form. (4) P. 269, ll. I2-19 give a description of a which differs widely from all the above three views and consi- ders it as a type of drama.

नाद्यरासक (1) P. 164, ll. 8-9 preserve perhaps the ear- liest definition of T as the same verse is found in ND. This description treats it as a dance-form.

(2) Description of नाट्यरासक as found on P. 408 considers it as a form of drama and thus agrees in essentials with SD's definition of it. (3) P. 265, 1. 15 to 266, 1. 12 (though pri- nted under the section of ₹Rr) contain older de-

NRTYA-TYPES (UPARUPAKAS) 117

scriptions of प्रस्थान, काव्य, डोम्बिका, भाण, शिल्पक, भाणिका, रामाफ्रीड and हलीशा. (p. 266, 1, ll wrongly reads रासक for T) as these very verses are found quoted by Abh at P. 183. Therefore the definition of नाट्यरासक as given on P. 408 should be taken as the correct one and be incorporated in the text as an alternative definition of नाट्यरासक; and the definition of रासक on P. 408 should only be consulted in fixing the readings of the text as printed on P. 266, for it has no more worth. These different definitions of both these forms prove beyond doubt that they have evolved from mere dance to an organised T form and thence to an elementary forms of drama.

6. प्रस्थानक

Abh (P. 183) has one verse, the same as the first type of BP as will be described below and this definition therefore, would be the earliest known definition of प्रस्थानक. BP (P. 262, 1l. 19-22): First type: (p. 266, ll. 3-4) Starting on a journey with a gait like that of an elephant constitutes प्रस्थान. It should be अल्पविद्ध and सुमसृण. Second type: (P. 265, ll. 15-19, under the heading रासक) (1) one act, (2) मुख and निर्वहण संधिs, (3) it should have in the beginning waTt roused by journey or by first love and should end in att. (4) It should

118 TYPES OF SANSKRIT DRAMA

be full of the descriptions of monsoon and spring. (5) It should have four aqars. Third type: (P. 262, ll. 19-22) (1) Two acts, (2) कैशिकीवृत्ति, (3) हिनोपनायक, (4) दास, विट, चेट, etc., as नायक. (5) It should be charming on account of drinking and other sports, (6) and full of लय and ताल. (7) मुख and निर्वहण संविs. Example: शुङ्गारतिलक. ND (P. 214) has only one type, the second of BP, and describes it in identical terms only pointing out that अपसरs are नृत्यच्छन्नानि खण्डानि and that it is called ETT with reference to journey, which seems to have been the original idea as suggested in the first type of BP. SD (VI, 280-281) has these additional points: (1) heroina-दासी. (2) कैशिकी and भारती as वृत्तिs. SP has only the second type of BP.

7. नर्तनक

Though this variety has not been included in the general list of the 3957s, it seams to have been recognised, at one time or the other, as a distinct type, for the verse that is seen in ND (P. 214) and which again is found as the first verse in the description of 7 of BP, is clearly a description of नर्तनक. The verse is this:

पदार्थाभिनयं यत्र ललितं च लयान्त्रितम्। कुरुते नर्तकी यत्र सोऽपि नर्तनक: पुनः ॥

ND also has the following explanation:

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वस्य पदार्थाभिनयं ललितलयं सदसि नर्तकी कुरुते। तन्नननकं-शम्या-लास्य-छलित-द्विपद्यादि।।

Then it is pointed out that शम्या is the लास्य which is किन्नरविषय, छलित is full of शद्गार, बीर and रौद्र, and द्विपदी is a छन्दोभेद. लास्य is full of शज्गार. It seems that according to BP (P. 363, 1. 9) this नर्तनक should have छलिक (which is the same as छलित of ND) ल.स्य with समस्थ्या, सुताल and चतुर्स््. (Is this not the same as छलित न स्य of मानविक निमित्र, which too, has चतुस etc. ") Also it should bu void of गर्भ and विमर्श, having all वृत्तिs, full of मगधी and शौरसेनी and रस and भावs. When it has two संfs it should have उत्तम and अधम heroes, and भारती and आरभटी 28 वृत्तिs, and rarely सात्वती. Example: वालिवध and नृसिंहविजय. In fact the first five verses under प्रेक्षणक in BP, define नर्तनक which is used in Masculine, and all the attributes in thesc verses are in Masculine, while the last three lines describe प्रेक्षणक which is taken as Neuter and all the attributes in these three lines are in Neuter.

7. प्रेक्षणक

AP notes it. BP (P. 363): Dafinition given here suggests that नर्तनक when it exhibits 'at times गर्म and अबमर्श संधिs, at times many नेपथ्य speeches, at times four वृत्तिs and no सूत्रधार' is प्रक्षणक. Example: त्रिपुमर्दनम्

120 TYPES OF SANSKRIT DRAMA

ND (P. 214) has this: Whatever is performed in street, assembly, squares or temples by many पात्रs, is called प्रेक्षणक as for illustration कामदहन etc. SD (VI 286-87) calls it प्रेङ्वणम् : (1) void of गर्भ and विमर्श, (2) हीननायक, (3) no सूत्रधार, (4) one act, (5) no विष्कम्भक, and प्रवेशक, (6) presence of नियुद्ध and सम्फेट necessary, (7) all वृत्तिs (8) नान्दी and प्ररोचना are sung, in the नेपथ्य. Example: same as is given in BP under नर्तनक. SP divides it into नर्तनक and प्रेक्षणक and gives the definition of both as found in ND. N. B. BP at P. 266 has this: आढयप्रायं प्रेक्षणकं स्यात्प्रहेलिकान्ितम् which is found in Abh as the definition of sor, with the v. 1. हास्ये प्राय प्रेरण तु ....... Remarks on 8 and 9 From the treatment given to these types in ND and SP there seem to have been two varieties of the same type of dramatic entertainment, which were still in a process of being distinguished from one another, but which, however, never happened. BP shows a period when both these types were hopelessly mixed up and नर्तनक was losing its in- dividuality. SD shows नर्तनक to have been comple- tely superceded and eclipsed by dau5, incorporating elements of both the forms in one. In a MS entitled नाथ्यसर्वस्वदीपिका, in the Govt. Oriental Library, at B. O. R. I., Poona, a variety of नाट्य called प्रेङ्मण is defined, As विश्वनाथ calls प्रेक्षणक

NRTYA-TYPES ( JPARUPAKAS) 121

by the name प्रेह्मण, this प्रेह्मण, tou, may refer to it. The definition is this: (fol. 30, ll. 8-9) गीतं प्रबनश-धे: नरनारीप्रवर्तितम्। प्रेम्णा रसमनोहारी नाय्य प्रेङ्कणमुच्यते।। As the general element in प्रेक्षणक is the play- ing by men and women in squares etc, this too may refer to the same type.

10 हल्ीशम AP notes it. BP (P. 266): Heroine: 7, 8, 9 or 10. Act: 1 or 2. वृत्ति: कैशिकी. संधि: विमरश and मुख. Heroes: 5 or 6, कलित, दक्षिण and ख्यात, who may be विप्र, क्षत्र, अमाल्म or वणिक. Miscellaneous: It should have मुख and अवमर्श when it has two acts and गर्भनिरगम when it has one act. It should have musical लास्य with यति, खण्ड, ताल, कय and विश्राम. Example: केलिग्वनकन्. ND (P. 214): यन्मण्डलेन नृत्त स्त्रीणां हल्लीशकं तु तताहु:। तत्रेको नेता म्याद्गोपत्नीणामिव मुरारि:॥ The same verse is found in BP with ues for इदीशक as the reading. SD (VI, 306-7): Act: one, Hero: one, clever in speech. वृत्ति: कैशिकी. संधि: मुख and निर्वहण. Heroine: 7, 8, or 10: and बहुताललयस्थिति: 11. उल्लोप्यकम् BP (P. 266): Act: one. संधि: void of भवमर्श.

122 TYPES OF SANSKRIT DRAMA

रस: हास्य, शज्ार: and करण. Hero and Heroine: चतुरोज्ज्वल, Miscellaneous: It should have the aras given under शिल्पक, a song with three divisons called उल्लोप्यक which has been explained as गान्धर्वनिर्णय. Example: देवीमाधव. उदात्तकुजरम् SD (VI, 282-3): According to some, there should be four heroines and three acts and बहुस प्राम. SP does not include this under the group of उपरूपकड. 12. काव्य AP has noted it. BP (P. 262): रसः हास्य and रुद्गार. वृत्ति: all. सधि: void of गर्भ and अवमर्श Act: one. Hero: ललितोदा त, who may be a विप्र, अमात्य or a वणिक. Heroine: कुलजा and वेश्या. Miscellaneous: It should have भग्नताल, द्विपदी, खण्ड, मात्रा and at times लास्य. It should be mixed with विट, चेट and interspersed with talks of joyous ladies and विट etc. Example: गौडविजयम्. सुग्रीत्रकेलनम्. ND (P. 215) has the following as the defini- tion of काव्य, which in BP has been included under रासक and which again, is recognised by भोज "It should have आक्षिप्तक, मात्रा, धुवा, भग्नताल, वर्धनिका and धवनिका" ND (VI, 284-5) has this additional. वृनि: except आरभटी, Example: यादवोदय. SP divides काव्य into शुद्ध and चित्र. It seems that even BP distinguished two types according as (1) the Hero is ललित an उद्दान and heroine कुलजा

NRTYA-TYPES (UPARUPAKAS) 123

and वेश्या and (2) as the hero is a विप्र etc. 13. पारिजातकमू or पारिजातलता BP (P. 268): Act: one. संधि: मुख and निर्वहण रसः शुज्ञार and वीर. Hero: देव, क्षत्र-उदा।. Heroine: कउ न्तरिता or भोगिनी, स्वीन. गणिका. They mlay be 8 and 4 and should be expert in टण्डगसक. Miscellaneous: वर्णम त्रा, खण्डताल, गाथा, three अपसारB and चित्रकथा. It should be charming at times by the jokes of विदूषक, Example: गङ्गातरङ्गिका.

14. सल्लापक

BP (P. 256): Plot: renowned or imaginary or both. T#: Erotic and Humourous should not be present here, but a mixture of ant and ta is allowed: other रसs may be subordinate. Hero: angry, hypocrite, सपलशान्त, trying to meet with the incide- nts of कपटयुद्ध, caused by fate or enemy. वृत्तिः सात्वती, आरभटी-सािद्रवा. Acts: three; but it should be full of ताल in the second act. First must have विद्रव and third must have कपट. संधि: four, except प्रतिमुख. SD (VI, 281-2): Acts: 4 or 3. Example: मायःकापालिकम्

15 शिल्पकम BP (P. 257): Acts: four. वृत्ति: four. रमः exoept हास्य. Hero: ब्राह्मण; sometimes a हीनोपनायक too, who may have been connected with Rna etc. Heroiuo: कढा, पुनर्लू or कन्या born of a ब्राह्मण Or सविव, ". 4. माधव' मलनी, कमल's कमलावना.

I24 TYPES OF SANSKRIT DRAMA Miscellancous: There should be the following 17 अंगSः उतंठा, अवहित्थ, प्रयत्न, अशंसन, त्के, संशय, तप, उद्गेग, मौख्र्य, आलस्य, कम्प, अनुगति विस्मय साधन, उच्छ्वास, भातंक, शून्यता, प्रलोभन, नाव्यं, सम्फेट, आश्र,स, सन्तोषातिशय, प्रमाद, प्रमद, युक्ति, प्रलोभन, प्रशस्ति. SD (VI, 296-300): रसः except हास्य and शान्त. Example: कनकावतीमाधव. BP on P. 266 has this which is seen in Abh as the definition of षिद्गक. "When one describes to a friend, one's husband's haughty conduct and sometimes soft conduct of a धूर्न it is शिल्पक,"

16 गोष्ठी

BP (P. 256): Act: 1. रस; शाज्षार. Heroes: 9 or 10, प्राकृतनायकs. Heroines: 5 or 6, beautiful. संधि: void of गर्भ and अमर्र, वृत्तिः कैशिकी-soft. Plot: imaginary, not very noble. Note the following for its plot.

गोपीपतेर्विहरतो गोष्ठबालस्य चेष्टितम् । यक्षु यमलार्जुनदानवनिधनकृत तत्तु गोष्ठी स्यात् । ND (P. 214) has the following: गोष्ठे यत्र विहरतश्वष्टितमिह कैटर्भादूषः । रिष्टासुरप्रमथनप्रभृति तदिच्छन्ति गोष्ठीति।। SD: Example: रैवतमदनिका, SP has the same verse as seen in BP.

17 कल्पवल्ली

BP (P. 268): It should have हास्थ and शाजार &8 the रसs, its hero should be उदात्त, उपनायक should be

NRTYA-TYPES (UPARUPAKAS) 125

2 पीठमर्द and heroine a वासकसज्जा or अभिसारिका. It shoud have मुख, प्रतिमुख and निर्वेहण as संधिs. Its plot should have उदात्त descriptions.

Miscellaneous: द्विपदी, खण्ड, रथ्या, वासकताल, लयत्रय and the ten elements of लास्य. Example: माणिक्यवल्लिका

18 श्रीगदितम

AP has noted it. BP(P.258): Hero: renowned. वृत्ि: भारती. संधि: void of गर्भ and अविमर्श. Act: one. रसः चिप्रलम्भप्राय. Heroine: कुलजा.

Miscellaneots: It should be full of the word 'sfl' and according to some >i may sing there sitting.

Example: कीडारसातलम्. SP has the same as BP.

19 षिद्रक

Abh (P. 183): सख्या: समक्ष भर्तुर्यदुद्धतं वृत्तसुच्यते। मसूणं च क्चिद्धर्तचरित षिद्गकस्तु सः ॥ This approaches श्रोगदितम् of BP but BP has this same verse as the defininition of Semn.

20 दुर्मल्िका, also called मतलिका

(ND calls it दुर्मीलिता) AP has noted it.

126 TYPES OF SANSKRIT DRAMA

BP (P.267); Heroine: प्रोढा and नागरा. Acts: 4. संधि: void of गर्भ. Miscellaneous: चो्यात, प्रतिढ, love between you- thful persons-all these are described in private by a दूतिका, in भ्राम manners; she, talking thus, asks for money and getting it, desires for more. N. B. The tirst act should be as long as three नाडas, and a वि shou t at wire; in the secoud विद्ूयक should act for five नाडिकाs, and in the third पीठमई for seven नाडिकाs and in the fourth all the three act for ten नाडिकाs. This is also called मतल्लिका, wherein पुरोहित, अमात्य or amy is described as fallen on bad days. This is a क्षुद्रकथा in महाराष्ट्री. SD (VI, 303-305): वृत्ति: कैशिकी, and भारती. Hero: few, नागर. According to SD it should have six heroines in the second act and a arm7 should act in the third act. Example: बिन्दुमती SP: मतल्लिका of BP is described as a श्रव्यकाव्य in the same verses. KS (P. 339) considers this as a prose story and defines it thus: प्रेतमहाराष्ट्रभावया क्षुद्रकथा गीशेचनाङ्वत्यादिवन्मतल्लिका। यस्यां पुरोहित मात्यतापसादीनां प्रारब्धनिवहि उपह.सः मापि मतलिका । Iu the af is quoted the following: नथा च क्षुद्दकथा मन्थकी प्रेतमहाणष्ट्रभाषया भवति। गोरोचेनेव कार्या सनङ्वरतीवार्कचटिभिः। तथाच यस्नामुपहासः स्यात्पुरोहितामात्यतापसादीना पागधनिर्वहि सापि हि मन्थलिका भवति।

NRTYA-TYPES (UPARŪPAKAS) 127

21. मल्िका or मणिकुल्या BP (P. 267): रसः भोगए गार, वृत्ति: कैशिकी. Aot two, having विदूषक and विट acting in the first and second respectively. Plct: It should not be clear first but should become so at the end. सन्धि: void of गर्भ and विमर्श. Miscellaneous: It has गाथा, द्विपथक, रथ्या and वामकनाल,

मणिकुल्यां जलमिव न लक्ष्यते यत्र पूर्वतो वस्तु। पश्चात्प्रकाश्यत या सा मणिकुल्यापिं मल्लिका ज्ञेया ॥! SP has taken this type as a श्रव्यकाव्य. KS(P.339) has this, but considers it a prose story. यस्यां पूर्व वस्तु न लक्ष्यते पथ्चातु प्रकाश्यते सा मत्स्यहासितादिवन्म- णिकुल्या। and in the fa the above verse is quoted.

