Title: A study of sundaramisra_s natyapradipa

Researcher: Chowdhury, Sakti Roy

Guide(s): Bandyopadhyay, Pratap
Keywords: Sanskrit Dramaturgy, Natyapradipa, Sundaramisra, Seventeenth Century, Allahabad University
University: The University of Burdwan
Completed Date: 2003
Abstract: Abstract not available newline newline
Pagination: ii, 155p.
URI: http://hdl.handle.net/10603/66046
Appears in Departments: Department of Sanskrit

file:///D|/..._NK/00%20Shodhganga%20Theses/2003_A%20study%20of%20sundaramisra_s_Natyapradipa_Chowdhury_Sakti%20Roy/00.txt[2/25/2019 5:18:21 PM]

 A STUDY
OF
I - -
SUNDARAMISRA'S NA1YAPRADIPA e I

SAKTI ROY CHOWDHURY

Thesis submitted for the degree of Doctor of Phlilosophy

at the
University of Burdwan
Faculty of Arts (Sanskrit)
2003
 Supervisor's Certificate

Shrimati Sakti Roy Chowdhury, a registered student in the Ph.D. programme at

the University of Burdwan, has completed her thesis under the title A Study of
Sundaramisra 's Natyapradipa with me as her supervisor. The thesis, now ready for
submission for the degree of Ph.D. at this Universit)j is the product of her original work
based on the only available manuscript of a Sanskrit manual of scenic art preserved at the
India Office Library, London. No part of the work was ever submitted for any university
examination. Smt.Roy Chowdhury has fulfilled all requirements of the University prior to
the submiSsion of the thesis.

~ PRATAPBANDYOPADHYAY
Department of Sanskrit
University of Burdwan
12fi. Professor&-~~
Department of Sanskrit
University of Burdwan
ia.rdhBmun-71:1104. W.B.
 Contents

1. Preface 1 - 11

2. Introduction 1 - 40

3. References and Notes to the Introduction 41- 42

4. ~~Q..skrit Text 43-121

5. Notes to the Text 122-146

6. Bibliography 147- 151

7. Abbreviations 152

8. Appendices 153-155
 PREFACE

My feeling a.t the present moment is the same as that of a traveller reaching his
much-awaited destination at the end of a long and tiresome journey. In 1987 when I was
working on Pancasandhi (Five Dramatic Junctures) in my M.Phil. iourse, I came across
the name of the Natyapradipa of Sundarmisra in a book of Surendra Nath Sastri as an
"inextant work". Later on, when it came to be known that this 'inextant work· does
actually exist in two MSS preserved in the India Office Library, London, my interest
grew to work on these MSS. But the beginning was much depressing. I came to know
from the 1.0. Library authorities that one of the two MSS had got lost in transit from
London to Al1ahabad as early as 1946. When J got from them a copy of the second MS it
was found to be too corrupt in aJJ respects - handwriting illegible to a great extent, too
many mistakes in construction as well as spelling and confusing lacunas. I never worked
with any MS before and hence had to proceed· with Jack of experience. With helping
hands I somehow prepared an edited text following the guidelines of predecessors like R.
Gnoli and S.K. De as explained in the Introduction of the present thesis. For the past few
years the MS of Sundaramisra became my constant companion and the outcome is now
most modestly presented in the following pages.

In presenting the thesis I take this opportunity to express my gradtitude to all

those, specially my teacher and members of my family, particularly my mother, Shrimati
Himani Roy Chowdhury, elder brother and elder sister whose constant inspiration and
help were contributive to the progress of my work. My father the late Beni Madhab Roy
Chowdhury arranged for the huge amount of money required for getting the MS material
from London. Unfortunately, he does not live today to see the outcome. The Principal of
my College Dr Kovita Sarkar gave me the privilege of having shared her own research
experience that was much encouraging for me. The sweet persuasion of my colleague and
close family friend Smt. Soma Mukhopadhyay urged me on aU along in the course of my
work. Dr Sudakshina Bandyopadhyay, wife of my supervisor, took all homely care
whenever, I went to Bardhaman in connexion with research work and her constant

l
inspiration as well as active academic help became highly helpful for the progress of the
work.

For the edited text I preferred a clear hand ..written copy to a Devanagari typed
script which often turns out to be not so ciear and the University of Burdwan was so kind
to approve this device. My husband took tremendous care in getting this copy prepared
for me, though he is not acquainted with the Sanskrit language and its script. Shri Anjan
Banik and Shri Pradip Chowdhury of the Department of Sanskrit, Jadavpur University
took all care in getting the copy of the study typed and xeroxed respectively for me. Prof.
Manabedu Sastri of the said department was kind enough to arrange for all these in my
favour. To them my graditude knows no bound. Last but not the least •. is the role of my
little child whose mute cooperation lessened the hardness of the pavement leading to the
completion of my journey.

It is natural for a walker to falter on some occasions. Mistakes and lapses might
have crept in here and there. Hope I shall have opportunities in future to improve further
on this work.

Nabadisha, Flat No. 3 SAKTI ROY CHOWDHURY

1, Telipara Lane
Dhalruria
Kolkata- 700 031
1, Vaisakh, 1410(Bengali New Year Day)
15 April, 2003

ll
 E. U. T.-TBP "~Y

;\lo-'' '- ~ )03,

Date- ~-~. "'"\ , o C)

Introduction

The present work is devoted to the study of a text of Sanskrit dramaturgy of

which only a solitary and highly corrupt manuscript is now available. The text in

question is the Niifyapradipa (NP) by Sundaramisra (SM) who flourished in the

seventeenth century A.D., as we shall see later.

Before we proceed to the discussion on the content ofNP the author's time and

so on, the present author would like to state here her experience relating to the access

to the manuscript of the work.

In course of her search for MSS of this text the present author came to know

the existence of two MSS of Sundaramisra's NP in the Indian Office Library,

London, No. 1148d and No. 843A. While asking for the copies of these two MSS

from IOL she came to know th::tMS 1148d got lost in transit from London to

Allahabad University as early as 1946 1• The other MS of which she got a microfilm

copy is too corrupt to give a full access to the text of NP. Thus at present we have at

our disposal only one manuscript which is complete but highly corrupt and illegible

in many places. For a study of the text of NP, we have no other course than

depending on this solitary manuscript. It is unfortunate that Surendra Nath Sastri

calls NP an "inextant work'.2, in spite of one MS still in existence in the 10 Library,

London, however, corrupt and illegible that may be.

1
 Details of MS are given below:

MS No. 843A, entry No.l200 in the I.O.L. Catalogue, folios thirty-five,

size 12 inches by 4~ inches; modem Devanagari writing, careless, eleven

lines a page, about forty syllables a line, very incorrect, material seems to

be paper.

Sundaramisra composed the treatise in the Saka year 1535 i.e., 1613-14 A.D. as

mentioned in the colophone of the work which runs as follows:

siike saragriimasarendutulye

griime vari$fhasramatah prasiddhe /

tad etad aujiigari7J{l nibaddham

mude kavinarit kavisundare1Ja 11 (NP, p. 120)

The poet Sundara belonging to the family of Ojiigara composed this for

the pleasure of poets in the Saka year to be measured by arrows (five),

ancient musical scale called griima (three)3, arrows (five), and the moon

(one), that is 1535 Saka era (1613-14Ab.)ina village famous after

vasi$thasrama (the hermitage of Vasi~tha),·-" . ~ . varisthasr>«mii

..
(the greatest hermitage).

2
 Our MS has the reading yame for grame, this does not give any comprehendable

meaning. In our MS the syllable ri <fV vari~!ha ( *' ) is not clear.

Raghavabhatta who is well-known as the commentator of Kalidasa's Abhijnana-

5akuntala has quoted at least two verses from a Natyapradipa but does not mention the

name of its author. One of these verses explains the meaning of the term nimdi but the

4
verse is not found in our MS. The verse runs thus

nandanti kavyani kavindravarga~

kusilava~ pari$llda5ca santa~ I

yasmad a/am sajjaiiasindhuhamsi

tasmad iyam sa kathiteha nandi II

Nandi is so called because with it the literary composition appears much

appealing, the host of poets, actors and spectators fmd delight in it and

because it verily appears as a female swan amidst the ocean of

connmsseures.