22. विलासिका

SD (VI, 301-2): "It is also called विनायिका by some and included under दुर्मल्लिका by others." रस: शृंगार. Act: one. सन्धिः void of गर्भ and अवमर्श. Hero: हीन. Plot: sparse and renowned. Miscellaneous: It should have ten लास्यादs and विदूषक, विट and पीठमर्द.

23. रामाक्रीड and प्रेग्णं

Abh (P. 183): हास्यप्रायं प्रेरणं तु स्यात्प्रह्ेलिकयान्वितम् । ऋनुवणनसंयुक्नं गमाक्रीडं तु भाध्यत ।।

128 TYPES OF SANSKRIT DRAMA

NDS has a type of which it calls by the name of . It is thus defined there: (fol. 30) दीसमुण्डनमस्मान्विकृताकार दशनेः । घर्धरायुक्त जंधादिविन्यासकुट्टनै:।। प्रसरणे: पाष्णिघा .: हृद्यगीतादिवादनैः । मनोभवनरेग्णया प्ररेणं नाट्यमुच्यते।। Evidently the two types as recognised by Abb and NDS have a common thread between them. दीप्मुण्डन etc., would create such an appearance' of the actor that humour would be excited, which after all, is the essential recognised by Abh. NDS also recognises a type called urs, which has not been described there as its nature is obvious from the word itself. May it have any- thing to do with our रामाक्रीड? It is शगारगर्भित accor- ding to NDS.

CHAPTER VII

EVOLUTION OF NRTYA-TYPES

A FrER thus collecting details about all these several a-types, we shall turn to see their development. But before doing so, it will be convenient if we tabulate the results of these details. The accompanying table shows the details of all these types, at a glance and contains all the im- portant points gathered in the previous chapter, under these individual heads. Remarks made in the last two columns of this table will be explained further. The table shows that the types that have been described here have uot all developed uniformly. Some types show a preponderance of musical ele- ments and others show some dramatic development, though even in this latter casc, an alternative description is seen in most cases, indicating their essentially musical nature. It will be seen, for instance that, with the exception of सल्ापक and दुर्मलिका, all the other forms are very elementary dramatic forms, presenting at the same time, an original musical nature. H2N5 sooms to have been developed very early and #H75K seems to be its variant as we shall see turther. . gufas, on the other hand, seems to have developed from a prose-story to a dramatic form and it shows several elements which are later seen in aU. All the other tspes reveal a double character. Why

132 TYPES OF SANSKRIT DRAMA is this so ? I think it suggests a gradual develo- pment of these types. There must have been a time when these types must have existed as types, showing dance and music only, without any speech. This is further corroborated by the following considerations. We have seen that 3y64n, a term used for these types by SD, is a very late term, the earlier ones being नृत्यप्रकार and गेयरूपक. We have also found that regular $4 types differed, theoretically, from these नृत्य types in the point that रूपक had speech added to it. But the term maR and its expla- nations uniformly presuppose a type of entertain- ment which had dance and music incorporated into it, but no dialogue. This is expressly mentioned by Abh and DR. SD is silent about the point and this silence is significant as we shall presently see. From the fact that most of the types as detailed above, present an alternate descrip- tion, thus showing an earlier form and a later नाट्य form, it seems that terms नृत्यप्रकार and उपरूपक्र should not be taken in the same sense. Take for instance, the type of which BP has preserved three alternate descriptions, while the descriptions of Abh, ND and SD each, show some distinct features. It will be marked that whereas the de. scriptions of Abh, ND and the first type of BP are purely musical showing no details about act, संधि etc., BP's second type is a नृत्य form showing details regarding act, afa, TH etc., and BP's third tvne shows that it is a further evolved form of

EVOLUTION OF NRTYA-TYPES 133

BP's second type, as this third type shows two acts as against one in the second type and details about hero etc., which are absent in the second. SD's description tallies with BP's third type but shows some variations as regards heroine and fa. Now all these types of 7 have been taken by BP as ans while SD considers its type as an 3449. What is the necessity of making this change in the terminology? It seems that those types that are taken by SD as 3vavs once existed as merely musical types i.e. as forms of entertain- ment in which there was afa, music and dance but no dialogue. Later on these same types deve- loped an elementary dramatic character, which added dialogue to the earlier type. These earlier types may have embodied some story, but the whole story, it seems, was composed in songs, which were sung in musical accompaniment with appropriate histrionics. There seems to be some evidence for this supposition. The earlier definitions of these arrs as given by Abh and as found in BP, show that in these types some sort of episodes were to be sung. Abh's definiton of hffaal requires that the dancer should attract the mind of the king by speeches pregnant with love-sugges- tions. foars of Abh would afford greater opportunity for embodying some sort of story-like episodo, as in it the heroine describes before her friend the terrible manners of her husband or the graceful acts of a qd. As a mattor of fact, these are treated by अभिनव as distinot from नृत्य types. These same

134 TYPES OF SANSKRIT DRAMA

types, as their names and descriptions in BP and other works suggest, developed into types when probably a continuous story in songs, was acted before the audience. These were purely Ta types. But side by side with these, $4% types were also developing and as a reflection of the $4s, these types borrowed speech and transformed themselves into some sort of half-developed s, which in faamia's age, came to be regarded as 3yG4ns. That these types had no speech seems fairly certain by the term $a545 as distinguished from the term पाठ्यरूपक, as used by हेमचन्द्र. Thus it seems that terms नृत्यप्रकार or गेयरूपक and उपरूपक do not denote the same thing. The earlier type was void of speech which the later type added on: and then the carlier distinction that type could create ouly भाव aud नास् type रस, was given up. Naturally the sort of 3TG4 known to SD (descriptions of all the types as given by SD are dramatic in nature, not a single type showing a musical character) and represented to-day by उन्मत्तराघव (a प्रेक्षणक) or दानकेलिकौमुदी (a भाणिका) or सुभद्र हण (a श्रीगदितम्) have very little to distinguish themselves from the ordinary 545 types. But this should not appear strange, as these later Ty545s, though they are based on the earlier types, show a reflection (as has been suggested above) of the ordinary $u types, which must have influenced them greatly. Let us now survey all the 3ueys and see their interrelations as well as their relations with the regular s4s types. I have already mentioned

EVOLUTION OF NRTYA-TYPES 135

more than once that my main thesis in this volume is to prove a gradual evolution of our Drama i.e. of रूपकs from the उपरूपकs and of उपरूपकS from the r types. In considering the general development of the 64s, we have taken the Ur type to be the most primitive, out of which other types have evolved. I shall deal with the point more elaborately when I come to discuss the origin of our Drama; but for the present, I wish to point out that as in the case of $4%s, so too, in the case of types, seems to be the most primitive type. Our lists show that both भाण and भणिका have been recognised as उपरूपकs, and that डोम्बिका, an उपरूपक, is a variant of wifrar. Both Abh and BP have given a terrible charater to 0T, in which violent move- ments of limbs are prescribed; while BP's भाणिका, which in essence is the same as Abh's sifaar, has been pronounced as a gentle type. Of course, to SD only foraT with its graceful features, is known. The terrible OT is a matter of bye-gone period in SD's age.' Thus it seems that in very primitive stage T had been recognised in two distinct aspects, one the trerrible, being represented by "T and the other the gentle, represented by forar. On these two types-terrible and gentle-all the other 3y- F4Ts(F-types)2, I think, are based. Abh's classifica-

1. This will explain the above-mentioned silence of SD as in its age no such distinction existed in practice. 2. Keith in his Sanskrit Drama describes the 39695s at P. 351. On reading his description of the 3469is, it will be seen that he too considers them as musical only: but he has not distinguished between r and types, clearly.

136 TYPES OF SANSKRIT DRAMA

tion of the types mnentioned by him, as उद्धत, मसृण and their combinations, preserves this principle, which seems to be fairly old, from Abh's quotation itself. Our 7a3 can be classified as suitable to the 3aa or the मसृण type. All our दीप्रस-i.e. वीर, रौद्र, भयानक and बीभत्स-are suitable for the उद्रन type; and शृद्गार, हास्य and aru are, by their very nature, gentle; while aty may be taken as a mixed type. If we bear this distinction in mind, we shall find all the उपरूपकs as couforming to the उद्धन or gentle type, the first being represented by भाण उपरूपक and the second by भाणिका उपरूपक. It is on this understanding that in tne foregoing table, I have characterised each of the varieties as नतृण or उद्धत. All ममृण types can be traced to भाणिका and all उद्धत types can be traced to भाण (उद्धत). This I shall now proceed to show by a detailed analysis of the Fe types. (In so doing, I shall call the ाण of BP as the उद्धत भाण type and भाणिका of BP as the ममण भाण type.)

streft, it will be seen, is a mere variant of the मसृण भाण tvpe.

रासक and नाव्यगमक present the following features: five characters, various languages, उत्तरोत्तर and वीथ्यङ्ग. One view wants 16, 12 or 8 heroines. IFR has been considered prominent in this type. TS too, are allowed. All these features point to a मसूण type and many heroines, उत्तरोप्र and लास्यानs liken these types to भाणिका type, which is मसृण. Though as a ga type uaw might have been very primitive, as it is, in one way or the other, connected with eur's

EVOLUTION OF NRTYA-TYPES 137

रास3, as an उपरूपक it seems to go with the भाणिका type. प्रस्थानक, with its charming sports and drinks, वीर and शङ्गार as रसs and दास, चेट and विट as heroes, is a मसृणमिश्र type, leaning more towards the मसृण भाण type. It shows some further development, as BP's third type and SD's type show two acts. प्रेक्षणक with its one act, but with no definite instructions about iH, is a semi- type and as such a mere variant of नर्तेनक, as has been actually pointed out in BP. As a matter of fact, नननक (a purely musical type). प्रेक्षणक4 (a half-developed नृत्य type) and प्रस्थानक (an उपरूपक) are all inter-connected and all can be redu- ced to the above मसृण भाण type.

हल्ीश, with many heroes and many heroines, being reminiscent of the रासक and नाव्यरासक, shows clearly an affinity with मसृण भाण tvpe, particularly in view of SD's injunction that it should have one hero, clever in speech, which would apply to our भाण रूपक, which itself is a मसण type. उल्लोप्यक seems to be a mixed type, leaning more on the मसृण side, as all the रसs prescribed by BP show: but SD's injunction that according to some, it should have बहुसंग्राम makes it a mixed type. काव्य is a मसण type. but one from which, our प्रकरण has evolved. The features that it should have वित्र or अमात्य or वणिक as a hero, that its heroine

3. See Note A at the end of this chapter. 4. प्रेक्षणक, according to SD, having no सूत्रधार eto., but having नियुद्ध and सम्फेट is a दीप type and as such may be the origi- nal of व्यायोग type.

138 TYPES OF SANSKRIT DRAMA may be a कुलजा or a वेश्या and that हास्य and शजार may prevail there, are also the distinguishing elements of NT, which, however, is very complicated and elaborate on account of its ten acts, while o is an elementary type with its one act. पारिजातकम्, which has been recognised only by BP and which presents the features of having & noble hero, वीर and शद्धार रसs, eight to four heroines essentially suited to शुद्धार and the दण्डरासक dance, shows a predominant #a" character; only the an gives it a mixed colour. सल्लापक is almost a complete रूपक type as descri. bed by BP as well as SD. (It is therefore, not very strange that भगवदज्जुकम् should include it in the list of its ten 54Fs.) A close scrutiny reveals its resemblance with समवकार. As a matter of fact, there is very little ground to distinguish it from er as far as the theory goes. Its plot must be renowned or imaginary or mixed; it can have three to four acts; its hero should be angry or qqus, trying to meet with कपटयुद्ध and there must be ताल, विद्रव and ae in the different acts. All these are the features which a समवकार may well have, only that समवकार with its regulated duration of time and acts is a more conventionalised and complicated form, Both सल्लापक and समवकार, however, belong to the उद्धत भाण type as their very basis is on दीप्त रसs. शिल्पक, with its रसs other than हास्य and शजार and a secondary hero connected with cremation ground, evinces clearly an swa type, which is corro-

EVOLUTION OF NRTYA-TYPES 139

borated by Abh's description of षिद्गक (same verse is seen in BP as an alternative definition of Rares) according to which a dancer sings of the haughty deeds of her husband. Of course a gentle touch is allowed, but ava seems to be the primary feature. This, too, is a somewhat developed type with its four acts and 27 aras, but it is rather difficult to indicate its connection with any of the later 5yss. गोष्ठी is essentially a ममृण type. Its nine or ten heroes who should be wiwa, five or six beautiful heroines, erotic रस, soft कैशिकी and भारती वृत्तिs, and imaginary but not very noble plot, preserve enough elements to show its affinity with the मसृण भाण type. That this form is very primitive and represents one of the cow-herd dances of awr, is clear from the verse quoted in ND and others, though that versa shows some terrible element. कल्पवल्ली with its हास्य and शुद्गार, with its विट and पीठमर्द, with its वासकसज्जा or अभिसारिका heroine, approxi- mates the ममण भाण type. श्रीगदितम् with its famous hero and plot, and prominent fager seems to be a mixed type, though it does not show any उद्धत element. Its कुलजा hero- ine and विप्रलम्भ रस are quite distinct features. दुर्मल्लिका of which म्लिका and विलासिका arc the obvious variants, has been pronounced as a ganur; and the fact that it has evolved out of a prose-story, is enough to distinguish it from all other varieties. Of course, the arisrs prescribed in the case of विलासिका and भोगगद्गार in the case of मक्निका, make it

140 TYPES OF SANSKRIT DRAMA

approach the मसृण tvpe, while the ग्राम्य manners of दूती in दुर्मल्लिका and विदूषक and विट in मल्लिका show their coarser nature.

रामाक्रीड and प्रेरण have never reached the उपरूपक stage, they remained mere dances.

The above analysis will show that in most cases there are very few distinguishing marks. In fact, the ground of distinction in each case is very meagre and very often one variety may be mixed up with the other. हलीशक, for instance, has very little to distinguish itself from 7144, with which it is often confounded. ft again has almost nothing to preserve its individualitv. It is akin to भाणिका and रासक, Tn fact, भाणिका, रासक5, हनदीशक and गोष्ठी-all these four seem to have an equal right to antiquity and thus to be regarded as primitive dance-types. Tt is likely that these four are the later distinctions of one original dance. hut it is very difficult, at this date, from the scanty data that we possess to point out the original type. We must be satisfied for the present, by pointing out similarities and points of affinity. From this viewpoint, these four essentially represent one type. But for reasons of convenience and others that I shall point out later, I take foraT to represent the original type. Thus we will have two original T types-one gentle type represented by BP's afora and the other a terrible type represented by BP's Ur5; and we have

5. See Note B at the end of this chapter. 6. On comparing the dramaturgical structure of our 4r

EVOLUTION OF NRTYA-TYPES 141

seen above the possibility of reducing all the known 3969s to one or the other of these two types.

with these four, it will be seen that trT, when it developed into the Wax type had nothing to distinguish itself from माय रूपक. हल्लीशक according to SD, has one hero clever in speech (which would suggest his resorting to भाकाशभाषित) and many heroines which is essentially the nature of later " रूपक. गोड्ी, too, according to SD, has many heroines etc., which feature is prsent in भायरूपक, Thus रासक, नाट्यरासक, माग्िका, गोष्ठी and हल्लीशक have all contributed to the final nature of a64s. There is however, one point which is very impor- tant in this connection. I think that the name r is etymologically significant. It denotes a distinct element of speech into it; and bearing this in mind, I think it to be likely that गोष्ठी, हल्ीशक, and रासक as नृत्य forms were earlier to evolve than भा or भायिका, but when dialogue was first added to the elements already present in the Tou forms their combined evolute 'came to be known as "W. Thus as an उपरूपक form माय was the first to evolve.

Note A-On रास and रासक. TTH to-day has been considered a peculiarity of the Gujarati ladies, We shall see further that there are reasons to believe that this गस first originated in साराष्. This रास dance as it is played to-day by the Gujarati ladies, consists Of several types, many of which are modern innovations by the present artists, but the underlying form is undoubtedly very old. Several ladies in appropriate garbs, turning round a central object (in certain cases the object might be absent) sing some song mostly pertaining to you's sports with mors, in accompaniment with beating drums, which would be help- ful to them in keeping time. They go round and the move- ments vary according to the sentiment of the song and it may be that even in one and the same song the vari-

142 TYPES OF SANSKRIT DRAMA

ations in movement may be effected, when the sentiment, in the poem takes a marked turn. The whole process becomes very charming and has already earned sincere appreciations from the lovers of art, all over India. A variation of the above practice occurs when males and females both take part in the dance, which originally represented and Tt, the feature being known to the Sanskrit' Dramaturgists in the following old verse, very often quoted as the definition of हल्लासक or रासकः यन्मण्डलेन नृनं स्त्रीयां इल्लीसकं तु तत्प्राहुः । तत्रैको नेता स्यादूगापस्त्रीणमित्र मुरारि: ॥ That this practice seems to be very old is apparent from its being connected with दृष्ण's dance-जयदेव in रासे हरिग्हि सरसाविलासम् etc., preserves the knowledge of the practice: it is evidently known to भागवत. Of coruse in u's time it must have existed only as a Ta form, as its remnant the TTH of Gujarat shows. That it was a very favourable pastime for the young people seems to be true for it has been very often described as attracting the गोपीs of ब्रज and many a devotee of कृषण has hankered after the enjoyment of this TTH. The Gujarati devotee नरसिंह न्हेता in the fifteenth century has a legend woven round him that he actually witnessed the wH in wou's heaven and that he was standing in the centre of the circle with a torch in his hand and was absorbed so much in the spectacle that he became unconscious of the flames reaching down to his hand and burning it, till ysu himself saw and remedied it. All these popular legends and stories prove the immense popularity of this form of dance and its sanctity by its association with 54. That THG may well have been a later evolute is possible as its very name suggests, though there is evidence of its having exis- ted as a mere dance form as the theory attests. But that «# in its origin was an elementary dance form is almost certain and does not require any further reference. A

EVOLUTION OF NRTYA-TYPES 143

variation of this रास is what is popularly called दाप्डिंत्रा रास which is the same as दण्डरासक ocouring under पारिजातकम् in BP. P. 268. Very often on account of similarity, of sound tH is connected with the word T# and is even derived from it. But this derivation is not scientific. In very primitive times the theory of T# was not known and even otherwise as a dance form रास or रासक can have nothing to do with रस; it cannot even create "E in the minds of the spectators as the theory points out very well. t is thus not to be derived from tw but from TH a root which means to cry aloud, which may refer to the very primitive form of this dance when the proportion of artistic movements and music may not have been still realised and when it must have been practised as a wild dance.

Note B-On रासक and लास्य

There is some evidence to connect रासक with मास्य, It may be that both are identical terms. uHw is once actually called नासक. Again रास, the direct remnant of रासक is to-day seen in # only. And there are positive statements showing that बास्य first originated in सोगष्ट Govt. Oriental Library at B. O. R. I. at Poona possesses three mss. on and in all these three the above tradition is referred to aa a treatise believed to be composed by the famous author of आमिनयदर्पण, नन्दिकेश्वर (Dr. De believes this to be a version of the original abridged by one समति. See Sanskrit Poetics I. 2n) has the following. (fol 66) लास्यमस्याग्रनः प्रीत्या पार्वत्या समुदीग्तिम् । वृद्धव्रा नु नाण्डवं तण्डो मत्येभ्यो मुनयेऽवदत् ॥ पार्वत्याप्यनुशास्त्यमस्मान् नास्यं ब्राह्मयाजामुषाम्। तथा द्वारावतीगोप्य: ताभिः सौराष्ट्रयो हिता: (? योषितः)। ताभिश्च शिक्षिता नार्यो नाना जानपदा: सदा। एवं परम्पराप्रापं ततो नोके प्रतिष्ठितम्॥ Another MS. रसकामुदी composed by one श्रीकण्ठ a court poet of

144 TYPES OF SANSKRIT DRAMA

Jam Sattarsal (c. 1574 A.D.) has the following: (fol. 57, 1. 1-5) ताण्डुना ताण्डवं स्वैरं दर्शयति स्म खण्डपरशुः प्रात्या स्वयं कल्पितम् वायसुतामुषां गिरिसुता शिक्षापयाभास तां सापि द्वारवतीगतां कुनवधूं सौराष्ट्रनारी च सा नानादेशसमुद्रवा प्रियतमा शिक्षापिता तत्परम् सौराष्ट्रीयवधूजनेन भुवि तज्जातं प्रसिद्धं क्रमात् I have filled in some lacunae seen in this MS, from another MS of रसकौमुदी at G.O. I, by the kind courtsey of Mr. M. R. Majmudar. NSD. has the following: (fol. 15., 1. 4-6) गोविदस्य च पार्थाय प्रायच्उच्छवेतवाहनः उषाय कन्यकाय च सोषा गोपीभ्य एव च गोप्यासौराष्ट्रयोषिद्म्यो नर्तकेभ्यश्च ता स्त्रिय: एवं परम्पराप्राप्तं नर्तकस्य निरूपकम् Also compare SR VII, 6-8. All these references show that iey is connected with साराष्ट्र. So too is रास. This is one more point for connecting रासक with नास्य.

CHAPTER VIII THE ORIGIN OF SANSKRIT DRAMA

CHAPTER VIII

THE ORIGIN OF SANSKRIT DRAMA

MANY attempts have been inade, ere now, to fix the exact nature of the origin of our drama, but as yet none seems to have gained general acceptance. The controversy regarding the religious versus secular origin of our drama has occupied the minds of many scholars, but evidence that is brought to bear upon the subject, while far from reliable is wholly indirect and as such fails to carry couviction. So far as we have the knowledge of definite references to drama, all goes well: but beyond that is the realm of conjectures, and conclusions are drawn from scanty materials. To examine a ritu- alistic ceremony from a maq and investigate into the practice of its performance or to search for the nature of the monlogues and dialogues in the mar with reference to the mode of their recita- tion, without any detiuite guide, is to my mind & procedure far from scientific. Our European scho- lars are loathe to find any reference to the art of Dramatics in ufufa and yet they would jump at Rgvedic ages for the origin of drama. But this is not all. They have other lines of attack. They catch hold of one word here and one word there and build ingenious theories on these sandy foundations, only to be pulled down by another equally sandy theory. The word शैलूष or सौभिक or रूप, detached

148 TIFS OF SANSKKIT DKAMA

from actual drama and dramatic theory can lead us no where. All these attempts, therefore, to my mind, are round about and as such bound to remain unconvincing. In order to arrive at some definite idea about the character of our earliest drama, I think that we must study the dramatic theory as expounded in our dramaturgical works; and it is in this manner that I take up this consideration of the origin of our drama.

My study of Sanskrit dramaturgy has led me t) beliove in the gradual developient of our a types from the types, which in their turn evolvad from the primitive a tvoes1. We have seen how, amongst the $73, all the types are likely to have evolved from the HIT 575, as also how from amongst the JyoTs almost all the types could be reduced to the उद्धत भाण or मत्ृण भाणिका type. I have now to point out that there ruas a co nmnon relation- ship betwoon the रूकs, anl th: उपरूपक as far as their mutual evolution is concerned.

Usually oor extant भाण रूपक has 1 विट who goes out on some business, passes through the ararz, converses with a number of hetaerae and attains his object. This means that there were many heroines in a mo. Our earliest aus are those that

1. It is not very diflicult to show that the terms designating the various TywTas, once designated some sort of dance forms, or some sort of RTiT,. But it is a thesis which I reserve for fufure troatment.

THE ORIGIN OF SANSKRIT, DRAMA 149

are published in चनुर्भाणी. Out of these four, धूर्नविटसंवाद (whose peculiar character I have already noted) has seven such hetaerae, पाइताडितकम् has about six- teen, पद्मप्रभृतकम् fourteen and अभयाभिसारिका eight. This means that from the first our arqs had many heroines, and, though it is possible, in the case of somo of the HITS, to point out one particuliar hetaera in whom the chief faz is interested and who may therefore be called the heroine proper, yet the general nature of this type percludes only one heroine. So too in some of our existing Hrs we have more than one hero, often three or four. Thus this 4s has many heroes and many heroines, it is erotio in its very essence, though an and aya are suggested but that was in accordance with the later, not with the carlier throry. This nature of भाण corresponds with the nature of भाणिका, which is qag, which shows nine or ten threads of the plot (ie. many heross and heroines) and which has erotio as the pervading <4. The theory requires हर्च्त to be woven in भाणिका and there is a curious coincidence in मुकुन्दनन्द -- भाण where the chief fिट is identified with कषण aud the whole play develops in this double character. (But I do not want to suggest that this was the essential part of भाण रूपक, for it was not.) All these points.of similarity show that our ममृण भाणिका उपरूपक is the original, from which the s mw has drawn most of its elements. aafa has been probably taken from the नन्दिमालि type which is the उद्धत भाण type. Thus भाणिका gave rise to भाण रूपक and this in its

150 TYPES OF SANSKRIT DRAMA

turn developed into वीथी, अङ्क and प्रह्सन. Thus out of the five one-act dramas, four are to be connec- ted with the मसृण भाणिका, while the remaining one- act type व्यायोग which shows दीप्त रस may be traced to toe उद्धत भाण type; and from व्यायोग have been deve- loped the other ia types as has already been pointed out. Thus there runs a common thread through all the known रूपकs and उपरूपकS With this may be connected the universally acknowledged tradition that , in its origin, was divided into उद्धत and मसृण types, the first being called ताण्डव and the other लास्य: and with great plausibility we can trace, in their ultimate forms, our उद्धत types to ताण्डव नृत and the मसृण types to लास्य. Following Abh's classification of मसृण and उद्धत and their mixture we have already tried to reduce all the zeu types to these classes. It is further posi- ble to reduce all our $47s also to one of these types. भाण, वीथी and प्रहसन, with their mild erotic रसs and gentle elements like लास्यागs are मखण. समवकार, ईहामृग, डिम and व्यायोग with their baughty रसs are clearly उद्दत. अङ्क with its करुणरस is mild. Of course a variation may occur wherein more than one may be employed in one and the same type. As a matter of fact these $qfs, as we know them to-day. being highly individualised and developed afford great scope for a mixture of ts. But we may call a type मसृण or उद्धत according as it has a mild or haughty रस predominant. नाटक and प्रकरण are mostly mixed, though even here it will be possible to point out one particular ta to be promi-

THE ORIGIN OF SANSKRIT DRAMA 151

nent. It is thus that we can trace all our drama- tic, semi-dramatic, and musical forms to their ultimate two forms-तां्डव and लास्य, Here, then, the tradition has its fullest justification and provides a key to the history of the evolution of our dramas. If now we tabulate the results of our investigations we shall get the following table:

नृत्त

ताण्डव (उद्धत) लास्य (मसण) 1 नृत्य नृत्य

भाण भाणिका

Nos, 8,10,13, 14 (?) 2 Nos. 3-7, 9. 11, 15-20 J

(उपरूपवs) (उपरूपकड)

रूपक types रूपक typeg

व्यायोग

वीथी समवकार, ईहामृग, डिम J प्रहसन अड्क.

नाटक and प्रकरण

The above table clearly shows the inter-relat- tions of all the known रूपकs and उपरुपकs, and the

2. These numbers refer to the serial numbers in the table attached at the heginning of the previous Chapter.

152 TYPES OF SANSKRIT DRAMA possibility of their being reduced to the ultimate dance form3-तrsr and लास्य. भाणिका with its many variant like रासक, नाश्यरासक, हल्दीशक, गोष्ठी etc., was the first to evolve as a नृत्य type, while भाण रूपक Was the first to evolve as a 59% type. But it may be asked what claims has this HIT ETE to be taken as the first dramatic form to evolve? Why should we not take वीथी or प्रहसन or अङ्क or व्यायोग as the original type? There are con- siderations which force us to take aIT as the first evolute of the 575 type. Let us study the plot- structure of our extant as. Of course the theory is very vague when it prescribes that one fae should describe vile incidents experienced by himself or by others, for this gives a vast latitude to the poet, and inakes the character of ur episodic. That is, a HOT will never have a continuous story to develop, but only detached incidents which are patched up together in some interesting manner. This characteristir of q is fully preserved in the actual aqs that we possess to-day. Not a single a militates against tbis, as the following analysis shows: armgo has been pronounced as typical of the class, and as the earliest ao known to us with the exception of चतुर्भाणी. In this भाण the ohief विट, विलासशेखर starts to partake in the festivities celebra- ted in the honour of अनजमजरी, the daughter of कनक- मंजरी, a hetaera, on her attaining puberty. On the way, he passes through the aare and meets with a number of other hetaerae, indulges in smart

THE ORIGIN OF SANSKRIT DKAMA 153

conversation with them and finally reaches srioft'e place. He thus converses with thirteen Toras on the way, five of whom are introduced with their spouses. Thus there are thirteen or fourteen incidents; and the faz does not forget to describe ram-fight, cock-fight, boxing and different stages of the day. In शझारतिलक, "भुजङशेखर, the hero, is vexed at the departure of his beloved garsft, but is assured of meeting her again, despite her return to her hus- band. He makes the usual promenade in the hetaerae's street, has the usual imaginary3 conver- sations and describes the ordinary sights, including snake-charmers and magic shows of gods and their mountains and so forth. Finally he succeeds in rejoining f." The above is the main incident of the aTr, but it has some minor threads too. ERE, a friend of the hero, had an adventure with a faraa, with whose wife he had been on terms of intimacy; and he describos his experiences at some length. Then the hero goes through the

3. This is not the proper word, for though when the fiz converses with the hetaerae on the stage there is no other actor present on the stage, and so far the conversation may seem imaginary, yet as far as the plot is concerned all this is supposed to be real. It is only the simpler and more primitive dramatic technique of arw which lends it the character of an imaginary talk; otherwise neither from the viewpoint of the fiz nor from the viewpoint of the audience is the conversation meant to be imaginary: and the whole interest centres round the unseen characters who are, to all intenis and purposes, real.

154 TYPES OF SANSKRIT DRAMA

auT z and about fifteen incidents are described and th'n he sees his friend $3ga7, to whom he narra- : s his experiences with usft. Thus this a too shows a number of incidents.

QaRHarT is a variant of the above Hr, for in it the hero, aaseret, being separated from his be- love' aeat, gres in a dejected mood through the auTae aud converses with abont thirteen hetaerae. He then meets his friend $-4, who describes his love-affair with an unknown lady in details; and finally the hero attains his desire.

a, which makes more pleasant reading, has a chief faz as the hero, who has promised his friend aana to look after his wife in his absence. He goes about with her to a temple and then to his own house, after escorting the lady to her own abode. But soon he comes out, wanders in the street, talks and describes at large and finally after accepting the invitation of a lady from a neighbouring town to pay her a visit, goes back home to find the lovers united. There are about fourteen incidents in this play. grane is one of the lengthiest arors, in which the hero, yararr, indentifying himself with Fu, describes in double entendres his adventures with various hetaerae. He being separated from his beloved, wanders about and meets his friend वसन्तक who is running away from one कमलापीड, with whose wife he had passed that night. He describes his amour with the lady at some length. About

THE ORIGIN OF SANSERIT DRAMA 155

fifteen incidents are described and then once more comes a friend of the hero कलहंसक, who describes his experiences in minute details with one कमलिनी. Some more incidents are also seen grouped together making in all twenty threads. This shows that our aT had no one continuous plot, but a series of unconnected incidents, des- cribed one after the other. This feature is seen in our earlier भाणs too. In उभयाभिसारिका, the earliest4 extant arr, the faz is requested to reconcile the love-quarrel arisen between कुबेरदत्त, the son of सागरदन and नारायणदत्ता; and he, starting for

4. That these four HnIs are earlier than all the other known माus, is obvious by the fact that, पादनाडितकम् and वूर्तविटसंवाद are referred to by writers in the tenth and eleventh cen- turies and quay by atw in the sixth century: while there is no reason why उभयाभिसारिका should not be assigned to afe whose name is actually found in the colophon to the work. The aTu itself bears at least two marks to vouchsafe its antiquity. The faz who is here called बोड़ीकाचन, meets on his way a परिव्राजिका, who does not seem to be a Buddhist nun, but a follower of some Brahmanic system, probably of वोषिक, as otherwisc 'भवे द्वशषिकाचलेन' would be out of place. Further on she remarks.