There may be two explanations of the omission of this verse in our MS. Either a

portion of SM's text is missing in our MS, or the verse in question might have been cited

from another Nafyapradipa which is different from the work of SM. From the same

3
R.aghavabhatta might have taken the second verse, which is found in our NP. The verse

runs thus:

'slokapfulariz padarit kecit suptinantam athilpare I

pare 'vantaravakyaikarit padarit ahur visaraddl/ II (NP, p. 43)

Some call the quarter of a verse pada, other say that it means a word with

a nominal or verbal suffix, other learned persons say that the pada is a unit

in the fonn of a subordinate clause.

On the other hand, SM seems to refer to Raghavabhatta who does not accept the

episode of Matali in the drama Abhijfrilna5akuntalam(Act V, p.l 0) as forming the subplot

prakari, on the ground that it is not conducive to avamar5asandhi, a view rejected by

SM, who establishes the episode as connected with the incident of conquering a demon

by D~yanta and his union with Sakuntala. The line runs thus:

evam sati 5akuntalatikaya(m) rtuvan;anasyavamar5a

sandhau prakarivrttatvarit ........... matalivrttasyiiva -

marsailganuvidhilyitvabhavat prakarivrttatvarit

nilstiti raghavabhatfena yad uktam tad asad iva I (NP, p. 55)

Under the circumstances the view of Raghavabhatta as found in the

~'

commentary on the Sakuntala is not tenable. The view is that, the

4
 description of season in the avamar5asandhi forms the subplot prakari and

that the episode of Matali being not conducive to any part of avamarsa

can not be prakari.

Rilpavatadena in our MS appears to be a corruption of riighavabhaffena. Actually

this particular view regarding the episode of Matali we get in the printed text of the

commentary of Raghavabhatta which runs as follows:

iti lak$aniinusarel)a matalivrttantam prakarivrttam

ahus tan na sandhisam'iiptivi$Qye tasyoddesad afzg[mam

tadanugiimitvam niiyiitf

By this definition the episode of Matali does not form the subplot prakari

as claimed by some, because a prakari is meant for the completion of

avamar~a sandhi, and mere parts there of cannot have that claim.

This view as stated by Raghavabhatta in his commentary on the Sakuntala is

unsound according to SM (NP, p. 55).

Under the circumstances, it appears to stand that SM knew Raghavabhatta, his

predecessor. In that case, it was not possible for Raghavabhatta to have borrowed

anything from SM. It strenghthens our surmise that Raghavabhatta borrowed from

5
another NP the verse nandanti kllvyiini .......... cited above. More than one work under

the same name and on the same subject is not very uncommon in the history of Sanskrit

literature and literary criticism. The most noteworthy example being the Kavyiilankllra by

Bhamaha, Vamana and Rudrata.

In the light of above discussion, the present author fmds it difficult to appreciate

S.N. Shastri who seems to understand Raghavabhatta's citation from NP as being from

SM's work. This appears from his reference to NP and its entry in the Conspectus of

Textbooks of this book as a work of SM7•

Incidentally, since SM himself has given the date of the composition of his work

as mentioned before. This would give us the lower limit ofRaghavabhatta's date.

6
 II

The MS at our disposal is replete with too many mistakes, repetition and lacunas

and the handwriting is illegible to a large extent. Still the present author decided to work

on this text apprehending that in case this unique manuscript be further damaged for

some reason or other or even lost, one more text of Sanskrit dramaturgy would sink into

oblivion. Following the principle that something is better than nothing, a study of the text

with the help of this manuscript has been undertaken as had been done by S.K. De in his

edition of Kuntaka's Valcroktijivita prepared on the basis of a highly mutilated manuscript

long before a complete edition of the same work by K. Krishnamoorthy came out. Still

worse was the fate of fragments of a manuscripH· found in Kafercote claimed to be that

Udhavata•s commentary on Vamaha Kilvyalamkara edited by R. Gnoli.

In editing the text, the following principles have been adopted. For illegible

portions in the text the present author has used dot signs ( ........ ); for portions added in

the text by the present author first brakets ( ) have been used and third braket [ ] have

been used for the portions which are legible but do not give any comprehendable

meaning.

After completing .the reading of the MS a number of times the present author

comes to the conclusion the SM's conception of the dramatic tenets is based mainly on

Bharata's NiityaSiistra (NS), Dhanafijaya's Da5ariipuka (DR) with Dhanika's

commentary Avaloko and Visvanatha's Siihityadarpai)a (SD). SM follows almost

completely the DR in the first half of his work. so much so that it seems that he intended

7
to write a commentary on DR. In the other half he follows the SO. Since these aforesaid

works have already been translated by scholars like Manmohan Ghosh, Haas and

Ballentyne, the present author will not reproduce the discussion on the individual items

such as concepts of the airgas of sandhis, nat)'Qlairkaras, nilfakalak$a1)QS, reproduced by

SM. Only references will be made to the relevant texts for the convenience of the reader.

A topicwise study ofSM's text would show that though this is a compilation work

based mainly on NS, DR and SO the author has occa~ional flashes of new thought and

information. It is however unfortunate that much of SM's contribution to Sanskrit

dramaturgy is still unaccessible to us because. of the high corruption of the MS,which has,

therefore, called for ~mendations, though mostly tentative, almost at every step.

llowcvcr, glimpses of his contribution to dramaturgy arc available from the sole

surviving source in our hand. This will be somewhat clear from SM's comments on

various topics of the dramatic art. The following topics have been discussed in the work.

Nandi (Invocation), prastiivana (Introduction), viistu (Plot), paiicasandhi

(Five Junctures), and their division- mukhasandhi (Opening), pratimukha

(Progression), garbha (Development), vimarsa (Deliberation). nirvahana

(Conclusion), arthapraJcrtis (Plot elements) and their division i.e. bija

(Seed), hindu (Drop), patiika. (Episode), prakari (Episodical Incident),

ka.rya (Denouement), paiiciivasthii (Five Stages of the Dramatic Action).

i.e. iirambha (Commencement). prayatna (Endeavour), priipty{lSii

8
(Prospect of Success), niyatllpti (Certainty of Success) and phalllgama

(Consumation), catuh$ll?lhikalas (Sixtyfour Limbs), patllkasthllnalca

(Episode Indication), arthopaksepaka (that which is indicative of incidents

not presented on the stage and their division), vi?kambhaka (Explanatory

Scene), cillllca (Intimation Scene), aizkiisya (Anticipatory Scene),

afzkiivatara (Continuation Scene), pravesaka (Introductory Scene),

sarvasrllvya (Audible to all), asrllvya (Audible to none, except the

audience), niyatasrllvya (Audible to restricted person), bhllsllbibhllga

(Classification of language), llmantrnaprakllra (Modes of Address), vrtti

(Dramatic Style) and its . divisions, kausilci, sllttvati, llrabhati and bharati.~,
vithi (Avenue) and ,j,b- thirteen divisions, selection of the principal plot,

-
dhirodiuta type of hero, rasa (Aesthetic Relish of nataka)
~
and its

ingredients i.e. anubhllva (External Manifestation of Sentiments), vibhllva

(Determinants), sthayibhllva (Pennanent Sentiments), actions not

permitted on the stage, characteristics of an act, contents of an act, the

number of acts in the nataka, thirty-six la~hanas (Dramati[-ef4, thirty-

three naty{llankllras (Dramatic Embellishments), lllsyiinga (Amorous Pose),

sandhyantara (Midsts of Sandhis), riipakas (Scenic Art) i.e. nll{aka,

prakaral).a etc.

9
 III

Let us now see how SM deals with the various topics of dramaturgy in his work.

Let us take up the nandi first (NP, p. 43). We know that nandi is a benedictory

verse and conduc:ive to the well-being of all those who are concerned with the play.

Bharata says:

iisirvacanasamjukta nittyam yasmat prayujyate I

devedvijanrpiidinam tasman nanditi samjiiitii II (NS Vl24)

Niindi is so called because in it eulogy of a god, a brahmin, a king or the

like is made by way of uttering blessings.

He further says,

sutradhara~ pafhet tatra madhyamasvaramastitah I

nandim padair dviidasabhir a$tiibhir viipyalamlcrtam II (NS V/104)

The stage ma'lager should recite the nandi in a medium voice. This

consists of twelve or eight padas (words or clauses or quarters of verses).

Both the above kizrikizs are cited by SM (NP, p. 43). According to Bharata, the

nandi should consist of eight or twelve padas. This is variously explained. The unit of

10
measure for the nandi is pada. What this pada as a unit means Bharat himself does not

explain. As per the content of the karika, slokapadam_padam kecit etc. already cited,

some say that pada is the quarter of a verse, others say it is a word with a nominal or a

verbal ending and others say that the pada is a unit in the form of a subordinate clause.

SM quotes the authority of Maqgupta according to whom the nandi may consist of a

number of padas such as sixteen (not further specified): atra vyakhane matrguptacaryai~

$O~asadi padanvitapiyam udahrta. In SM's text (NP, p. 43) this follows immediately the

citation of Bharata's karika sutradharah pathet tatra ..... already quoted. This apparently

shows that Maqgupta, believed to be a commentator of NS, made this comment while

explaining Bharata's aforesaid karikil. But under this kilrikil Abhinavagupta does not refer

to Matrgupta.

SM says after explaining the meaning of pada that in the utterence of the nandi a

pause (virama) has to be put after these padas: e$u kizryo_virama~ (NP, p. 44). SM

hereafter seems to refer to the view Bharata regarding pause to be placed after half of a

quarter (padilrdhe) of a verse, a compound word, a total meaning and also an

uncompounded word: pfulilrdhe samilse 'rthe pade 'pi ceti ... (NP, p. 44, text corrupt).

However nothing like this is found in the available text of Bharata. Naturally this raises a

question: was SM acquainted with a varient text of Bharata? Thereafter SM adds that

according to some half of a verse, padyardha, i.e. a hernistich,also may be meant by a

pada: tattadaniyamavidhanat padyardham api padath kecid ucu~ (NP, p. 44).

11
 As regards the recitation of nandi and that of the first benedictory verse on the

stage by sutradhara (stage-manager) and sthilpaka (presenter) respectively, our author

follows Bharata (NS V/160cd to 165) in saying the sutradhara with his attendants leaves

the stage after performing the prelude (purvaranga) (NP, p. 45). Thereafter enters the

slhapaka who resembles the sulradhilra in attributes and appearance (gur.rQ/crti). Uttering

very sweet verses he pleases the audience and mentions the name of the dramatist. SM

further says (NP, p. 45) that the indication of the theme of the drama is an irregular

convention since this is not stated by Bharata. A different view has been cited but the

content could not be made out since the text is corrupt. Since the first sutradhara leaves

the stage the recitation of the sweet venidictory verse is made by sthapaka. Both this

verse and nandi are somewhere used or somewhere only one is used. Illustration has been

, cited from Venisamhara where the verse srava!iliryali ... (l/4) follows the usual nandi

(three verses in this case). In support of such a provision SM cites the authority of the DR

11112 (NP' p. 46).

We would now like to take up the topic of prastavana (Prologue to the drama,

(NP, pp. ~6ft). There are five types of prastavana, namely kathodghilta, prayog{zti5aya,

udghiltya, avalogita and pravrttaka. SM mentions here three types of the prastavana out

of the five stated by others. SM cites the definitions of the three types ofprastavana (NP,

pp. 49ft) from his predecessor Dhanaftjaya The karikils run thus:

12
 svetivrttasamariz viikyam arthariz vii yatra sutriJJalJ I

grhitvii pravi§et piitram kathodghiito dvidhaiva sab II (DR III/9cd, 1Oab)

In the kathodghilla a sentence uttered by the sutradhiira or an idea

conveyed by him relating to an incident involving himself is taken as a

clue to make a dramatic character enter the stage (NP, p. 50).

e$0 'ayam ity upak$epiit sutradhiiraprayogatab I

piitraprave§o yatrai~ prayogiiti§yo matab II (DR lll/11)

In the prayogiiti§aya a dramatic character is made to enter by the

sutradhiira with words of direct reference to the former like eso 'yam

('here is he'):

kii/asiimyasamak$iptapravewb syat pravrttakam (DR III/lOcd)

And in the pravrttaka, a character is made to enter the stage by the

sutradhiira by means of describing a season.

So far as the other two types of prastiivanii namely udghiityaka and avalagita are

concerned, it is difficult to appreciate: their clear distinction from kathodghilla and

prayogiiti5aya respectively, yet SM being, a staunch follower ofBharata and Dhanaftjaya,

has not omitted them but mentioned them as accessories of the scenic art known as viihi

13
in connexion with the bhilrati vritti, one of the four dramatic styles (NP, p. 92). This is

what Bharata also does. He discusses two types of iimukha or prastiivanii as accessories

of vithi in.~NS(XVIIU115-117ab, GOS Vol. II) and the other three types in NS (XX/35-

37, GOS Vol. III).

In the drama proper first comes the question of plot (vastu) (NP, p. 54). The plot

may be divided into main plot (adhikarika) and sub-plot (priisangika). In defining the two

types of plot SM cites DR (Ull cd, 13ab).

DR gives possession of the final result of the action as the meaning of the word

adhikara and adhikarin is one to whom the result accrues. (n other words. adhikarin is the

hero of the drama.

The sub-plot of a drama comprises two types: patiika and prakari. The former

proceeds upto a considerable length of the drama whereas the latter is limited to a

particular part of the main episode. SM's view on the prakari of the drama Abhijiiima-

S:akumntala has already been discussed. On patiika SM refers (NP, p.55) to Bharata· s

opinion as interpreted by Abhinavagupta who shows, if patiika extends further upto the

nirvaha1JL1Sandhi both the main plot and the sub-plot would be of equal importance and it

would not be the factor responsible for the development of the main plot and the relation

of predominance and subordination (upakiiry-upakO.rakabhO.va) between the main plot and

14
sub-plot would be disturbed8• If a reading in our MS, namely (NP, p. 55) pravrttidar5anill

be accepted, it would not tally with Abhinavagupta's interpretation as cited above. In the

light of this fact we have emended the text as pravrttyadar5anat. The text then may be

cited as follows: tatra pataketi patakiiniiyaktt:.phalarit nirvahatJ.aparyantam api patiikO.ya~

pravrttyadar5anad iii vyakhyatam abhinavaguptapadai~ (NP, p. 55). It may be pointed

here that Bharata clearly says that patakil proceeds upto the garbha or vimarsa-~.

It becomes clear from SM's treatment of the dramatic sub-plots that both the sub-

plots are subordinate constituents of the main plot of a drama.

Both the main plot (adhikiirika) and the two types of sub-plot (prasangika) may

be of three types each, namely a well-known historical fact, a story conceived by the

writer, and a mixture of the two. In the case of historical plot the question arises, how

much, if at all, the dramatist borrows from the original and how much he has to omit or

alter. The answer is given by SM (NP, p. 56) by quoting the text SD (VI/32, p. 309)

which means that whatever is improper for the character of the nayaka, as depicted by the

writer in question, or for aesthetic taste (rasa) developed by him should be deemed as a

contradiction and therefore should be either omitted or depicted in a different way so that

there appears no contradiction with the nayaka or rasa. In support of the avoidence of

impropriety SM cites (NP, p. 56) from the Dhanyaloka (IIIIlO vrtti, p. 330): there is no

other cause for the marring and aesthetic taste than impropriety, the greatest secret of

15
aesthetic taste being a composition confonning to propriety which is established. This

point is illustrated by SM by citing a few cases from the Riunayar;a story like Kaikeyi's

pray for two boons from Da5aratha and Vibhl~a taking resort to Rama's side against

R.aval).a. These parts of the R.iJ.mayalJ.O story have been altered elsewhere, a source

presumably not available to us. SM very often refers to the Riunayar;a plot as occurring in

this particular drama apparently the Udiittaraghava which is mentioned by name only

once here (NP, p. 57).MS reading corrupt,see text note no 106. Even what is not against

the development of rasa but is superfluous for it should never be stated. In this context

SM refers to the blemishes of rasa and mentions the Kavyaprakilsa 9 as the source book

(NP, p. 57).