षट्पदार्थबहिष्कृन: सम्भाषयमस्माकं गुरुमिः प्रतिषिद्धमू। Now we know that the later aifis theory acknowledged seven पद्ाथs but the earlier आाचा्यs allowed only six, to which wभाs was added later on, by the time of गिवादित्य, (Compare Keith: Atomic Theory P. 180 also Badhakrishnan; Indian Philosophy II, P. 185) This will put the date of this play considerably earlier than the 10th century. Again there is a statement (in the play) which enumerates the different aning thus (P. 13):

156 TYPES OF SANSKRIT DRAMA

the purpose, passes through the street of hetaerae, converses with seven or eight of them and finally learns from the maid of aOT that the lovers had reunited; for, both of them being put in psychologically anxious mood, set out to meet one

यस्यास्तावत्प्रथम रूपश्रीनवयौवनद्युतिकान्त्यादिनां गुणानां सम्पत् चतुर्विधामिनयसिद्धि: द्वात्रिशद्विवो हस्तप्रचार: अ्रष्टादशविधं निरीक्षणं षटू स्थानानि गतिङ्वयं (त्रयं) भरष्टा रसाः त्रयो गीतवादित्रादिलया इत्येवमादीनि नृत्तांगानि त्वदाश्रयेयानंकृतानि। This distinctly enumerates 4 kinds of r, 32 kinds of हस्तप्रचार, 18 kinds of निरीक्षणम्, 6 स्थानs, 2 gaits, 8 रसg, and 3 गीनवादित्र etc. Out of these 4 kinds of अमिनय and 8 रसg are acknowledged by all, while 6 स्थानs (of चारीg) are pres- cribed by भरत. But about the rest, NS has 64 kinds of इरतप्रचार (संयुत 13, अ्रसंयुन 24, नृत्तहम्त 27-64), and 36 kinds of दृषटि as against 32 हस्तप्रचारड and 18 निरीक्षणs in this drama. This too may point to an early period when "'s treatise was not taken as authoritative. Judged from this point of view this drama seems to belong to an early date. That पद्यप्राभृतकम reveals traits of a style similar to that of the author of yagmias is borne out by somo internal evidence. On P. 10 is desoribed one पवरित्रक as राजमार्गोंतिदितजनसग्पर्श पग्हिरन्निव सगृहीतार्द्रवसनः मंकुनितसर्वागो नासिकाद्वयमंगृनिद्धयन पिवाय चत्वराीवपीठिकामाशित्य म्थितः This trick, it will be seen, is utilised in मृच्छकटिक, in the case of र्विनक. Same trick is once more resorted to in this drama with regard to गषिलक (P.15). Both'these dramas-मृच्छकटिक and पद्मप्राभुनकम -show a period when Buddhism was definitely ridiculed. These points, together with the fact that this drama is referred to by wu in the sixth century places it fairly early. मृनदेव with whom the plot of the play starts seems to have been a renowned figure in ancient India (cf ND, 119, also IHQ VII, 3).

THE ORIGIN OF SANSKRIT DRAMA 157

another and are reconciled. In शूदक's पभ्मप्राभृतकम्, the विट is requested by his friend मूलदेव who was also called aufy7, to bring about his reconciliation with देवसेना, with whom some sort of misunderstanding was created. And the fae, who seems to be called शश, boasting to be the friend of मूलदेव, who was a great मदनाचाय, goes about the town and converses with five or six persons aquainted with him and with ten or eleven hetaerae. Then he goes to aaam and by clever strategical speech manages to eke out the inforination that she loved मूलदेव. In धूर्तविटसंवाद, incidents are vory few-only seven. In पादताडितकम् a विट recieves the information that a स्तौण्डकोकिर्विष्णुनाग had been kicked by a गणिका and for the expiation of this pollution a committee was appointed on which the fae in question was taken as a member. He wanders, narrates some seventeen incidents and finally attends the meeting which has already prescribed a प्रायश्चित for विष्णुनाग. Thus all our aigs, without an exception, are very peculiar in having no plot, but a series of incidents. This, then, is a distinct feature of Hrot, and one not being present in anyother रूपक type (समवकार has a feature like this but the incidents are detached there in respect of the various acts, not in one and the same act) shows an extremely primitive cbaracter. Another characteristic in which Hrr is to be distinguished from the other 46 types is its monologous nature. Strictly speaking a monologue is likely to be dry and utterly incapable of develonino the nlot and it is for this reason

158 TYPES OF SANSKRIT DRAMA

that the device known as anaerfora is resorted to by the Sanskrit actors. This makes it possible for the poet to introduce other characters, who though not actually present on the stage, are depicted as talking to the only one actor, the faz. 'This monologous character of "T needs an expert actor to play the role of faz, but at the same time dispenses away with almost all the theatrical accessories: for an audience who can imagine the character and the conversations reperesented as taking place between them, as real, can certainly visualise the scenes and other devices. Theatre, in very primitive times must have been some open space, converted for the time being into some sort of stage: and such a stage cannot boast of a रङ् and a नेपथ्यगृह and a रङ्गपीठ and a रजशीर्ष and such other accessories. Such a theatre, void of almost all the theatrical accessories5, must have rendered necessary the outcome of a form of entertainment such as is represented by T. Even a casual glance through any published aT would show its extremely poor dramatic technique. As to the stage-directions there are very few and these too are of a very elementary character. Most of the effect is created by descriptions, which as we

5. And in later times when our drama grew into a full-fledged Es, our theatre, though not a mere open space remained comparatively poor as regards these theatrical devices. It is however possible that when our drama grew to its fullest height, these devices were provided for in somo manner or the other. See my paper: Hindu Theatre IHQ vol VIII, 480 ff.

THE ORIGIN OF SANSKRIT DRAMA 169

shall soon see is another characteristic peculiar to T. That the monologous nature of it requires an expert actor would at once be realised. He was the only actor and he had to represent various emotions and moods experienced by the different characters and also diffrent situations through which these characters passed. That such a monologue may well have been very primitive on account of its popular nature has been suggested more than once6.

In spite of the peculiar device of srarererrfere invented by the Sanskrit actor for relieving the monotony which would be produced by an absolute soliloquy (to which character our moTs would be reduced if this device is not resorted to, ) our ws realy lack in smart and varied dialogue. As a matter of fact there is very little of a real type of dramatic dialogue in the APT. Dialogue in TU is forced and artifcial and presents itself in the peculiar form of descriptions. These mts are all descriptive in essencc; and this is a very natural consequence of the monologue. A poet writing a na can never afford to lose an opportunity to describe. Not only is it that he has to describe

6. Out of the theorist R5X gives it a popular character. in which he follows his guru tusz who remarks: (P. 325) that this type is mostly for the diversion of the ordinary people (gua). Keith too acknowledges the primitive character of this type. "The monologue .ww has also an obviouely popular character' and origin ...... " (Sanskrit Drama P. 348)

160 TYPES OF SANSKRIT DRAMA

various scenes like ram-fight or wrestling or sunset or sunrise or beauty of the dawn, but even in the dialogua between the chief flz and the hetaerae, where would appear the fullest latitude for the poet to break the fetters of this limitation, an essentially descriptive nature prevails. The poet would describe either the beauty of the lady or her sports or her various moods: and where description is not present our wros at once assume a narrative form which is sure to bring lengthy descriptions in its train. Take up any mu and this will be borne out. The usual aruf would begin with a fae describing the effects of dawn and early activities of the people. Then he would describe the aaar and then would follow the various descriptions of sports etc., of the ladies. He may often meet a friend on the way and then the friend will enter into a narrative of his experiences with some ladies. Then he would pass from the street of the hetaerae and on the way would describe the cook-fight etc. [t is thus clear that the a was by nature descriptive. Though the theory is not clear, there appears sufficient grounds to believe that 2T was usually composed in Sanskrit only, as against the varied languages in all the other types of $49. All our auTs prove this to the hilt, and inspite of the fact that some of our later arTs have in- troduced Prakrit at certain places, it seems that in the earlier mus Sanskrit was the rule. Out of the four भाणs in चतुर्भाणी, only पादताडितकम् has used

THE ORIGIN OF SANSKRIT DRAMA 161

Prakrit and that too only twice in the course of the whole play, which is certainly very lengthy for a one-act drama. And the way in which Prakrit is used in these later wus shows that it was a novel experiment on their part owing to the influeuce of the 44s which had certainly fully developed then. It therefore seems to be quite possible that Prakrit had no place in our original aTs, but later writers being under the strong influence of conventional models of the other $yss tried to introduce this feature in the HTS. This point naturally leads to another con- sideration. In m the actual actor on the stage, before the eyes of the audience was faz only, and though he conversed with various hetaerae and also with persons naturally belonging to a lower strata of the society, it was he who repeated their speeches. In such cases the plot had enough opportunities to introduce the Prakrit, if that was the established convention. But, if our above suggestin is correct, " was the earliest dramatic form to evolve and at that date no precise convention had sprung up with regard to the use of various languages. Our theory is elaborate about the use of languages by various characters, and बिट, who is the only actor in a भाण appears to have been allowed Sanskrit in earlier days, but was restricted to waa in later days. NS in des- cribing a faa does not give any injunction about the language to be used by him, but BP expressly describes him as प्राकृतभाषी. Out of our earliest

162 TYPES OF SANSKRIT DRAMA

dramas, other than भाणs, चारुदत्त and मृच्छकटिक have म faz as a character, and in both these, he speaks in Sanskrit only. In armaeg whioh is the only other drama in which a faz figures, Prakrit is resorted to by him. This is conclusive enough to show that fae was allowed Sanskrit in earlier days. faz is always described as a man of accom- plishment, a man of town, a HrT%, and it is quite compatible with this character of his that he is allowed the use of Sanskrit. If this be true i.e. if the faz was allowed Sanskrit, a form of drama like ", in which he alone figured as the actor, must have been entirely composed in Sanskrit. Taking all these points-the episodic nature of T, and consequent large number of heroes and heroines, the monologne, the very primitive dra- matic technique, the descriptive nature of the plot and the employment of Sanskrit only to the entire exclusion of Prakrit together with the general scheme of evolution of the रुकपs already outlined by me, I am inclined to think that out of all the sys, IT was the first to evolve. But though the T may be taken as earlier than व्यायोग or वीथी or अड्क, why, it may be asked, should we not take the 4u7 as the first dramatic type to evolve? It has the same loose dramatic technique suggesting an open-air theatre. It has the same coarse nature indicating its popular character. But taking the entire line of evolution as detailed in the foregoing pages, our working

THE ORIGIX OF SANSKRIT DRAMA 16

basis that Io 4 was the first form to evolve amongst the $Ts, fits in very well with the whole scheme. Therefore, I am still inclined to take IT as the first dramatic evolute. For, the one respect in which "u differs from SE97, is the large number of actors that the latter is allowed. To my mind only one actor shows a very primitivo character. Then, again though our Jater 45873 show an extremely low state of the society, our earlier ones as represented by मत्तनिलास and भगवद- ogeH, are dignified in a way, inspite of the lower characters figuring therein. So too the loose theatrical technique is seen in the later mruas, but the earlier ones show a settled conventional dramatic technique, such as is presupposed by any नाटक or प्रकरण. Then again प्रइसन shows a variety of languages and is in certain cases mostly in Prakrit. For all these reasons HOT seems to be more primitive than 47.

7. I must here point out that though not attested by theory, our earrier wiw has a certain element of ITT present in them. शूद्रक in his पप्मप्राभृतकम् depicts his बिट as an accomplished person, a mns but at the same time gives him some traits which are later confined to Ravs. The burst of langhter, acrompanied by the sounds ' f ar' which everv audience would expect at the entrance of & fgos and which has later become a regular feature with him, is thrice seen in this fz's case (P. 12, 15, 19). The attempt at satirising the degraded position of the Brahmanas which has become a prominent method of exciting humour on the Sanskrit stage, is fully seen in mrandany, where & foolisb orthodox Brahmana, being kicked by a lady, goes to the Brahmanas aud fazs for expiation, and thus

164 TYPES OF SANSKRIT DRAMA

TIT thus scoms to me the first dramatio type to evolve: and if, now, we want to arrive at the original nature of our ar type, from the foregoing discussoin we will find the following characteristics of our first drama:

(1) it was entirely in Sanskrit, (2) it was discriptive in nature, (3) it was monologous in form, (4) and lastly, it was secular in matter. But I wish to make this point quite clear .. We have seen that as the &75 form Mw was the first to develop: and both theory and practice prove, beyond a shred of doubt that 7E was secular in its plot. Even in the case of other one-act dramas, the theory prescribes secular subjects with regard to प्रहमन and वीथी. Tn व्ययोग, अङ्ड and डिम the plot is required to be renowned, but no where a religious phase is indicated. for has gods etc. as heroes and it may have been religious: but all the other one-act plays were secular in their very nature. Thus our e4 form was undoubtedly secular in its origin. But I have to submit that evidence has another tale to tell with regard to the नृत्य types. We have taken भ ण, भ.णिका, रासक, गोष्ठी and tai as the earliest Ta types to evolve. Out of these भाण and ाणिका are regnired to have इस्चितिति

causes much mirth: and other arus almost regularly introduce one such incident at least, in which some u student is thus ridiculed. This feature of causing mirth in the andience by ridiculing the so called learned class has become regnlar with the seur.

THE ORIGIN OF SANSKRIT DRAMA 165

etc., in their plot. uaw was connected with gerr. So were ilet and ias. Thus all these elementary and early T typas seem to have been religious. And, though it is quite possible that our earliest a forms may have been both religious and secular i.e. they may have been resorted to on religious as well as secular occasions8, (for there being no plot, these = forms had no claim to be called religious or otherwise) yet the tradition connects them with faa and vad: and this may lend colour to its being oonnected mainly with religious occasions. If this theory of gradual evolution of our ga, and a4 types as detailed above, is correct, we will have to distinguish between certain stages of growth even in the 4ea types themselves. There will be roughly four distinct periods. (1) The earliest phase of the evolution of our aa4 types would be represented by a form which required only one actor and one act. (2) , in its second period, required many actors but still had only one ert. (3) Third period is represented by less complicated types with many acts. (4) Finally, the fourth phase is represented by the full-fledged and w types, which, when fully developed, gradually sent the other

8. Abh actually admits this, for he says that germny like 2rrft ete., were perforined in the presence of some king or in some templo court-yard (देवतानेपण्शादी वा Abh 177-9).

166 TYPES OF SANSKRIT DRAMA

lesser types into oblivion. And, now, we are in a position to answer the question raised by us at the outset of this volume about our drama being still-born. I have used this word purposely. A still-born child is that who at its very birth is dead i.e. devoid of all powers to develop further. So far we have taken the plays of भास and कालिदास to be the earliest: and these dramas do create an impression that they have already reached that stage of dramatic development, which is the highest and for which there is no further development possible. Our earliest drama thus seems to be still-born: but the very theory of gradaul evolution of our drama, as propounded by me, falsifies all such notions. The earliest specimen that we possess is a T and, though we may not be fortunate enough to recover other representatives of the other early types, it is quite certain that the dramas of भास and कालिदास represent the fourth and the last stage in the evolution of our drama. This means that at the commencement of the Christian era or a little earlier, we are already in possession of fully developed dramas which have at their back three distinct stages of evolution. Therefore the existance of a long chain of dramas representative of each of these periods will have to be admitted. This will put the actual beginning of our Drama in a very distant age-how distant, it is difficult to say at present. Moreover our drama was, at first, musical and added speech

THE ORIGIN OF SANSKRIT DRAMA 167

to it eater. and in this light it is likely that the Rgvedic dialogues and monologues represent our elementary Ta types, the monologue being sung by one expert actor who may have been a foras and the dialogue being carried on by two opposite parties. But into this realm of conjecture we shall not enter, just at present.

9. One of the earliest uses of the word urw in the sense of speech is seen in वृहदारण्यकोपनिषत. Cf. याव्रान्संवत्सरस्तमतोवन कालरव परस्तादसुजत। तं जानमभिव्याददात्स भाय करोत्सव वागभवत् ॥ 1, 2, 4.

APPENDIOES

APPENDIX I

LIST OF PLAYS AS QUOTED IN DRAMATURGICAL TEXTS

(Figures refer to Page nos) अनर्ष्यराघव ND 193, BP 232, SD 64, 88 DR 76, 79 etc. SD 63 करुणाकन्दल (अड्ड) SD 286 अनंगसेनाइरिनन्दिनी (प्रकरण, श्रीशक्ति- कुमारविरचित) ND 95 कनकावतीमाधव (शिल्पक) SD 106

अन्धिमन्थन BP 282 कन्दपकेलि (प्रहसन) SD 103

अभिनयराघव (क्षीरस्वामिविरचित) ND कर्पूरमअ्जरी (सट्टक) BP 269, DR 83 155 अभिरामराघव RS 265, 273 कलान्वितम् (रासकम्) SD 105

अभिज्ञानशाकुन्तल ND 57,69, 154; कलिकेलि (प्रहसन) BP

BP 237, 233, 228; SD कामदत्ता (भाणिका) SD 107 64, 66, 69, 70; DR 65, 66 etc. Abh. 39, 280 etc. कुन्दमाला BP 223; SD 65

अमृतमन्थन BP 250; NS IV, 2 कुसमशेखरविजय (ईहामृग) BP 253 अर्जुनचरित्र ND 172 SD 100

भानन्दकोश (प्रहसन) RS 278 कृत्यारावण BP 238, ND 80,83 etc. इन्दुलेखा (नाटिका) ND 114, 143 केलिरैवत (इल्लीस) BP 267, SD इन्दुलेखा (वीथी) BP 251, 231 106

उत्तरचरित ND 39, 100, etc. कौसुदीमित्राणन्द (प्रकणर) ND 70 DR 27, 28 etc.

उदयनचरितम् SD 85 कीढारसातळम् (श्रीगदितम्) SD 105

उदात्तकुजजरकम् (उल्लोप्यक) BP 266 गज्ञातरज्जिका (पोरिजातलता) BP 286

उदात्तराघव ND 66, 111 etc. गङ्गाभगीरथ (उत्सट्टिकाङ्क) BP 252

172 TYPES OF SANSKRIT DRAMA 6

गुणमाला Abh 177 देवीमहादेव (उल्लोप्यक) BP 266 गृहवृक्षवाटिका (नाटिका) SD 93 SD 104

गौडविजय (काव्य) BP 263 धनंजयविजय (व्यायोग) RS 261, 287 चण्डकौशिक SD 75 धूतचरित्र (प्रहसन) SD 103 चन्द्रकला (नाटिका, मम) SD 90 नर्मवती (नाव्यरासक) SD 104 चित्रोत्पलावलम्बितक (प्रकरण, अमात्य- नलविलास ND 40, 45 शंकुकविरचित ) ND 95 नागानन्द ND 45,68 etc. DR चूडामणि (डोम्बिका) Abh. 173 46,50 eto. KS P. 328 नृसिंहविजय (प्रेक्षणक) BP 263 छलितराम ND 98, 104, 150 etc; SD 102; DR 27,83,85 पयोधिमन्थन (समवकार) RS 290

जानकीराधव SD 77 पझ्मावतीपरिणयम् (प्रकरण) BP 243

जामदग्न्यजय ND 123 पझ्मावती RS 263, 266

तरङ्गदत्ता BP 243 पाण्डवानन्द ND 149, BP 230,

तापसवत्सराज BP 34, 43 etc. RD 82

Abh 297, 298, 338 पादत डितक (भाण) Ath.178

तारकोद्धरण (डिम) BP 248 पार्थविजय ND 76, 81

त्रिपुरदाह (डिम) BP 248, SD पुष्पदूषितक ND 50,94

99; NS IV, 10 पुष्पमाला (मम तातपादानां) SD 63

त्रिपुरमर्दन (प्रेक्षणक) BP 263 पुष्पभूषितम् (प्रकरण, वण्निडनायक, कुल- स्त्री) SD 98 दद्द्रचारुदत्तादिरूपक ND 53 प्रतिमानु(नि)रुद्द (श्रीभीमदेवसुनो- देवीचन्द्रगुप्त ND 71 (ध्रुवदेवी वसुनागस्य) ND 115, 116 occurs as a character) प्रबोधचन्द्रोदय RS 265 184 etc. देवीपरिणय BP 223, 227 प्रभावती (नाटिका, मम) SD 73, 79 82

LIST OF PLAYS 179

प्रसन्नराघव RS 258 मालती in ND प्रयोगाभ्युदय ND 140 मायाकापालिकम् (संलापक) SD 105 प्रियदर्शिका BP 244, DR 74 मायाकुरंगिका (ईहामृग) RS 298 76 Abh 312 मायापुष्पकम् ND 43, 48 बकुलवीथी BP 251 मारीचवंचितकम् BP 217,223 बालचरित्र SD 73 मारीचवध Abh. 183,184 (रागकान्य) बालरामायण SD 62, 66. BP 240 मुद्राराक्षस ND 43, 46 etc., BP 237, 233 DR 41,75 etc. (calls it बालिकावंचितकम् ND 138, 146 बृहत्कथामूलं) बिन्दुमती (दुर्म लिका) SD 106 मृच्छकटिकम् ND 50, 87 etc., मदलेखा BP 238 BP 228, 223 etc. SD 67,

मनोरमावत्सराज (भीमटविरचित) ND 68 70 DR 29, 45 etc.

144 मेनकानहूषम् (तोटक) BP 238 मल्लिका मकरन्द (अस्मदुपज्ञ) ND प्रकरण 171 मेनकाहितम् (रासक) SD 105

महानाटक BP 241, 279 DR ययातिविजयम् SI) 89

(हनुमन्नाटकम्) 44 यादवाभ्युदय (अस्मदुपज्ञ) ND 63,

महेश्वरानन्द RS 275 84 etc.

माणिक्यवच्िका (कल्पवली) P. 268 यादवोदय (काव्य) SD 1 5

माधववीथिका (वीथी) SR 290 रघुविलास ND 57, 84 etc.

मालतीमाधव ND 67, 120; BP रत्नावलि ND 40, 41 etc. BP

210, 243, 280; SD 68, 69 207 etc. SD 64, 65 etc.

DR 11, 45 etc. DR 5, 6 etc. Abh. 25, 15 etc. मालति (वि?) काग्निमित्र ND 40 राघवविजय (रागकाव्य) Abh. 174 91 etc. BP 210, SD 84 DR 40, 44 etc. 183 184 ect. राघवाभ्युदय ND 47 49 ect. मालविका is invariably called SD 96

174 TYPES OF SANSKRIT DRAMA

रामाभ्युदय ND 95, 56 etc; BP 39 etc. Abh. 298 229: SD; 65; DR 29; KS वृत्रोद्धरण (डिम) BP 248 P. 325 रामानन्द (श्रोगदित) BP 235 258 वीरभद्रविजम्भण (डिम) RS 272, 276 etc. रामाभिनन्द SD 68 राधाविप्रलम्भ (रासकाङ्क, भेज्जलविरचित) वेणीसंहार ND 50, 57 etc. BP

ND 116; Abh. 42; 216 228, 225 etc. SD 67, 68,

Abh. quotes this author 70; DR 59 etc. Abh 297

as a dramatist 216 eto.

रैवतमदनिका (गोष्ठी) SD शक्तिरामानुजम् (उत्सष्टिकाङ) BP 252 रोहिणीमृगाङ्क (प्रकरण, अस्मदुपज्ञ) ND शारदचन्द्रिका BP 252 P. 61, 68 लटकमेलक (प्रहसन) SD 103 शर्मिष्ठाययाति (उत्सिष्टिकाढ्क) SD 100

लीलामधुकर (भाण) SD 98 शंगारतिलक (प्रस्थान) BP 262, SD 104 वनमाला (नाटिका, अस्मदुपज्ञा) ND शुंगारमंजरी (भाण) RS 281 171 वालिवध (प्रेक्षणक) BP 263; SD सत्यहत्शिन्द्र ND 42, 48

103 समुद्रमन्थन (समवकार) SD 49 वासवदत्तानाट्यधारा (नृत्तपार ?) [सुबन्धु's] सागरकौमुदो (प्रहसन) BP 247 Abh. 247. विक्रमोरवशीय ND 96;143;BP 230 सागरलंघन BP 205

etc .; SD 75; DR 82, 83 सीतापहरणम् BP 205

133; Abh 42 etc. सुग्रीवकेलनम BP 263

विद्धशालभंजिंका SD 103 सुधाकलश (अस्पदुपज्ञ) ND 147,

विधिविलसित (a drama on नल 148 etc.

story) ND 78 सैरंधिका (प्रहसन) BP 247

विलक्षणदुर्योधन ND 78 सोगन्विवाहरण (व्यायोग) SD 99

विलासवती (नाट्यरासक) SD 140 स्तभ्भितरम्भक (तोटक) BP 238;

वीणावती (भाणिका) BP 262 SD (त्रोटक) 104

वीरचात ND 39 etc. DR 8 स्वप्रवासवदत्तम् (भासकृत) ND 84; BP 239; Abh. 87

APPENDIX II

TECHNICAL TERMS

IN this Chapter I append an alphabetical list of the technical terms occurring in the foregoing pages, in the hope that they will be useful for the proper understanding of the text and render it self-contained. अनुभाव [47] The stage of physical effeot in the रस theory. See रस. अनुसँधि [46] Sub-divisions of संविs, See संध्यञ् aur [114] A dancing Scene. See P. 118, 1.11 अभिनय Histrionics. Indian dramaturgyrequires an actor to be clever in the art of acting or efma. अभिनय is fourfold. आङ्गिक or कायिक, वाचिक, आहार्य and सात्त्विक, आङ्िक or कायिक embraces all the bodily move- ments involved in acting. Various movements of eyes, nose, ears, eyebrows, hands, feet ete., would come under this type of अभिनय. Rules regarding the proper and accurate pronunciations of words and the rules regarding the employment of various languages and dialects would come under the head of वाचिकाभिनय. Appropriate dress and toilet would fall under आहार्याभिनय. Interpretations of various moods represented in the plot would fall under the province of सास्विकाभिनय. Theory about these अभिनयs is very elaborate. अभिसारिका [125]: DR (2, 44)

One who, being lovelorn, goes to meet her

176 TYPES OF SANSKRIT DRAMA

lover or makes him come to her is an अभिसारिका. arsrfas [47]: Sanskrit dramaturgists have pres- cribed that for the proper accuracy of the plot-deve- lopment a dramatist should see that at least five points of his plot are qnite distinct in his play. These five points or original elements (प्रकृति) of the plot are called अर्थप्रकृतिs. They are five in number viz. बीज, बिन्दु, पताका प्रकरी and कार्य. Before the actual composition of the play a playwright has to fit up the proper skeleton of his plot. First he has to think about the बीज or the point at which the first germ of the plot becomes visible: then he has to think about बिन्दु or the expansion of the germ. After the plot expands in this manner, he may sometimes think it necessary to have some episode (vamr) or episodical incident () for further elaboration of the plot. And finally he has to think about the fitting end, the denouement (arr). These five points that are thus fixed up are called the arisafas or the original elements (of the plot), on which the whole plot is developed, बीज=germ. बिन्दु=Expansion of the बीज. पताका=Episode. प्रकरी=Episodical incident कार्य = denouement. DR [of R, 1, 27] अर्धोद्गाह [107] अर्व+उद्याह. Indian music recog- nises four types of धातुs. धातु is defined as प्रबन्धावयवः (SR. P. 272). Its four types are उद्याह, मेलापक, ध्रुब and आभोग. Thus उद्गाह is a धातु. It is explained by चतुरकल्लिनाथ thus उद्गृह्यते प्रारभ्यते येन गीतं स उद्मह इति प्रबन्धस्य

TECHNICAL TERMS 177

प्रथमावयवोऽन्वर्थसंज्:। (SR, P. 272). It is further ex- plained (SR. P. 592):

आरदो वाद्यप्रवन्धानां शुद्धकूटादिनिमित: । यः खण्डो वादयते प्राहुरुद्धाहं त महत्तमाः ॥ ९७९ and तें टें है तट्टें तक्कतटे इति यावत्प्रवन्धपूरणमभ्यासादुद्आहप्रबन्ध;। Thus it is a particular programme of playing upon beating drums to be played in the beginning of a प्रबन्ध, अवमर्श : [121]: Pause: See सन्धि.

Haen: [46]: With reference to the central action of the plot, our theory prescribes five stages. These are called aneTs. They are named a8 आरम्भ, प्रयत्न, प्राप्त्याशा, नियताप्ति, and फलागम [of. DR, 1.28]. Beginning of the action is amrH. The effort that the hero has to make for the achievement of his object is saR. This stage shows that all is not olear sailing for the hero. He has to put some effort, as the result of which there might arise some prospect of success, which stage is called STTIT. After further effort this prospect turns into practical certainty of achievement, which is therefore termed as नियतापि; and finally comes the actual attainment of the result i.e. nama. Thus these five stages refer to the progress of the plot.

आरम्भ=Beginning of action. प्रयत्न = Effort for the achievement of the object. T= Hope of success. नियताप्ति = Certainty of achievement. फलागम=Attain- ment of Result.

178 TYPES OF SANSKRIT DRAMA

अम्हारs [16]: In the details of the आज्विक अभिनय, our theory has a very detailed classification of the movements of all the limbs of the body. Out of these, harmonious movement of hands and feet, is called करण. NS describes 108 काणs. Combina- tions of these wos cause amers. It is thus defined by Abh .: अम्वानां देशान्तरे समुचिते प्रापणप्रकारोऽङ्गहारः । हरस्य चायं हार: प्रयोग:, अङ्गनिर्वत्यों हारोऽड्हार :. In an अङ्गहार, the actor performs two or more rs.

आकाशपुरुप [106]: A character though not bodily on the stage, yet supposed to be there and with whom the विट in a भाण converses as if with someone actually present on the stage. Thus it is a character who is in the space (a1,51), not actually on the stage. Cf. castles in the air, where air is used in the sense of आकाश. आरभटी [58] A वृत्ति, which see. आक्षिप्तक: [122] Unfolding of the seed of the plot. Or it may be a musical item. Indian music has a technical term called आक्षिप्तिका, wich is probably meant here. It is thus described: SR P. 158 चश्रत्पुटादितालेन मागत्रयतिभूषिता । आक्षिप्तिका स्वरपदप्रथिता कथिता वुघैः ॥२६॥ It is thus a type of निबद्धगीत. आज्िक [70] A type of अभिनय, which see. छत्तरोत्तर [111 ] Questions and answers. It may refer to आकाशभणित type of conversations. उचाल [109] A kind of ताल. [115]: An assistant of hero.

TECHNICAL TERMS 179

ar [123] One's own legally married wife. A type of नायिका, which see. T [123]: An unmarried girl. A type of नायिका, which see. कलहान्तरिता [123]: A type of नायिका, which see. कुलजा [52]: A heroine who is born of a noble family. कुट्टिणी [54]: A harlot. केशिकी [56] A type of वृत्ति, which see. खण्डताल [121] A kind of ताल. ख्यातोद्धत [60] A hero who is reputed in earlier litrature or tradition, is called a रन्यात or a प्रख्यात here, When such a hero has impudent manners in the play he is called खव्यातोद्धत. गणिका [123] A courtezan, a type of नायिका, which see. TaT [106] A metre, a type of song. See SR P. 319. आर्येत प्राकृते गेया स्यात्पश्चचरणाऽथना। त्रिपदी षट्पदी गाथेत्यपरे सूरयो जगु: ।। गर्भ [60] A सन्धि, which see. गर्भाड्क [51 ] An act within an act e.g. in उत्तरराम or रत्नावलि. When in the body of an act, the principal characters of a play are represented as witnessing a play cnacted before their eyes, then occurs गर्भाङ्क. चतुरस्न [119]: It is a जाति of ताल the mordern चोताल. It is named after the number of र्णs in the principal beat i, e. four.

180 TYPES OF SANSKRIT DRAMA

[54]: A man servant, usually an accomplice of the विट. दक्षिण [121] A hero who is courteous to all his wives. दण्डद्विदण्डक [114]: One or two sticks.

दिव्यचारी [107]: चारी is movement of an actress on the stage, while dancing. There are various types of चारीs. This is probably the same as आकाशचारी i.e. the acting interpreting the movement in space.