SM now takes up the issue of the five dramatic junctures (paiicasandhis ) and as

the constituents thereof, he discusses five plot elements (arthaprakrtis)of the drama and

five stages of the dramatic plot (avaflha), (NP, pp. 57ff).

Over these issues SM generally follows the definitions given in 1; • ~ DR. He cites

from the dramas such as Abhiramamar;inilfaka10, Udattarilghava, Millavilragnimilra,

}.Jafat'Lmd.luzva, AbhijiiiinaSakuntala, Vikramorvarsiya, Ratnilvali, Ve1)Tsamhara,

Mudrara~asa. Though the MS containing the text on these issues is very corrupt we can

have access to the main content

16
 About pancasandhi SM says (NP, p. 64) that five stages of the dramatic action in

conjunction with corresponding five elements of the plot make the five junctures

(paficasandhi). The combination may be shown as follows.

arambha (Commencement) + bija (Seed)=> mukha (Opening)

prayatna (Endeavour)+ hindu (Drop)=> pratimukha (Progression)

priiptyilsa (Prospect of success ) + patiikii (Episode) => garbha (Development )

niyatiipti (Certainty of Success ) + prakari (Episodical Incidence) => vimarsa

(Deliberation)

phaliiganuz (Consummation) + kiirya (Denounment) = > nirvaha!Ja (Conclusion).

SM (NP, p.66) first takes up the mukhasandhi which is defined after_ : DR as:

The Opening (mukha) is that where the germ originates from various

iq~idents and sentiments. It has twelve limbs (aizga). It is based on the

connexion of the germ (biJa) with the beginning (arambha). DR 1124cd,

25ab).

Next he refers to the twelve limbs of mukhasandhi and gives their definitions

individually. They are upak$epa (Suggestion), parikara (Enlargement), parinyasii

(Establishment), vilobhana {Allunnent), yukti (Resolve), ~raQti {Attainment), samiulhiina

17 ..
,
.

• ••••J>
. ,.
(Settling), vidhana (Conflicting of Feelings), paribhilvana (Surprise), udbheba

(Disclosure), bheda (Division)~ karar;a (Resumption) (NP, pp. 66ft).

In this cases SM follows , __ DR faithfully and gives examples from the drama

Abhiramama~Jinataka:::; Malavikagnimitra, !..falatimadhava, Udattaraghava. He agrees

with DR that out of twelve limbs, upa~epa, parikara, parinyasa, yukti, udbheda, and

samadh'ana are essential for the mukhasandhi implying thereby that the others may be

omitted (NP, p.70).

SM (NP, p. 70) defines the pratimukhasandhi after : ·.·· DR which defines it as

follows:

Progression (pratimukha sandhi) is that where the aforesaid gcnn

develops with its appeanmce (partly) perceptible and

(partly)imperceptible. It has thirteen limbs and is based on the

combination of the drop (hindu) and the endeavour (yatna).

Its thirteen limbs are vi/Q.sa (Craving), parisarpa (plli"'Suit), vidhuta (Disinterest).

srama (Pacification), tlarma (Joke), narmadyuti (Amusement), pragamana (Response),

nirodha (Impediment), paryupasana (Apology), vajra (Bolt), pu?pa (Gallantry),

upanyasa (Intimation or Propitiation), varr;asam1;ara (Congregation). Out of these

18
thirteen limbs of pratimukha sandhi, parisarpa, prasamana, vajra, upanyasa and pu§pa

are prominent and others are introduced as required (NP, p. 74).

Next he defines the garbha (Development), (NP, p.74) which runs as follows:

Development (garbha) is that where the seed perceived and lost is sought

for again and again. It has twelve limbs. The episode may or may not be

there but prospect of success must be.

Its twelve limbs are abhutaharatJ.a (Misstatement), marga (Indication), rilpa

(Reflection), udaharat:ta (Exaggeration), krama (Progress), samgraha (Propitiation},

anumana (Inference), tofaka (Quarrel), adhihala (Outwitting), udvega (Dismay),

sambhrama (Terror) and ak$epa (Revelation).

Out of the twelve limbs of the garbha SM believes like Dhanika that

abhutahara!Jtl, margo, totaka, adhibala and ~pa are prominent. Others are to be used

according to necessity (NP, p. 77).

Next comes avamar5a (Deliberation) (NP. p. 77) which is as follows:-

Deliberation (avamai'W) is that where one pauses to reflect out of anger,

calamity or temptation and where the content of bija is unfolded further

from the garbha.

19
 It has thirteen limbs: apaviida (Censure), sampheto (Rebuke), vidrava (fumult),

drava (Contempt), 5akti (Placating), dyuti (Excitement), prasaizga (Reference), chalana

(Disrespect), ryavasaya (Assertion), virodhana (Opposition), prarocanii (Precursion),

vicala (Praise), adana (Summary). Out of these only apaviida, 5akti, vyavasaya,

prarocana and adana are prominent. (NP, p. 80).

Last comes nirvaha~a)andhi (Consumation) (NP, p. 80):

Consummation (1J.irvaha1)QSandhi) is that where the contents of matter

such as those scattered over mukha and other junctures involving the bija

(Seed) are appropriately brought to one conclusion.

It has fourteen limbs: sandhi (Juncture), vibodha (Vigilance)~ grathana (Hint),

nin;aya (Narration), paribha$01J.G (Conversation), prasiida (Graciousness), iinanda

(Bliss), samaya (Deliverance), /crti (Consolation), bha$GI;Ul (Satisfaction), upagilhana

(Surprise), purvabhava (Anticipation), upasamhiira (fermination), pra~ti

(Benediction).

After describing the limbs of dramatic junctures SM notes (NP, p. 83), after the
I
NS (XIX/1 04cd - 106ab, GOS Vol. IV), that the dramatist may employ the limbs of a

particular juncture in another juncture as well keeping in mind the denou ~;Jement (kilrya)

and other stages of the dramatic plot (avastha). SM calls this sandhisaitkarya

anterweaving of~unctures). This may even bring in the issue of avamadasandhi after the

20
process of nirvahar;a has already started. Abhifla~upt!C~ illustrates this from the

Ver;Tsamhara where yukti, a limb of mukhasandhi, appears in the garbha as well 11 •

In recording the six-fold purpose of the limbs of sandhi, SM follows DR (I/54cd,

55) according to which the purpose is a suitable arrangement of plot, intended ideas,

concealment of what is intended to be concealed, revelation of what is to be revealed,

generation of the audience's attachment, surprise and sustenance of interest in the plot

(NP, p. 83).

After discussing the purposes of sandhi SM seems to trace the prominent limbs of

. .
the sandhis to his own work the drama Abhiriimamaninataka. His illustrations here are

however, not always the same as those recorded earlier in connexion with the individual

limbs (NP, pp. 84-85).