दिव्या [92]: A dirine heroine like an अप्सरा (e.g. उवशी.) t [126]: A lady-messenger clever in pursua- ding lovers to meet one another. देवी [92]: Chief queen. v4 [106] A type of metre, a song. See SR. P. 319 ff. छन्दसा द्विपथेन स्याद्द्विपथः स्वरमुक्तिकः । तालहीन: सतालो वा ।। This is a synonym of the classical metre दोधक. A प्रबन्ध or musical composition in which this metre is employed will also be called द्विपथ. द्विपदी [122]: A metre. A प्रबन्ध composed in that metre. It has करुणताल, For its composition see SR P. 313-4. धीरप्रशान्त [52] A type of नायक, which see, धीरललित [92] A type of नायक, which see. धीरोदात्त [46] A type of नायक, which see, धीरोद्धत [61] A type of नायक, which see,

TECHNICAL TERMS 181

gar [122] In the actual practice of the per- formance of a drama, there was a musical programme gone through. At the entrance of particular characters in particular scenes, certain songs were sung declaring their entrance. These were called gars. ad as quoted in SR (P. 90) describes thus.

यानि चैवं निबद्धानि छन्दोवृत्तिविधानतः । मुखप्रतिमुखादीनि गीताज्ञान्यैव सर्वशः॥ यदात्मकानि तानि स्युर्धवासज्ञानि नाटके। Comm. on SR (P. 90) has this note: fa प्रवेशा दयर्थसूचनादेस्तासामन्वर्थता हेया। NS has one whole epna for this-the 42nd. ध्वनिका [122] Appears to be an item of musical programme. नटी [46]: सूत्रधार's wifc. नागरा [121] A type of नायिका, who is accomplished in all the fine arts. 3 [47] Our dramaturgy recognises. 36 decorative elements (Ks) to be employed in a drama. Just as there are assars in Poetics, there are arssans in Dramatics also. See NS XVI, which describes these अलंकारछ, art [48 ] Benedictory verse or verses. Sanskrit commentators usually quote the following verse for नान्दी. आशीनेमस्कियारूपः श्रोः काव्या्थसूचकः । नान्दीति कथ्यते Its main characteristics therefore would be

182 TYPES OF SANSKRIT DRAMA these : (1) It must be benedictory in nature. (2) It should suggest the subject-matter of the plot. (3) It should have 4, 8 or 12 7s. Practically all our extant dramas begin with a verse which has the above nature and after this first verse the stage-direction नान्धन्ते ततः प्रविशति सूत्रधारः occurs. In certain cases this line appears before the verse also, as in ma's plays. As a matter of fact this a verse is merely a part of the long programme called qarr, which had to be gone through before the play actually commenced. BP. (P. 195-7) prescribes 22 elements of this yarr, (See P. 194, 1. 20), out of which is 12th. compare BP. P. 196-7. नाडिका [126] half a मुहूर्त. Sec P. 126. 714 [ 46] A hero. According to Sanskrit dramaturgy there are many varieties of 5. These varieties are mainly based on two distinct princi- ples. From the viewpoint of the nature of the hero, he is classified as धीरप्रशान्त, धीरललित, धीरोदात्त, and d. He is also classified as a lover i. e. with . reference to his conduct towards his heroine or heroines. He is then called दक्षिण (courteous), शठ (deceitful) धृष (shameless), or अनुकूल (agreeable). There are some other principles of division also; but we are here concerned with the first principle only. Therefore we shall explain these four verieties. धीरप्रशान्त: DR, 2, 4. सामान्यगुणयुक्तस्तु धीरशान्तो द्विजादिक : This suggests that he must have all the quali-

TECHNICAL TERMS 188

ties of a gentleman, and that he must be particu- larly self-controlled (धीर) and calm (शान्त). धीरललित : DR, 2,3. निश्चिन्तो धीरललितः कलासक्त: सुखी मृदुः His qualities are: self-control (धीरत्व), light- heartedness (ललितत्व), no anxiety, fondness for arts (कलासक्ति), happiness and delicaoy. धीरोद्वत्त : DR, 2, 6. दपमात्सर्यभूयिष्ठो मायाछन्तपरायण: । धीरेद्धतस्त्वहंकारी चलश्षण्डो विकत्यनः ॥ Self-controlled, haughty (swa), proud, jealous, deceitful, devoted to magic, egoistic, fickle, irascible and boastful-these are the qualities of the घीरोदात hero. धीरोदात्त, DR. 2, 5.

महासत्वोऽतिगम्भीर: क्षमावानविकत्थनः । स्थिरो निगूढाहंकारो धीरोदात्तो दृढवरतः । Self-controlled, exalted उदात्त very sobre, for- bearing, not boastful, steady, with subdued ego, firm of purpose (दृढवत) and of great excellence (महासत्त्व)- these are the qualities of the धीरोदास hero. नायिका: Heroines are of many types. First principle to classify them is their marital relations. A legally married wife is called स्बीया or ऊढा. Another's married wife, with whom the hero comes in contact is called अन्या or परकीया. A courtezan with whom the hero has relations is called a वेशत्री or सामान्या or गणिका. These are thus dcscribed in DR:

184 TYPES OF SANSKRIT DRAMA स्वाऽन्या साधारणस्त्रीति तद्गुणा नायिका त्रिधा। 2 24 अन्यत्ी कन्यकोढा च नान्योढांडगिरसे क्वचित्। कन्यानुरागमिच्छातः कुर्यादज्राङ्गिसमाश्रयम् ॥ 2, 32 साधारणस्त्री गणिका कलाप्रागल्म्यधौत्ययुक। 2,23 छत्रकामसुखार्थाजस्वतंत्राहंयुपण्ड कान्। रक्तेव रजयेदाढयान्निःस्वान्मात्रा विवासयेत्।। 2, 34 रक्तेव त्वप्रहसने नैषा दिन्यनृपाश्रये । 2, 35 Thus from the viewpoint of marital relations the heroine may be स्वीया i. e. one's own wife, or अन्या i. e a कन्या (a maiden) or another's wife (परकीया), or सामान्या i. e. a courtezan. 2, 32 makes it clear tbat परकीया should never figure in the principle रस. 2, 33-34 count the qualities necessary in a सामान्या, Again, according to her age and consequent development of her own nature she is classfied as मुग्धा (Inexperienced) मथ्या (Half-experienced and प्रगल्भा (Experienced) or प्रौढा. These are thus described in DR.

सुग्धा नववयःकामा रतो वामा मृदु: कुधि। 2, 26 मध्योद्ययोवनानङ्गा मोहानतसुरतक्षमा । 2, 27. धीरा सोत्प्रासवकोक्त्या मध्या साश्रुकृतागसम्। खेदयेद्यितं-कोपादधीरा परुषाक्षरम्।। 2, 28. यौवनान्धा स्मरोन्मता प्रगल्भा दयिताङ्गके।

सावहित्यादरोदास्तें रतों धीरेतरा कुधा। संतर्ज्य ताडयेन्मध्या मध्या धीरेव तं वदेत्।। 2 30. द्वेधा ज्येष्ठा कनिष्ठा चेत्यमुग्धा द्वादशोदिता: ।। 2, 31. TIeT has the desire of new youth, is bashful in love-sports, and gentle in anger. मध्या has the love of rising youth, and is capable of enjoying

TECHNICAL TERMS 185

love-sports till fainting. 2,28 describes thesc sub- varieties of मध्या according as she is धीरा, मध्या or afu in her anger, towards her lover. 2,29 describes & प्रगल्भा or प्रौढा. She is blinded by youth, is intoxi- cated with love, absorbing herself as it were, into the body of her lover through joy, becomes un- conscious even at the beginning of love-sports. 2,30 describes the three varieties of TOT according as she is धीरा, मध्या or अधोरा in her anger towards her lover. Again both these मध्या and प्रौढा can be ज्येष्ठ। (an elder wife) or कनिष्ठा (younger wite).

Again with reference to her mental condition due to her relations with the hero, a heroine is classified as स्वाधीनपतिका, वासकसज्जा, विरहेोत्कष्ठिता, खण्डिता, कलहान्तरिता, विप्रलब्धा, प्रोषितप्रिया and अभिसारिका.

They are thus described in DR.

आसामष्राववस्था: स्यु: स्वाधीनपतिकादिका। 2, 36 आसन्नायत्तरमणा हृष्टा स्वाधीनभतृका।22, 39. मुदा नासकसज्जा स्व्रां मण्डयत्येष्यति प्रिय। 2, 38. चिरयत्यव्यलीके तु विरहोत्कंठितोन्मना: । 2, 39. ज्ञातेऽन्यासगविकृते खण्डितेर्ष्याकषायिता 1 2, 40. कलहान्तरिता Sमर्षाद्विधूतेऽनुशयार्तियुक्। 2, 41.

दूरदेशान्तरस्थे तु कार्यतः प्रोषितप्रिया । 2, 43.

युक्ता: षडन्त्या द्वे चाधे कीडोउजल्यप्रहर्षितः । 2,15. When the lover is by her side and at her service, she is called स्वाधीनभर्तृका, One that decorates

186 TYPES OF SANSKRIT DRAMA herself to meet her lover when he comes, is called वासकसज्जा. One whose lover tarries in coming to her, inspite of her being non-guilty is called विरहेत्कंठिता. One who has discovered her lover having been disfigured through his love-sports with another woman is खण्डिता. One who has repulsed her lover through anger and then suffers remorse is कलहान्तरिता. One who is greatly insulted by her lover, by not turning up at the agreed rendezvous, is called विप्रलव्धा. One whose husband has gone abroad on business is called प्रोषितप्रिया. One, who being love- lorn goes to meet her lover herself, or makes him to come to her is called अभिसि. 1,45 gives the characteristics of these नायिकाड, निवरण or निवारण [108] An item of musical programme. निर्वहण [ 62] संधि, which see. पताका [47 ] An अर्थप्रकृति, which see. परकीया [73] Another's wife; A type of नायिका, which see. पांचाली [07] A kind of रीति, पीठमर्द [07] He is called a पताकानायक, He is thus described in DR. पताकानाथकास्त्वन्याः पीठमर्दो विचक्षणः । तस्यैवानुचरो भक्तः किचिदूनश् तद्गुणैः ॥ २, १२ He is intelligent, following the r, devoted to him and is slightly inferior to the rT5 in all his qualities. BP describes him thus (P. 94) स पीठमर्दे विश्वास्यः कुपितस्त्रीप्रसादक:।

TECHNICAL TERMS 187

gr [ 125 ] A heroine who has remarried. प्रकरी [47 ] An अर्थप्रकृति, which see. प्रणवताल [114 ] A type of ताल, प्रतिमुख [115 ] A संधि, which see.

प्रवेशक [47 ] प्रवेशक and विष्कम्भक are two intro- ductory scenes. When a dramatist thinks that in the representation of his plot there are some incidents which are not very important from the dramatic viewpoint, but which are such as would be inevitable for connecting the link of the plot, he suggests such incidents by such scenes: e. g. in उत्तरराम, in the first act, गम abandons सीता. The 2nd act proper begins after 12 years with u going to kill mas. What happened during these 12 years (e. g. the birth of aa and F etc.) is necessary for the proper appreciation of the plot. So the dramatist puts an interlude scene and suggests these incidents. Such scenes are of two types called प्रवेशक and विष्कम्भक. They have following characteristics:

gasra: (1) It should not ocour in beginning of the first act. It can occur in the beginning of any other act. (2) In it all the characters should speak in Prakrit, i. e. all the characters figuring therein are low ones. fasarn: (1) It can ocour in the beginning of any act, even the first. (2) It is called f if all the charactore therein are such as use Sanskrit only: and it is called fufisaras if some

188 TYPES OF SANSERIT DRAMA of the characters speak in Sanskrit and some in Prakrit. प्रस्तावना [ 48]: Several types of प्रस्तावना are ex- plained earlier (See P. 48). Following are the requisites of a प्रस्तावना. (1) It should occur in the beginning of a play. (2) In it aan should converse with his wife who is called नटी or his attendant who is called पारिपार्श्वक or मारिष Or विदूपक Or he may enter alone and address the audience. (3) In the course of this conversation or speech, the audience should be informed about the name of this play, the name of the author and his history. (4) Before closing the प्रस्तावना the सूत्रधार should introduce the character or the incidents of the actual beginning of the first act.

All these features are not present in all our extant plays. For instance in ma's plays only the EETER enters and introduces the play and goes away, and (3) Is altogether absent. In कालिदास's dramas, except the personal history of the auther all other points are seen: While in later plays like those of हर्ष and भवभूति all these details are present. प्रौढा [126] A heroine experienced in love-sports. See नायिका. av [63] A harlot. बिन्दु [45] An अर्थप्रकृति, whih see. बीज [45] An अर्थप्रकृति which see. भग्नताल [106] A type of ताल. भग्नताले चनुबिन्दु नगणथ

TECHNICAL ,TERMS 189

विरामवान । T. SR. I, 444.

भरतवाक्य: Though nowhere found in theory, almost all our extant dramas append a verse at the end of the play, which is called maae. In this verse the hero of the play asks for a blessing from the most revered personality in the play. It has been suggested that this verse was recited in honour of aa who is supposed to be the founder of dramatic scienee on this earth. Others think that it is a mass prayer by all the actors together, as one of the synonyms for an actor is aRa. For this discussion see my paper 'Bhagava- dajjukam and Bharatavakya' in IHQ

भारती [46] A वृत्ति, which see. T [47] An emotion. See ?. भोगिनी [123] A type of नायिका. BP. describes her thus: (P. 291) स्वयं प्रवृत्तसुरता प्रवृत्ते भोगवन्मनि । सपत्नीनामसहना भोगनीति निगधंत ।।

When the love-sports begin, she herself makes the start: and sho does not tolerate co-wives. मतपाली [106] An item of musical progrannme. मल्लताल [114] A type of ताल । मलतालो त्रिरामान्तदविबिन्दन्नं चतुलेधु. SR. I, *440. मागधी [106] A musical song is called गीत. म.गधी is a type of afa. It is thus defined: SR. P. 144. गीत्वा कलायाम यायां विलम्बितलयं पदम् । द्वितीयायां मध्यलयं तत्पदान्तरसंयुतम् ।

190 TYPES OF EANSKRIT DRAMA

सतृतीयपदे ते च सृतीयस्यां हुते लये । इति त्रिरावृत्तपदां मागधीं जगदुर्बुधाः ॥

HIT [106]: Time taken in pronouncing one लघुनण. This can be a type of ताल etc. also. मानिनी [92] A type of नायिका. One who, feeling insulted by the conduct of her husband is angry with him is called a म.निनी.

मारिब [46] An attendant of सूत्रधार, पारिपार्थवक. मार्गनिका [106] An item of the musical pro- gramme. मुख [47] A सन्धि, which see. grar [92] A heroine inexperienced in love- sports. See also नायिका. मुरजाक्षरवाद् [114] A beating drum, probably नौबत. यति [121]Pause in music. रथ्या [106] An item of the musical programme. a ताल or the like.

रस [47] Theory of रस is peculiar to Indian dramaturgy. It has also played a very important part in the science of Poetics. To understand this theory let us take an example. An actor stages the part of UH, in separation from atar. He wishes to create a tragic feeling in the mind of the audience. The process by which he will achieve his end will pass through the following stages. [1] (a) This feeling originally relies upon (rq and सीना. If these two are non-existant the feeling

TECHNICAL TERMS 191

will not arise at all. Therefore these two-hero and heroine-are the sources from which the feeling arises. (b) This feeling, after thus rising, is nourished or excited by the environments like clouds etc. So far the process is mostly unconscious. But soon, these two stages begin to act upon the body and mind of the actor. [2] Due to the physical effect, he has tears in his eyes etc .: [3] Due to the mental effect, first there arises a vague fecling of dejection, ete. At this stage the process begins to be conscious, and soon [4] this vague feeling, if nourished, takos the form of a permanent mood which we call grief. Here the process becomes fully conscious.

These stages, in the te.minology of ia theory, are designated as follows:

[y] (a) The hero and the heroine, on whom the feeling originally rests are called आलंबनविभावS. [1] (b) The environment which excites the feeling is called उद्दीपननिभाव, Both these form one stage called the fama stage. [-] The physical effect of the first stage is called अनुभाव or सस्विक अनुभ ब. [6] Its vague transitory mental effect is called safrarf- 4. [4] And the last stage where this transitory mental effccts become decp-rooted and take the form of permanont mood is callod rtns. Thus [1] (a) and (b) are fowres, [2] is ergenis and [3] and [4] are भावड.