So far as the sub-plots are concerned SM follows Bharata in noting that sandhi

has no scope for the prakari but for the patiika it has (NP, p. 85-86). The sandhi in patiika

is called anusandhi, there may be one such sandhi or more in the patiilcii. In the case of

existence of any sandhi in the pralcari it would become a patiika. In this connexion SM

appears to refer (with the expression pra/crte) to the .Ramiiya1JD based plot of the drama

Abhiriimamar;inataka(?) where the incidents relating to Sugriva and Vihh¥t;a:. are bereft

of garbha and vimar~ sandhis(however the text is not clear). Here he speaks of

mukhasandhi contained in the text beginning with sitiipaharar;a...... and refers to its

21
aitgas upah}epa, parikara, yulai, parinyasa~ bilobhana and udbheda contained in the

relevant portions of the text cited by him. Then he speaks of pratimukhasandhi contained

in the text sitii anena .... .. and refers to its aitgas. paryupasana, upasana and pragamm:za

etc. contained in a relevant portions of the text. Finally he also refers to nirvaha1J.GSandhi

contained in the text beginning with yah}o bhanilmilyiidina ........ and refers to its aitgas

vibodha, grath'1za and paribhasanil contained in the relevant portion of the text.
' .

SM now takes up the issue of patiikilsthiinaka (Episode Indication). In this case he

follows DR's karikil (I/14, partially cited) which means: an indication, by the mention of

something extraneous to an event that has started or is about to happen is called an

episode indication (patiikilsthiinaka), which is characterized by similar situations or

attributes. SM also quotes the authority of Bharata's relevant kilrikil (NS XIX/30, GOS

Vol III) and follows DR in giving example of patiikilsthiinaka from Srih~a's drama

Ratnavan (II/4). Here the king, while gazing at the garden creeper says that he will cause

wrath of the queen by his act. This indicates the incident to follow when the queen,

knowing the king's involvement with the young girl .:., Sagarika, gets angry and leaves.

SM then cites other examples from the Riima drama he is followingyathii pra/crte, (NP, p.

87).

SM now takes up the issue of difold presentation of dramatic incidents. Some are

to be indicated only, whereas others are to be audibly and visibly presented on the stage

22
(NP, p. 87). Certain incidents are not directly contributive to the rasa and they are to be

indicated only. But others which are presented on the stage are replete with actions

contributive to rasa. He cites two relevant kilrik.G from the DR (1/56-57).

For indicating incidents the devices adopted are known as arthopa~epaka (lit,

that which is indicative of incidents) not presented on the stage. They are five in number

Vi$kambhaka (Explanatory Scene), cu/ikil (Intimation Scene), aitkilsya (Anticipatory

Scene), aitkilvatara (Continuation Scene) and pravesaka (Introductory Scene).

He follows DR (1/59-62) in defining these devices (NP, pp. 88ft).

It is interesting to note that SM (NP, pp. 89fl) shows a distinction between

aitkilvatiira and aitkilsya which is not very clear in other texts.

Aitkilsya or aitkamukha and aitkilvatiira are two varieties of arthopa~epaka

which are introduced as devices for presenting before the audience the facts that can not

be presented through acting in the Acts proper. Bharata's view of aitkilsya is tha~it is a

scene which briefly intimates the main theme of all the acts. 12

But later critics like Dhananjaya have a different view, according to which

aitkilsya is a scene which contains a reference to the theme of an Act to follow made by

the characters appearing in the end of the preceding Act. Visvanatha Kaviraja records

23
both the views but comments that the latter view would hardly make any difference

between airkiisya and ankilvatiira. He cites from the !mma play Viracarita (Act ll) an

example of aiz/Wsya where a part of the story involving Satananda and Janaka is

disconnected. (wtanandajanakakathavicchede) and what is to follow in the next Act is

indicated 13 • This is said to be the implication of chinnilizka or kathaviccheda

characterizing ankasya or ailkamukha in the Sahityadarpara as opposed to

tadankasyabibhagata~haracterizing aizkilvatara14•

What is actually int&ted by chinnailkasya arthasucanat· is not so clear in the text

k

of Dhana:fijaya as well as in the main kilrika of Visvanatha. It is only in Dhan.ika's

commentary and in Visvanatha's own vrui that the point has been clarified with the help

of an example cited by both Visvanatha and Dhanika from the Jmma play Viracarita (Act

II). There the anlrasya involves the entrance of Sumantra and disconnects the part of the

story relating to Satananda and Janaka, as stated above. The little distinction as contained

in the expression chinniinkasya in the texts of Dhana:fijaya and Visvanatha has been

given very little importance by Visvanatha himself who says that this aizkilsya is obviated

by aizkilvatiira . .

But it is SM who has made a clearly pointed difference between the two,aizkilsya

and ankilVatara, with the help of examples cited from Malatfmiuihava,

Abhiriimamm;inilfaka(?) and Miilavilcagnimitra. He clearly shows that in the aizkavatiira

24
the content of the Act to follow is indicated at the end of the preooeding Act and the next

Act begins directly without disconnection of the story as opposed to aizkllsya where this

story is disconnected as stated before (purvakathilrthavicchede NP, p. 89).

From the standpoint of audibility of speech, the dramatic incident is again divided

into three classes in accordance with the rules of dramatic representations (NP, p. 90).
and
Audible to all (sarviisravya), audible to none except the audience (asriivya)laudible to·.~.>:~

restricted persons (niyatiisravya).

into
The third category is again classified, two categories: janantika (mutually secret
""
consultatioti) communicating an incident with a particular posture of the fingers known as

the tripatiikD. and apavarita or disclosure of one's secret in isolation.

In this connection a particular type of dramatic device called iika5abha$ita or

speaking off the stage is noted (NP, p. 90). It consists in one's reply to a statement of

someone else as heard, though not actually uttered, and reproduced with~query ...... 'what

did you say?'

Next is taken up the classification of language. This is a very important issue of

Sanskrit dramaturgy which enjoins the use of Sanskrit and various types of Pr~t. for

25
different categories of persons. This is a true reflection of the society where Sanskrit was

spoken but not very widely. The more common language in use for the common people

was ~lc..din its various forms like Sauraseni Mahara~tri, and Magadi. Accordingly)

Sanskrit dramaturgists have recorded the use of these languages in the Sanskrit drama.

SM cites (NP, pp. 90-91) DR(II/64-66) according to which people of high origin

and the self-possessed ones speak Sanskrit and occasionally female ascetics, the chief

queen, the daughter of a minister and some courtesans speak Sanskrit. SM cites the

Sahityadarpa1Ja (VI/168, p. 367) to note that a woman, a female friend a child, a

courtesan 5 ':. : a fowler and a nymph are made to speak Sanskrit occasionally to show

their learning. SM cites frorrflAbhiramamaf)iniifaka(?) the cases of Sui)~ and Sita as

speaking Sanskrit. In general female and persons of low orgin speak Sauraseni Prakrit.

The PiMcas speak Paisaca Prakrit and persons of very Jow origin speak Magadhi Prakrit

as cited by SM from DR (II/65). But all these person~occasionally change their dialect at

the demand of particular situations.(NP, p. 91 ).

Next come the modes of address (amantra1Japrakara) (NP, p. 91 ). Lower persons

address a learned one, an aged one, and an ascetics as bhagavan. A brahmin, a minister

and an elder brother should. be addressed as arya, sutradhizra (stage manager) and his
spouse naff address each other as arya and iirya (DR W67). The charioter should address

the owner of the chariot as iiyu$man. The superior ones should address a disciple, a son, a

26
younger brother as vatsa. On the other hand, those superior ones should be addressed as

tata ( Dr III 68). The stage-manager should be addressed by his follower as bhiiva. On the

other hand the follower should be addressed by the former as milr$(1 (Dr Il/69ab ) (NP, p.

91).

The king should be addressed by his servent as deva or swamin and persons of

low origin should address him as bhafta. Woman should be addressed by a person of

high, low or a mediocre in accordance with the position of their husband (Dr III 70ab).

Ladies of equal status should be mutually addressed as hala and female servents

addressed as haiija and courtizan as ajjukil (Dr III 70 cd). Kutfini (procuress) should be

addressed as attii (amba according to another reading in the Da5arupaka) and so also a

respectable elderly lady should be addressed by the people as amba. The queen (riijtii)

and her maid-servant should be addressed by the vidfl$llka as bhavali (Dr 11171, NP, p.

92).