When this process goes on in tho mind of

192 TYPES OF SANSKRIT DRAMA

the actor it is subjective only: but as the actor goes on interpreting the various stages by his histrionios, speech etc., the: audience also goes through the same stages, Here the process becomes objective also. When this process (objective as well as subjective), reaching the last stage of स्थायी भाव, is completed, the minds of the audience experience a subtle pleasure which is termed as 747: 7 is the ultimate pleasurable mental condition, which is the outcome of the whole of the above process. अनुभावs are named as स्तम्भ, प्रलय, रोमाञ्च, स्वेद, वेवर्ण्य, वपेथू, अन and वैस्वर्य, व्यभिचारीs are named as निर्वेद, ग्लानि शंका, असूंया, मद, श्रम, आलस्य दैन्य, चिन्ता, मोह स्मृति, धृति, क्रीडा, चपलता, हर्ष, आवेग, जडता, गर्व, विषाद, औत्सुक्क्य, निद्रा, विस्मृति, त्रास, वितर्क, स्वप्न, विबोध, अमर्ष, अवहित्य, उग्रता, मति, व्यानि, उन्माद, मरण. स्थायीभावs are the following: रति, हस, शोक, क्रोध, उत्साह, भय, जुगुप्सा, विस्मय, and (निर्वेद). And the रसs are शुभ्गार, हास्य, करुण, रोद्र, वीर, भयानक, वीभत्स, अद्भुत and (शान्त). रेचकs [16] Separate (not simultaneous) move- ments of hands, feet, waist, and head. A division of कायिकाभिनय. लय [121] Rhythm created by reciting syllables in proper time-measure. लास्याज्s [68]:लास्य is the gentle dance. Theory recognises ten types or elements of लास्य. BP. des- cribes tdem thus: गेयपदं स्थितपाठ्यमासीनं पुष्पगण्डिका । प्रच्छेदकं त्रिमूढ्च सेन्धवारयं द्विमूढकम् ॥ उत्तमोत्तमकं चैतदुक्तप्रत्युक्तमेव च । लास्यं दशविधं न्वेतदज्निर्देशकल्पनम्।

TECHNICAL TERMS 193

वीणादिवाद्ययोगेन सहितं यत्र भाव्यते । ललितं नायिकागीतं तद्रेयपदमुच्यते।। चश्चत्पुटादिना वाक्याभिनयो नायिकाकृतः । भू मचारीप्रचारेण स्थितपाठयं तदुच्यते । भ्रनेत्र पादच लन विलासा भिनयान्वितम्। योज्यमासीनया पाठ्यमासीनं तदुदाहृतम्॥ नानाविधेन वाद्येन नानाताललयान्वितम् । लास्यं प्रयुजते यत्र सा ज्ञेया पुन्पगण्डिका ।। अन्यासङ्गमशङ्किन्या नायकस्यात्तरोषया। प्रेमच्छेदप्रकट लास्यं प्रच्छेदकं विदुः । अनिष्ठुरश्लक्ष्णपद समवृत्तरलंकृतम् । नाटयं पुरुषभावाढयं त्रिमूढकमुदाहृतम्॥ देशभाषाविशेषेण चलद्वलयश्ह्गलम् । लास्यं प्रयुज्यते यत्र तत्सैन्धवमुदाहृतम् ।। चारीभिलेलिताभिश्व चित्रार्थाभिनयान्वितम्। स्पष्टभावरसोपेतं लास्यं यत्तद्द्विमूढकम् ॥ अपा ज्ञातपार्श्वस्थं गेयभावविभूषितम् । लास्यं सोत्कण्डवाक्य यदुत्तमोत्तमकं भवेत्।। कोपासादजनितं साधिक्षेपपदाश्रयम् । वाक्य तनुक्तात्युक्तं दँयोः प्रश्नोत्तरात्मकम् ।। Thus thero arc ten लास्यांगs viz. गेयपद = mere song, स्थितपाठयं = recitation by oue who is standing, आसीन = Recitation by ouo who is seated, पुष्पगण्डिका = Dance in accompanimont with various types of musical instrumonts, प्रच्छेदक = Song, oxpressing the breach of love, by oun who is a खण्डिता, त्रिमूढ = (it is also called faga) Representation, mainly of males, with uaste (i.e. even metres) and gentle words, au= Dance, with banglos and girdles shaking exprossod in देशभाषा, द्विमुढकम् (it is also called द्विगूढकम) = Dance with various types of histrionics,

194 TYPES OF SANSKRIT DRAMA

and clear emotions, by means of various चारीड, उत्तमोत्तम = Speech of one who is anxious and who is unmindful of persons by his side, and उक्तप्रत्युक्त = Fierce conversation caused by anger.

These लास्याजs may be cmployed in a drama at several places. SR gives a set of देशीलास्याङs which are worth noticing here. (P. 7934)

चालिश्ालिवडश्चाथ लढि: सूकमुरोङ्गणम् । धसकश्चाङ्गहारः स्यादोयारो विहसी मनः । लास्याङ्गानिं दशैतानि देश्यां देशीविंदो विदुः। कोमलं सविलासं च मधुरं ताललास्ययुक्।। न.तिद्ठुठं नातिमन्दं त्र्यस्तताप्रचुर तथा । पादोरुकटिबाहूनां यौगपद्येन चालनम् ।। चालि: सा शेंघयसांमुख्यप्राया चालिवडो भवेत्। सुकुमारं तिरश्षीनं विलासरसिकं च यत् ।। युगपत्कटिबाहूनां चालनं सा लढिमता।। कर्णयोर्हावबहुलं लसल्ोलावतंसयो: । विलम्बेनाविलम्बेन सूकं तल्लयवालनम् ॥ विलम्बेनाविलम्बेन कुचयोर्भुजशीर्षयोः । ललितं चालनं तियक्तज्ज्ञा प्राहुरुरोङ्गणभ्। धसकः स्यात्सुललितं स्तनाधोनयनं लयात् । सतालललितोपेता कमातकार्या द्वयोनतिः ।। धनुर्वदङ्गहारः स्यादिति निःशंकभाषितम् । किचित्तिर्यगधो मूध्नों गतिरोयारको मतः ॥ स्मिनं स्याद्विहष्ी यस्तु शआाररसनिर्मर: । अभ्यस्तादन्य एवातिसूक्ष्मप्रत्यग्रमज्ञिभाक्॥ गीतादेरागतः स्थायस्तल्लयात्तन्मनो मतम् ।

These are, of course, not meant here.

TECHNICAL WERMS 195

वसन्त [106] A type of ताल. See वसन्तो न्मो। SR. D, 451 वर्ण [106] A प्रबन्धः See SR P. 305 वर्णताल [104] A type of ताल; वर्णभिभो द्वुतो लोग. SR P. 436 वर्धनिका [122] A type of ताल, वाचिक [70] A type of अभिनय, which see. वादयताल [16] A type of ताल. वासकताल [125] A type of ताल. वासकसज्जा [115] A type of नायिका, which see. faz [52]: One of the assistants of the hero. He is thus defined. एकविद्यो विटधान्यो DR, 2, 13. एकविद्यो विटस्तस्य कामतंत्रेषु कौशलम् BP, P. 94. His main qualification was his proficiency in the art of love. Therefore he alone figures in arr. विद्षक [46] One of the assistants of the hero. He is thus defined.

हास्यकृच विदूषक: DR, 2, 13.

पीठमध्य स्य पुरतः प्रयोक्ता नायिकादिषु ॥ BP. 44. विभाव [47] See रस विमर्श [60] Same as अविभर्श, which see. विश्राम [105]A word used for 'a scene'. वीध्यम् [60] Following are the वीभ्यञ्s (DR, 3, 13-26): उद्धात्यकावलगिते प्रपवन्रिगते छलम्। वाकेल्यधिबले गण्डं अवस्यान्दितनालिके।

198 TYPES OF SANSKRIT DRAMA

असत्पलापव्याहारमृदवाणि त्रयोदश। 3, 13. गूढार्थपदपर्यायमाला प्रश्नोत्तरस्य वा। यत्रान्योन्यं समालापो द्वेधोद्धात्यं तदुच्यते।। 3, 14. यत्रकत्र समवशात्कार्य अन्यत्प्रसाधयत्। प्रस्तुतेन्यत्र वाऽन्यत्स्यात्तच्चावलगितं द्विधा।। असद्भतं मिथःस्तोत्रं प्रपथ्चो हास्यकृन्मतः । 3, 16. श्रुतिसाम्यादनेकार्थयोजनं त्रिगतं त्विह। नटादित्रितयालाप: पूर्वरज्ने तदिष्यते ।। 3,17. प्रियाभैरप्रियैर्वाक्यैर्विलोभ्य छलनाच्छलम्। 8, 18. विनितृत्त्थाऽस्य वाक्केली द्विख्त्रिः प्रत्युक्तितोऽपिं वा । 3,19 अन्योन्यवाक्याधिक्योक्तिः स्पर्धयाऽधिबलं भवेत्। 3 20 गण्डः प्रस्तुतसम्बन्धिभिन्नारथे सहसोदितम्। 3, 21 रसोक्तस्यान्यथा व्याख्या यत्रावस्यन्दितं हि तत्। 3, 22 सोपहासा निगूढार्था नालिकेव प्रहेलिका। 3, 23. असम्बद्धकथाप्रायोSसत्प्रलापो यथोत्तर: 2, 24. अन्यार्थमेव व्याहारो हास्यलोभकरं वचः । 2, 25. दोपा गुणा गुणा दोषा यत्र स्युमृदवं हि तत्। 2, 26

In the body of a regular-full fledged drama these served the purpose of introductory elements. DR has a note to that effect : एष.मन्यतमेनार्थ पात्रं चाक्षिप्य सूत्रभृत्। प्रस्तावनान्ते निर्गच्छेत् ततो वस्तु प्रपञ्चयेत्॥ 2, 27 सूत्रधार, at the end of the प्रस्तावना should in- troduce the plot or a character thereof, by means of any one of these elements. 1. उद्धात्य=It happens when there is mutual con- versation or series of questions and answers, with synonymous words, having ambiguous sense. 2. अवलगित would occur when, due to coincidence, opposito objects are fulfilled or when in the work

TECHNICAL ,TERMS 197 in hand, some other end is achieved, For instance उद्धात्य would occur when शकुन्तला on the verge of being united with the King got rebuff from him; and the second would occur, when owing to some coincidence, one gets his qe. In the first अनिष्ट comes up from the प्रस्तुत, in the second follows.

3. nya is constituted when there is mutual humourous praise, through untrue speech. 4. fana happens when many interpretations of some speech, are possible on account of resemblence in sound. 5. 7 occurs when deception takes place through temptation caused by afsra speeches, though they sound like fia ones. 6. alassfs would happen when some incomplete speech is cut off in the middle significantly, or when there are two or three retorts. 7. afeass occurs when there is speech which, through rivalry, shows superiority in mutual speech. 8. mos: when, with regard to the sga speech, something carrying a diffirent sense is uttered all of a sudden, it is nug .? 9. अवस्यन्दित occurs when a speech full of रस is explained away in some other way. 10. नालिका is a speech like प्रहेलिका in which there is joke and which has some hidden sense. 11. aegaiy is improper prattling, constituted mainly of irrelavent talks.

198 TYPES OF SANSKRIT DRAMA

12. व्याहा is that speech which produces humour and temptation hinting at some other sense alto- gether. 13. मृदव is caused when faults are represented as qualities and qualities as faults. वृत्ति [56] वृति is a style. They are called कशिकी, स.त्वती आरभटी and भारती. They are thus discribed in DR.

तद्व्यापा।त्मिय वृत्तिश्रतुर्धा तत्र कैशिकी। गीतनृत्यविला गद्यैर्मदुः शआ्ञारचेष्टितैः । 2, 77.

वैदग्ध्यक्रीडितं नर्म प्रियोच्छन्दनात्मकम् । हास्यनेव सशङ्गारभयन विहितं त्रिधा । आत्मोपक्षेपसंभोगमानैः शुङ्गार्यपि त्रिधा । शुद्धभङ्गभयं द्वेधा त्रेधा वाग्वेशचेष्टितैः ॥ सर्वे सहास्यमित्यतं नर्माष्टादशधोदितम्। 2,79 नर्मस्फूर्ज: सुखारम्भो भयान्तो नवसङ्गमे। 2, 80. नर्मस्फोटस्तु भयान्तो सूचितोऽल्परसो लयै : । 2, 81 छन्ननेत्रप्रतीचारो नर्मगभोंऽ्थहेतवे । अजगैः सहास्यनिर्ह्ृास्यैरेभिरेषात्र कैशिकी।। 2, 82. विशञोका सात्वती सत्त्वशौर्यत्यागदयार्जवैः । संलापोत्थापकावस्यां संधात्य: परिवर्तक: ।। 2,83 संलापको गमीरोक्तिर्नानाभावरसा मिथाः । 2, 84. उत्थापकस्तु यत्रादो युद्धायोत्थापयेत्परम् ।2, 85. मन्त्रार्थदवशक्त्यादेः सांधात्यः संघमेदनम्। 2, 86.

एमिरजेथ्रतुर्षेयं सात्वत्वारभटी पुनः ।

संक्षिप्तिका स्यात्संफेटो वस्तूत्यानावपातनें। 2, 88. संक्षिप्तवस्तुरचना संक्षिप्ति: शिल्पयोगतः ।

TECHNICAL TERMS 199

पूवनेतृनिवृत्याऽन्ये नेत्रन्तरपरिग्रहम् ।। 2,89. संफेटस्तु समाघातः क्रुद्रसंरूचयोद्यो: । 2, 90. मायाधुत्थापितं वस्तु वस्तूत्थापनमिष्यते। 2, 91, अवयांतस्तु निष्कामप्रवेशन्रासविद्रवैः । 2 92 एभिरङ्गेश्रवुधयं 2, 93. भारती संस्कृतप्रायो वाग्व्यापारो नटाश्रयः । भेदैः प्ररोचनायुक्तैवींथीप्रहसनामुखः। 3, 5 उन्मुखीकरणं तत्र प्रशंसातः प्ररोचना। 3, 6.

BP has the following for भारती वृत्ति: P. 228

या वाक्तधाना पुरुपयोज्या स्त्रीवर्जिता संस्कृतपाठ्ययुक्ता। स्वनामधेयैभरतैः प्रयोज्या सा भारती नाम भवेत वृत्ति: ।

Thus thore are four वृत्तिs. कैशिकी is soft, सात्त्वती is grand, आरभटी terrible and भारती is eloquent. वेशस्त्री [52] A courtezan.

व्यभिचारी [47] stage of transitory mental effect in the रस theory. See रस.

सात्वती [58] A व्रत्ति, which see.

सात्विक [47] Same as अनुभाव. See रस. Also a type of अभिनय, which see.

सामान्या [73] A courtezan. See also नायिका. सुताल [119] A kind of ताल, सूत्रधार [46] The manager of a dramatic company. संधि [47] Like the अर्थप्रकृतिs and अवस्थाS, संधिs t0o are essential for the plot-structure of a play. In the plot of a play, sometimes we get well-defined junctures. These are called dfas. Following is

200 TYPES OF SANSKRIT DRAMA

the scheme as given in DR.

अन्तरैकार्थसम्बन्धः संधिरेकान्वये सति।1, 35. मुखप्रतिमुखे गर्भ: सावमशोंपसंहृतिः। 1, 36 मुखें बीजसमुत्पतिर्नानार्थरससम्भवा। अज्ञानि द्वादशैतस्य वीजारम्भसमन्वयात्।1,37 लक्ष्यालक्ष्यतयोद्भदस्तस्य प्रतिमुखं भवेत । बिन्दुप्रयत्नानुगमादङ्गान्यस्य त्रयोदश।। 1, 51. गर्भस्तु दृष्टनष्टस्य बीजस्यान्वेषणं मुहुः । द्वादशाङ्ग: पताका सन्यान्न वा स्यात्म्राप्तिसम्भवः । कोधेनावमशेदत्र व्यसनाद्वा विलोभनात्। गर्मनिभिन्नबीजार्थः सोऽवमशोऽङ्गसंग्रह: ॥ 1, 81, बी नवन्तो मुखदर्था निप्रकीर्णा यथायथम् । ऐकार्थ्यमुपनीयन्ते यत्र निर्वह्ण हि तत्।। 1, 96.