All these modes of address speak of some social formalities only and do not point

to any distinctive characteristics of the dramatic art. But since the drama is a reflection of

the society, these addresses as current in the society were maintained as dramatic

formalities. Various addresses in accordance with the persons of high, low and mediocre

origin speak of some social differences based on caste, profession and sex and, to a

27
 considerable extent, they reflect the feature of a class-based patriarchal society which has

very little justification in the present age.

Next SM takes up the issue of the dramatic style (vrtti) (NP, pp. 92ft). They are

four in number kausiki, siittvati, iiriibhatiand bharati.

KauSiki is applicable in the erotic and humorous sentiments (spigiira and hasya)

sii~ati is applicable in the sentiments of wonder and heroism (adbhuta and vira).

iiriibhafi is applicable in the sentiment of Terrible, Odious and furious (bhayanaka

bibhatsa and raudra) whereas hhiiratihas its application in sentiments in general. The

source of the kiirikii relating to the issue of dramatic style (srhgare etc.... is not

mentioned in SM's text (NP, p. 92).

The kausiki is defined with karikii from SO (VI/144). It consists in polished

costumes (dress) abundance of female characters and plenty of music and dance

involving actions relating to love and amusements and showing graceful movements. Its

four limbs mentioned are narma (Pleasantry), narmassphr'Uja (Development of Love),

nannaspho~ (Bloom of Love) and narmagarbha (Covert Love) and these have been

explained after DR(IIJ48-52). Illustrations have been cited apparently from

tO$ AbhiriimatnaJJinataka(?).

28
 The sattavati is defined with a kizri~ from DR{W53ab). It consists in energy,

bravery, generosity, benevolence and straigh(:forwardness and its four limbs are sam/Qpa

(Conversation), uttiipaka (Exciter), sanghiltya (Breach of Alliance under the influence of

counsel or money or fortune or valour or the like) and parivartaka (Deviation) have been

explained after DR(II/53-55) and illustrations hav~;gited from the Mudriira~a and

apparently the Abhiriimamal)inatalca(?) (NP, pp. 93ft).

The iiriibhati is defined with a kiirika from DR (11156). It consists in acts of magic,

conjuration, conflict, rage destruction etc. Its four limbs are sam~ipti~ (A brief

arrangement of some matter) sampheta (Mutual encounter of the angry and the agitated),

vastiltthiipana (Conjuration) and avopitana (Quick!)eparture) have been explained after

, DR (11/57-59) and illustrations have been cited from the Malavi~gnimitra, Ratnavali and

apparently from the Abhiramamal)i,Q{aka(?) (NP, p. 94ft).

At last bharati is defmed with a kizrika from DR (III/5). It consists in a verbal

discourse mostly in Sanskrit relating to men. The DR reading na~rayal;z (relating to

actors) for the SD (VI/144) reading narii§rayah (relating to men) does not give any

reasonable sense. It has four sub-divisiotl£ prarocana (Laudation), vithi (Avenue),

prahasana (Humour), and amukha (Insertion) (NP, p. 95).

Next SM takes up the issue of accessories of vithi (Avenue) (NP p. 95), which are

thirteen in number, namely udghlltyaka (Abrupt Dialogue), avalagita (Continuance),

29
prapafzca (Compliment), trigata (Triple Rendering), chaia (Deception), valckeli

(Repartee), adhibala (Outvying), ga~tja (Abrupt Remark), avasyandita (Interpretation),

nali!W (Enigma), asatapraliipa (Incoherent Talk), vyiihiira (Humourous Talk), mrdava

(Euphemism). All these sub-divisions have been explained after DR (ll1/12-2lab) and

illustrations have been cited from Vilcramorvarsiya, Pii!Ufaviinanda(?), Uttarariimacarita,

Vet;zisamhiira and apparently the Abhiriimama7Jiniitaka(?).

Next SM takes up the issue of pravrtti (Provincial Etiquette) which deals with

the local manners and costumes of different characters who participate in a dramatic

representation (NP, p. 100). The source of the kiirika relating to the issue of provincial
s
etiquette yatra de5a ...... is not mentioned in S~text.

Next comes the issue of the selection of the principal plot in which the hero is

endowed with attractive qualities, self-controlled and exalted (dhirodatta), mighty eager

for fame, of great energy, a preserver of the three Vedas (trayz}, a ruler of the world of

renowned lineage, a royal seer or a god. In that the incident famous after him is to be

made the principal plot .(adhikiirika). In this issue SM follows DR (III/22cd, 24ab), (t"'1l,

p. 100).

30
 Then SM describes the dhirodatta type of hero after DR (W4cd, Sab) which

describes the same as a person of great personality, very serious, merciful, unhaughty,

fmn-minded, with pride concealed and persevering by nature (NP, p. 100).

After giving this description he deals with the sentiments of a nataka. In this

matter he refers to DR (IW33cd, 34ab) and then speaks of anubhava (External

atid
Manifestations of Sentiments) vibhava (Detenninant), sthayfbhiiva (Pennanent

Sentiment) as developing the main aesthetic relish (ai\girasa) as stated in DR (lll/31cd,

32, 33ab~., ,NP, p. 101).

Then he deals with the srngara {Sentiment of Love), and vira (Heroic) the two

possible sentiments of nQ{aka following DR (IV/48 and IV/48, 72) {NP, p. 101). He

repeats Dhanafijaya's caution that the plot should not be dragged too far nor the rasa be

hindered by the stretch of plot. emblishments and la~nas {DRIII/32cd- 33ab'-, NP, p.

101).

Then SM (NP, p. 102) discusses actions not permitted on the stage after DR

(IDJ34cd, 36cd), such as killing war etc.

Next come characteristics of an Act (NP, p. 102) where our author follows DR

(Ill/30cd, 3lab) in noting that in an Act one notices actions relating directly to the hero,

31
development of the hindu and assimilation of various matter contribuiing to aesthetic

relish.

Next comes the issue of the contents of an Act. (NP, pp. 102fl). Over this issue

too he follows DR (III/36cd, 37cd) in saying that an Act should be arranged with a single

aim by the· acts of a single day, with the hero thus engaged and with three or four

characters all making their exit at the end. In it there should be an episode indication

(patiilaisthanaka) and at the end expansion of the drop (binduvyiipti). In this way the Acts

are to be prepared beginning with entries of characters and like matters. Finally SM says

after DR (III/38ab) that the nwnbcr of Acts in the niitaka should be five minimum and ten

maximum.

SM then takes up the thirtysix

,... lak$anas (Qqamatic Features) (NP, pp. 103ft),

thirty-three naf)'Qlankaras (Dramatic Embelishments), thirteen accessores of the vithi

(Avenue) and the ten lasyangas (Amorous poses) and says after the SQhityadarpaPJD

(VI/165-169) that these must be employed ir. the drama with a view to the development

of rasa, where occasion requires so (yathalabham prfjJ!ojyiini, (NP, p. 104).

SM gives the definition of thirty-six lalcyanas (Dramatic Features), after SD

(VUt 70-206) and gives illustration apparently from A.bhiriimamar.zina{aka(?) (NP, p.