Five संधिs are : मुख प्रतिमुख, गर्भ, अवमर्श and निर्वहण. In मुख, we begin with the commiencement of बीज and go through different developments of ais. till we reach विन्दु. मुख has 12 sub-divisions (संध्यंगs), Thus in the body of ya itself, the first utterance which would point to the seed is avar; its extension is परिकर, etc. In प्रतिमुख, the love that is produced as tho seed, is sometimes visible and sometimes invisible: but through the effort of the hero, the plot is developing to gain its end. It has 13 sub-divisions, which are based on बिन्दु and प्रयल् and therefore, there inust be some progress made in the afa. Thus throughout these 13 divisions we have effects to develop that love which sprang up in the first stages-मुख-बीज and आरम्भ. In प्रतिमुख the plot should progress without obstacles. In गर्भ the following points should be present.

TEOHNICAL TERMS 201

(1) sfa, that is made manifest should bo lost sight of. (2) There must be renewed search after it. (3) There may or may not be yarpl. (4) There must be प्राप्त्याश।, Thus गर्भ differs from मुख and प्रतिमुख in as much as these two were based on corresponding two elements of अवस्थाs and अर्यप्रकृतिs, while गर्भ is based on प्राप्त्याशा, an clement of अवस्था only. पताका an cle- ment of aranafa may or may not be present herc. It has 12 sub-divisions. After the वीज is lost sight of in गर्भ i. e. after the action of the plot is hampered in m, one has to think properly about the means of regaining it. This thinking is called अवमर्श. Thus upto mi, there is a continuous progression of action and the plot is at its highest in w. Then comes some pause or thinkina. This is अवमश. This has 13 sub-divisions. निर्वहण, the last संधि, should harmonise all the threads of मुख, बीज etc., scattered over throughout the drama. It is che same as कार्य or फलागम It has 14 sud-dlivisions. It will be thus seen that अवस्थाs, अर्थप्रकृतिs and संधिs have cortain parallel clements. Thus: बीज-आरम्म- मुख; विन्दु-प्रयत्न-प्रतिमुख; पता॥ (not always)-पाप्त्याशा-गर्भ; कार्य- फलागम-निवहण. संध्यङ्ञsः Every संवि has several संध्यंगs. In all they make 64. Accompanying table shows them. Follo- wing six are said to be the motives of these gs. Arrangement of the desired plot, concealment of that which should be concealed, manifestation of proper subjects, attachment, wonder caused by the representation and no unnecessary condensation of the narrative. स्वीया [123] A type of नायिका, which see, शुष्कगीत [54] A type of song.

वरस्तु अथप्रकृतिs

अवस्थाड

रंधि बीज, विन्दु, पताका, अकरी, कार्ये L आरम्भ, प्रयत्न, प्राप्त्याशा, नियताप्ति, फलागम मुख

प्रतिमुख

गर्भे

अवभर्श

उपसंहृति or निवहण 1

1 D• उपक्षेप, परिकर, विलास, परिसिर्प, विधूत, अभूताहरण, मार्ग,

अपवाद, संफेट, संन्धि, विबोध, प्रथन परिन्यास, विलोभन शम, नर्म, न्मद्यैति,

रुप, उदाहरण, कम, विद्रव, द्रव शक्ति, निर्णय, पभभिाषण, युक्ति, प्राप्ति, प्रगमन, निरोध, पर्यु-

संग्रह, अनुमान, तोटक, धृति, प्रसंग, छलन, प्रसाद, आनद, समय, समाधान, विधान, पासनम्, वञ्र, पुष्प,

अधिबल, उद्देग,

वयवसाय, विरोचन, कृति, भाषण, उपगूहन परिभावना, उद्भेद, उपन्यास, वर्णसंहार. संत्रम, आक्षेप.

प्ररोचना, विचलन, पूर्वभाव, उपसंहार, प्रशस्ति. TYPES OF SANSKRIT DRAMA भेद, कर.

अदान, 12

13

12

14=64 202

INDEX I Sanskrit (Names and Subjects)

INDEX II English (Names and Subjects)

INDEX I

Banskrit (Names and Snbjects)

अड्क 39, see उत्सम्टिंकाड्क कल्पवक्की (a नृस्य type)nature of, अभिज्ञानशाकुन्तल 29,42 124 अवन्तीसुन्दरीकथा 41 क मसूत्र 35 आदिभरत 8n कालिदास 3, on नृत्य 9n आध्र्यचूडामणि 30 कान्य (in the sense of a play) ईहामृर्ग 39, def. of 59, nature 35,

of 58-9,81 काव्य (a नृत्य type) nature of 122

उत्तररामचरित 30 कुमुद्वतीप्रकरण 43

उत्सष्टिकाढ 39, def. of 61, nature कुन्दमाला 30

of 61 ff, 79 कृत्यारावण 48

उन्मत्तराघव 30, 134 कोहल 48, on वीथी 73

उपरूपक different from रूपक 23- कौमुदी (a Gujarata monthly) 5n

4, its actual use and sense कोमुदीमहोत्सव 29

103-4, diff. between उप. and कोमुदीमित्राणन्द 30

तृत्य types 102, 132 ff. see गेयरूपक 134

also नृत्य types. गोष्ठी (a नृत्य type) nature of 124,

उभयामिसारिका 3n, 29, 35n, its 140-1

technique 71, 149, 155. its गोरीगृह 48

date 155n घनश्याम 59

उर्वशीविप्रलम्भ 49 घंटक (a dramaturgist) 92 चारुदत्त 29 उश्लोष्यक (a नृत्य type) its nature 121 चित्रावलि 48

ऋवेद (also RV)6, 6n डमरूक (a play) 95, 96 डिम 39, def. of 58, nature of कमलिनीकलहंस 30 48-9, 81 कर्णसुन्दरी 30 डोम्बिका (a नृत्य type) nature of कर्पूरचरत technique of 72 109-110

206 TYPES OF SANSKRIT DRAMA

डोम्बी (a नृत्य type) nature of नाटक (a रूपक type) 32, def. 108, 109-110 of 44, technique of 44,51,8 ताण्डव 151 नाटवाटप्रहसन 65 तोटक (also त्रोटक) nature of 93 नाडिका nature of 91 त्रोटक (also तोटक) nature of 93 नाटी 39, nature of 91 थेरागाथा 27 नाट्य 4-22, def. of 5n, 32

दडरासक 143 नाव्यधारा 41 दण्डी 41 नाम्यरासक (a नृत्य type) nature दाण्डीआरास 143 of 112, 115-7 दानकेलीकौमुदी 134 नृतू 5-12

दामकप्रहसन technique of 64 नृत्य 4-12, sense of 32 दुर्मल्लिका (a नृत्य type) nature of नृश्य (the term,) 4-22, 32 125,131-2 नृत्य types, number of 99-101, दुर्मीलिता (a नृत्य type) nature of remarks on the no. of 101-4 125 non-mention of in NS 101, देबीचन्द्रगुप्त 53 evolution of 131-144, musi- द्रौहिणी 48 cal nature of 132, their धूर्नेविटसंवाद 30 technique of intrerrelations and rela-

71,149,157 tions with रूपकs 134 ff, all

नट evolution of its seuse the types reduced to uT

5-12. and भाणिका 136 ff.

नन्दिमाली (a variety of भाण-नृत्य पश्चरात्र 29, 57

'type) 106 पद्यप्राभृतकम् 43, technique of 70, नर्तनक (a नृत्य type) nature of 149, date of 156n,157,163

118, 120 पाठ्यरूपक 134

नवग्रहचरित 95 पाणिनि 5n, 6, 8

Fizuse of in plays 29-30 पादताडितकमू technique-of725 149, 157, 163n नाटक (the term) use of in पार्थपराकम 30 generic sense 42-3 पार्वतीपरिणय 130, 31

INDICES 207

पारिजातमजरी 30 भट्टयन्त्र 31 गरिजातलता (a नृत्य type) nature भट्टलेलट 21,91 'of 123 भरताणेव 143 रदूषितकम् 52 भवभूति 30 f a type of नाटक acc, to भाण (हपक) 39, its nature 69,78, मुबन्धु 48 ff distinguished from प्रहसन aq use of the terms in 81-2, its plot-structure ana- generic sense 43, its nature lysed 152-ff, humour in 51-55, 83 163n, earliest :use of the प्रकरणिका uature of 92 word 167n प्रकरणी nature of 92 भाण (a नृत्य type) its nature प्रतिमा 29 105-7, 109-110,136ff प्रतिज्ञा 29,43 भाणिका 140 its nature 107, प्रबोधचन्द्रोदय 95 109-110, 140-1

प्रस्थानक (a नृत्य type) its nature भास 3 117,132-3 भास्वर (a type of नाटक acc. to

प्रसन्नराघव 30 सुबन्धु 48ff

प्रशान्त a type of नाटक acc to मोज 73

सुबन्धु 48ff मणिकुल्या (a नृत्य type) 127 प्रहसन 39, its divisions and गतल्लिका (a नृत्य type) 125 nature 62-3,79 मत्तविलास 30, technique of 67 प्रेक्षणक (a नृत्य type) its nature मध्यम 29 119,120 मल्लिका (a नृत्य type) 127 प्रेक्षा (a term meaning drama) महानाटक 50,95 35 मालतीमाधव 54 प्ररण (a नृत्य type) 127 मालविकाभिमित्र 9, on नाव्य 10, 29 संखण (a नृत्य type) 121 मुकुन्दानन्द 72, 149, 154 झालरामायण 48 मुद्राराक्षस 30 भगवद्ज्जुकम् 29,35n, on number मूलदेव (a famous विट) 53 of रूपकs 41, 42, 64, its tech- मृच्छ्कटिक 146n nique 67,84 यय।तिदेवयानीचरित 96

208 TYPES OF SANSKRIT DRAMA 0 रतिमन्मथ 30 विक्रमोर्वेश्ञीय 29 रसकौमुदी 143 विदग्धमाधव 30 रससदन 72, 154 विलासिका (a नृत्य type) 127 रामचन्द्र 5n, 159n वीथी 39, def. of 72, its nature रामाक्रीड (a नृत्य type) 127 60, 80 रामानन्द (a drama) 48 घेणीसंहार 30

रास (a dance-form) its rela- व्यायाम (same as व्ययोग) 60 tion with रासक 14, 3, its शारदातनय 17, 22 11 der. 143 शिल्पक (a नृत्य type) 123 ।रासक its nature 110, 115-7, शूदक 43, 163 104-1, its relation witn रास शंगारतिलक 72, 153 141 ff, its relation with शृंगारभूषण 72, 152 लास्य 142-4 शृंगारसर्वैस्व 72, 154 q its use in play 29-30 शकुक on hero in वीथी 73, 91 रूप 27 श्रीगदितम् (a नृत्य type) 124 रूपक different from उपरुपक 24, षिद्एक (a नृत्य type) 124, 125 der. of the terms 27, its सट्टक nature of 93 use in plays 30-31, 32, its types 39-75, number of 39- समग्र (a type of नाटक acc. to

41, remarks on the no. of सुबन्धु) 41 ff

41-44, cvolution of 77, 88, समवकार 59, def. of 55, 58,

different रसs in 87n remarks on 57, 51

लटकमेलक technique of 66 समाज (a term mcaning drama) 35 ललित (a type of नाटक ace. to सत्यहरिश्न्द्र 30 सुवन्धु, 48ff सल्लाप 41 कास्य its relation to रासक 1434- सल्लापक (a नृत्य type) 123, 131-2 उत्सराज 30 सुबन्धु (the dramatist) 41 इररुचि 3n etc. गार (a type of रूपक) 41 सुबन्धु (the dramaturgist) on the divisions of नाटक 48-50 रासवदत्तानाय्यधारा 41 सुभद्राहरण 134

INDICES ) 209

T (aterm meaning drama) हर्प (the playwright) 30 15 हलीश its nature 121, 140-1 :प्रवासवदत्ता 29, 48 हास्या गव technique of 67 (the dramaturgist) 21 हेमचन्द्र 23, 159n

INDEX II

English (Names and Subjects)

bh on divisions of नृत्य 16, 93, on the no. of नृत्य types on तृत्य etc. 19-20, 24, 31, 100, on भाण (a नृत्य type) 105, on रसs in different रूपकs 87n, on माणिका 107, on डोम्बिका 108, on नाटिका 91, on नृत्य types on रासक 111, on नाटयरासक 112- 100, 104, on भाण (नृत्य type) 5, on प्रस्थानक 117, on नर्तनक 105, on भाणिका 107, on डोम्बी 118-9f on प्रेक्षणक 119, on 108, on प्रस्थानक 112, on बिद्गक हन्ीशम् 121, on उल्लोप्यक्म् 121, 125, on राम कीड and प्रेरण 127, on काव्य 122, on पारिजातलदा 165n on शिल्पक 123, on सन्न,प 123, ABORI 8n, 29n on गोष्टी 124, on कल्पवल्ली 124, AP on the species of रूपक on श्रीगदितम् 125, on दुर्मल्लिका 40, 43, on नृत्य types 99 125, on मल्लिका or मणिकुल्या 127, Atomic theory 155n De S. K. (Dr.) 27, 95 Bechardas (Pandit) 6n Derivative types (of drama), 3P on नृत्य eto. 12-17, on their nature 91-94, remarks €753 24, on the spccies of on 94-5 -7क 40, 41,44, on नाटक 48f, Dhruva K. H. (Prof.) 41, n प्रकरण 54, on समवकार 56,59, 48n, 77n, 1 on व्यायोग 61, on उत्तृष्टिकाक्क 62, DR 9, 12, 35, on the spe- 00 भाग 70, on वीथी 73, on cies of रूपक 40, on नाटक 46-7, नाटिका 92, on तोटक 93, on सटक on प्रकरण 52, on समवकार 56,

210 TYPES QF SANSKRIT DRAMA

on डिम 58, on ईहामृग 59, on 52, on समवकार 56, on ईहामृग व्यायोग 60, on उत्सृष्टिकाङ्क 61, 60, on उत्मृष्टिकाङ्क 62, on प्रह्सन 63, on भाण 69, on वीथी प्रहसन 63, on भाण 69, 01 72-3, on नाटिका 92, on नृत्य बीथी 73, on नाटिका 92, OL types 99, 104. प्रकरणिका 92, on सट्क 94, on History of Indian Literature the no of नृत्य types 100, 5n 104, on भाण (नृत्य type) 106, IHQ 27n, :56n, 158n on भाणिका 107, on रासक 112. Indian Philosophy 155n on प्रस्थानक 118 on नर्तनक 118- Irregular types (of drama) 9, on प्रेक्षणक 120, on हल्लीशक 95-6 127, on काव्य 122, on गोष्ठी Kavi R. (Mr.) 65 112, 150n Keith A. B. (Dr.) 27,43,57, 95, 99, 135n, 155n, 159n Nrtya-types see नृत्य types

Konow Sten 27 NS 3, 10n, on वृत्त 18, use

KS 23, on the species of of रूप in 28, 31, 35n, on the

रूपक 40, 42, on नाटक 47, on species of रुपक 39, on नाटक

समवकर 56, on ईहामृग 59, on 44-6, on प्रकरण 51-2, on समवकार

व्यायोग 61, on प्रहसन 63, on 55, on डिम 58, on ईहामृग 59,

भाण 69, on वीथी 73, on नृत्य on व्यायोग 60, on उत्सष्टिकाङ्क 61,

types 100, 104, on दुमल्लिका on प्रहसन 62, on भाण 69, on

126 वीथी 73, on नाटिका 91, on नृह

Majmuđar M. R. (Mr.) 144 types 99

Milindapanha 27 NSD 5n, 8, 10, on रामाक्रील

MMC on वृत्त, नृत्य and नाटथ and प्रेरण 128, 144

11-17 41 PR on नृत etc. 12-17, or the.species of रूपक 41 MTR on नाटक 48 Radhakrishnan S (Dr.) 155n ND 5n, on the species of PR on the species of रूपक रूपक 40, 42, on the def. of 40, 44 on प्रकरण 54, on समवका नाटक 44, on नाटक 48, on प्रकरण 57. on प्रहसन 63