104). The lak$anas are:

32
 :lhu?!J~za (Ornament), ak~a-:sailghata (Compression of Pit~ Words),
---
sobha (Bea{Y), udahara~za (Illustration), hetu (Reason), saritsaya (Doubt),

dr~tiina (Example), tulyatarka (Analogy), padoccaya (Set of Words),

nidarsana (Illustration), abhipraya (Conclusion), prapti (Inference), vicara

(Argument), di$fa (Description), upadi$1a (Admonition), gunatipilta

(Deceptive Action), atiSaya (Exaggreration), vise$(1':"1 (Especiality),

nirukta (Narration), siddhi (Declartion), bhraritsa (Slip), viparyaya

(Alteration), da~it)ya (Complaisance), anunaya (Conciliation), mala

(Garland), arthapatti (Deduction), garhat)a (Censure), prccha

(Interrogation), prasiddhi (Announcement), siiriipya (Similitude),

sw1'k$epa (Imposition), gut)akirttana (Eulogy of Merit), le5a (Suggestion).

manoratha (Indirect Expression of Ambition), anuktasiddhi (Fulfilment),

priyavaca.. ·(Sweet Speech).

eLl
Next come the nilfyiilaizkilras (Dramatic Embkishrnents) (NP, pp. 108fl). These

are thirty-three in number as said before. In this matter SM follows SD (VI/207-224)

faithfully and gives illustrations apparently from the Abhiriimamaizinii{aka. The

niifyalankara~ ~ are:

iiSi~ (Benediction), akranda (Hit), kapafa (Disguise), afc$ama

(lntollerance), garva (Conceit), udyama (Effort), asraya (Shelter),

33
 utpriisana (Derision), sprhii (Desire), ~obha (Agitation), pascattiipa

(Rcpcntencc), upapalli (Reasoning), iisamsii (Hope), adhyiivasiiya

(Detennination), visarpa (Consequence), ullekha (Demonstration),

uttejana (Persuasion), pariviida (Reproof), niti (Conduct), arthavise$Q~a

(Repetition), protsiiha~a (Encouragement), siihayya (Aid), abhimima

(Boastfulness), anuvarllana (Complaisance), utkirtana (Naration), yiiciiii

(lmportunity), parihara (Apology for Wrong Committed), nivedana

(Pointing out one's Binding Duty), pravarttana (Direction), akhyii~a

(Allusion), yukti (Resolve), prahar$Q (Estasy), upade5a (Didactive

Suggestion)

Next comes the discussion on liisyflilJ?,aJ (Amorons Poses) which arc ten m

number (NP, p. Ill). They are:

geyapada (Ballad with Musical Instruments before a Deity); sthilapflfhya

(Prakrit Recitation by a Heroine afflicted by love); asina (Seated Posture

of the Thoughtful Girl); pu?paga~r4ika (Songs with instruments by male

and female in mutually opposite gestures); pracehedaka (Breach of a girls

affection, on the lovers attachment to another girl, expressed with the play

of a lyre); trig[J4ha (Graceful movements of a male after wearing the attire

of a female); saindhava (Musical Prakrit utterance of someone who has

lost his rendezvous); dvigu4ha (Musical perfonnance of symmetrical

34
 poses of the feet contributive to aesthetic relish and emotions found in the

first and second dramatic junctures); uttamottamaka (a Performance

indicating rebuke or singer or satisfaction that contributes to aesthetic

relish) and finally uktapratryulcta (Speech and Reply with graceful

movements, music and striking verses and showing a little or vehement

manifestations of emotions). SM enumerates these after DR and SD and

explains after the latter. These /asya~gas are enumerated and explained in

NS (Ch. XXI119-137. GOS, Vol. Ill) where two more appear: (i)

citrapada!,or vicitra in same editions(a Separated ~iri'S Entertainment by

looking at the picture of her lover) and (ii) bhilvikil (Expression of

Emotions after meeting the lover in a dream). SD's treatment of the

/flsyangas, which SM follows have some variations from that in NS 15 •

SM now takes up the issue of particular characteristics found in the midst of the

sandhis (Sandhyantaras). They are twenty-one in number (NP p.112). -11amely:

Sama (Conciliation); bheda (Disintegration); da1Jda (Chastisement);

pradana (Offer); vadha (Arrest); pratyutpannamatitva (Ready wit);

gotraskha/ita (Misquotation); sahasa (Enterprise); bhaya (Consternation);

·hri (Modesty); maya (Deceit); krodha (Indi&!J.ation); ojas (Prowes);

samvara1Ja (Concealment); bhra1Jti (Mistake). 6.etvapadhara1Ja

(Conclusion); duta (Assistance); lekha (Written Statement) swapna

35
 (Vision); citra (Portrait); mada (lntoxi.cation). SM quotes all these names

from NS (XIX/107-109 GOS Vol. III).

Next SM discusses the rupakas (NP, pp. 112ft) such as nataka, prakara7J.a bhil1J.a,

prahasana, dima, ryayoga, samavakara, vilhi, ailka and ihD.mrga. He follows DR (III/39-

75) in giving the characteristics of the rupakas. Aizka is also known as utsrsthailka which

is the only tragedy in the scenic art in Sanskrit NS (XVIII/94-1 00).

In the context of prakarat:ta he refers to the dhTrasanta (Wise and Modest) type of

niiyaka (Hero) and nayika (Heroine). The latter may be a married girl or a courtesan or

inay : . -O~:I be both (NP, p. 113). In this context SM follows DR (II/4ab, Ill/41-42) and
the
as an example of sanskir7Ja (Mixed prakara~w where female chardcters of both~ domestic

and public types (ku/aja and vesya) are accommodated, he refers to the Mrcchakatika of

Sudraka. Though SM does not deal with rasa (Aesthetic Relish) as a separate topic, the

question of rasa comes up in connexion with his treatment of the ten main types rupakas

where he follows DR, as said before.

In the context of prahasar;a he refers to its three categories such as suddha (Pure

or Regular), vaikrta (Transformed/Modified), and samkara (Mixed) (NP, p. 114). In this

context, he refers (NP, p. 115) to hasyarasa (Humorous) and quotes its definition from

DR(IV/76).

36
 In discussing the c/lma,SM (NP, p. 115) refers to the drama Tripuradaha as an

example thereof from Bharata's NS (IV/10). Here he gives the definition of raudrarasa

(the Furious) which has been taken from DR(IV/75).

In giving the definition of ut$rstikiisika (NP, p.117), he refers to its aesthetic taste,

the karui){Jrasa (the Pathetic) the definition of which he quotes from DR(IV/81, 82cd) as

per our MS (NP, p. 118). Incidentally, this is the only tragedy in the scenic art in Sanskrit

(NS XVIII./94-1 00).

Next he takes up the ihamrga the last of the ten rupaka.••, where he gives (NP, p.

118) the definition of dhiroddhata (the Self-controlled and Vehement Hero) from DR

(11/Scd, 6ab ). The touch of the semblance of erotic taste srngariibhasa here deserves our

notice. The concept rasabhasa (Semblance of Aesthetic Taste) came rather late in

Sanskrit literary criticism after Anandavardhava (9th century A,ll).

Next he takes up the uparupakas (Minor fonns of the drama NP, p. 119). It is

interesting to note that out of eighteen minor plays he discusses only three varieties such

as natilcii, trotaka and sattaka. In this context he follows SO (VI/281-284) and even takes

the same examples of these dramas from SO, such as the Vikramorvarsiya of Kalidasa

for trotaka and Karpuramanjari ofRaja5ekhara for saftaka.

37
 SM discusses the definition of nafika and also discusses the dhiralalita (Self

controlled and light hearted) type of hero from DR (II/3cd), (NP, p. 119).

After discussing satfaka he gives (NP, p. 120) the definition of its aesthetic taste,

the adbhutarasa (the Marvelous ) from DR (IV /78cd, 80).

The text ends here (NP, p. 120) followed only by two colophone verses. In the

first of the two verses our author gives his date and place of the composition of the work

which have been discussed before and the second one is a poetic expression of the nature

of the work in question. Honey may vary from flower to flower and this difference is

known by honeybees, but honey as such or its sweetness is the same everywhere.

Similarly, different texts on dramaturgy contain various points which may have

difference among themselves but their importance is more or less the same for the literary

critic. While gathering these points from those text 1our author has therefore shown equal

inclination for them all and has, therefore, cited freely from those texts such as NS, DR,
SD.

The Natyapradipa of SundaramiSra is a compendium of Sanskrit dramaturgy.lt

covers fairly all theories relating to the scenic art, beginning from the prologue and the

benediction of the drama and ending in its division. The tenets have been discussed with

definitions cited mainly from Dhanaiijay's . DR and Vi~vanatha's SD and occasionally

references to and citations from Bharata's NS, the earliest extant work on the subjects,

38
have also been made so as to enhance the authenticity and importance of the work.

Though the text happens to be a compilation work, occasional flashes of original thought

are not lacking. Examples cited from Sanskrit dramatic texts have added to the weight of

the work. The reference to Mayiiraja' s Udattariighaba (if our reading of the MS is

correct) and his own Abhiriimamat.tiniifaka brings to light additional information on the

lost Riima plays known so far. From SM's treatment it appears that DR was widely read

in his homeland and at his time, followed by Visvanatha's SO.

On the basis of all this we may say that NP is not a negligible work. It is

unfortunate that such a work would exist only in one MS and that too a highly corrupt

one, though complete. It is more unfortunate that another far better MS which would have

given us a far closer access to SM's text got lost in -transit from London to Allahabad as

early as 1946.

It is however a matter of relief that institution no longer lend original MS. This

principle should be strictly maintained and utmost care taken in the conservation and

handling of old MSS. Centuries back Raja5e~ a noted literary critic of the 1Oth

century AD, recommended the preparation of several MSS of any text composed:

siddhafl ca prabandham anekadar5agatarit kuryiit 16 • Though already too late, we should

even now pay heed to this advice and make a number of copies of all important Sanskrit

MSS both xeroxed and microfilmed before they are lost or mutilated. So far as the work

in question is concerned, serious attempts should be made to trace the lost MS of NP and

39
in this respect the authorities of Allahabad University may take the initiative. If ever

recovered, the MS may throw further light on a work of dramaturgy which has lain

neglected so long.

40
 References and Notes to the Introduction

1. Letter of Mr M J C 0' keefe of the British Library No IOLRJPB/209 dated 1Oth

April, 1991 addressed to my teacher Professor Pratap Bandyopadhyay of the

University of Burdwan. Xeroxed copies of the letter and the relevant document are

given in the Appendix.

2. The Laws and Practice of Sanskrit Drama. Preface, p. XXI. That the author is

referring to NP of Sundaramisra is evident from his Conspectus of Text Books p.

514 where he notes citations only from a MS of this work and not from any other

work.

3. $afjjamadhyamaglmdhilras tryo gramab prakirtitab I

bhurlokilj jayate $Qdjo bhuvar/okac ca madhyamah II Naradisi~a(1.2.6.)

4. AbhijnanaSakuntala of Kalida~ edited by M. R. Kale. Eighth Edition, Act I, p. 5.

5. Ibid, Act I, p. 6

6. Op. cit Act V, p. 186

7. See Note no. 2

8. cfnirvaha7J.aparyante tatphale kriyama7J.e tulyakillayor upakilryopakilrakatvabhavilt

lena pradhilnopakilro '(karbhavo ?) na bhavet .... (under NS XIX 29, GOS Vol. m,

p. 18).

41
9. vyiibhiciirirasasthayibhavanam 5abdaviicyata etc (KP, Vll/82).

10. Abhiriimama1)itwfaka a lost Riima play is not mentioned by V. Raghavan is his book.
This is a drama by Sundaramisra himself. See Note 31 to the text.

11. AbhinavabhiiratTunder NS(XIX/1 05, GOS ed. Vol. III p. 62).

12. Bharata's view is presented in NS(XIX/116) Abhinavagupta does not comment on

this. The meaning of Bharata's text here is not very clear. Visvanatha seems to have

followed this text in the first view ankamukha.

13. SD(Vl/41, p. 313)

14. Ibi,d, (Vl/40, p. 312) c.f. ankimte eva ...... can/co nipatati NS(XIX/115)

15. For the location of liisyiingas in NS and their numher see NS (GOS, Vol. II

Introduction. pp. XI - XIII)

16. Kavyamimdmsii (Kavirahasya) Ch . X (Ed. Nagendra Nath Chakravarty, p. 234), In

this connexion one may see a short article under the caption The Problem of editing

Ancient Text from single Manuscript by Professor Pratap Bandyopadhyaya: The

Problems ofEditing Ancient Texts; edited by V. N. Jha, pp. 120-24.

42
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103
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117
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.121
 Notes to the Text

I. Text corrected to a great extent after Ms 1148d as cited in the IOL

Catalouge, our Ms has:

sphuratsuratarangini pravrtta da~iko ranQdrta

pravi?tanaganandini pralavadangi nirvahaf)Om I
nafannatavarasthitisthagita ....... kiilasthirarit
......... puraudarain namata sundaram tan ma~ II

However, the other MS also contains mistakes like tararigini for

tara~gini, nandini for nandini from this one can imagine how much
corrupt our MS is.

2. Our MS has miina5ala ..... .

3. 1148d has /asa for la~ma

4. MS 1148d has praJcrtopayogi kramet;aiva natyiidivicilr~ kriyate.

5. MS 1148d ha asya.

6. Corrected after MS 1148d as cited in the 1.0. Catalogue. Our MS

has padiinvitayiim udQhr~.

7. Pare'viiniiviitmavapadapahu.ln Raghavabhatta's commentary of

the verse the second half appears as pare' viintart[vakyaikt()variipam
padam ucire (Abhijna~ntala, Kale~"~·Jp.6)

8. e$U kJimotiriimal.z

9. should we read bodhyal;J

10. pariipiidviiyiipiniindya prapacate.

11. dhvajadviitra

12. Our Ms has kaiuzdi after niindi.

13. kanavu kukupamacchannadi

14. va

122
15. prathantare

16. prayunma

17. samavite

18. prathantare

19. eranucakaci prayai piidanam madhurasloka piidanam ........ va

priiyikariz

20. mrrizjayab

21. nrharizpra

22. The reference is rather confusing. The citation is from the

Dasariipaka (III/2). Dhanika is only the commentator who supplies
sthapaka for the pronoun apara.

23. killam dabhamatha

24. bodhaniimaiva

25. gamakada5airgiiti

26. lak$a1)yiitha

27. cattarat)iim to

28. For sthapanii(prastiivana)Bharata uses the term iimukha as part of

purvara7iga. (see NS, V/166-174GOS Vol. n
29. Should we read pak$al:t?

30. dvitiyas tv atrannathiinargatiiptatii.

31. Text, which refers to the author's own dramatic composition in

namely Abhiriimama1)iniitaka, corrected after MS 1148d, as dtedlthe
1.0. Catalogue, which, however, does not refer to the folio no.
where this line occurs in MS 1148d. Our MS has (fol. 3a) nijaJcrte
prakrte .... riigasya. According to the 1.0. Catalogue reference to this
drama has been made hereafter also under the expression prakrte

123
 only. (1.0. Catalogue refers to MSS of this drama in Aufrecht's
Catalogue of Sanskrit MSS in Bodleian library, Oxford, Nos. 269-
270). However, as we shall see later, in those subsequent cases the
reference may not be to this drama but may be to Mayuraja' s
Udattaraghava. That the Udattaraghava was known to SM and
referred to by him in the present work is dear from folio, 4a (NP, p.
57), where along with the name of the drama its author Mayiiraja is
mentioned.

32. tarakeragastepahajo

33. mamanama

34. vyunjatya

35. kavimatya after the citation.

36. The reference;o the author's own composition the drama

Abhiramamaninataka apparently based on the Ramaya1Jil story to
which the reference has already been made.

37. Our MS reading is ma~m marsam. DR reading of the karika (in the
Madras edition) is marisam va vidii$llkam

38. prakrte ... . e$(im anyatmnentJ repeated in MS.

39. arthah.

40. semedatta

41. gurapasyavatartava}J.
•
42. This hemistich is connected with sucayed in the Da~rupalaz text. Sa
sthapako dilTYj!m vastu divyo bhutva martyarth martyarilpo bhutvii etc. is
quoted fromki\valoka.

43. datta.

44. pasyesadhunob

45. Kapam siidhuviide}J vastu karanibhutasiirtham viipta grahat;zamak$iptam

vyakti bhatri vyakti veJ1a supari$thavah.

124
46. payapathisvetmarhnena

47. riilase

48. miviinaivalat.

49. smareca.

50. cafJJZsamalilatidum icchati

51. vyaptapanakii

52. rcJilvamasam

53. puparh

54. ravo

55. rara

56.
~
57. pravi5yati

58. ~tayoddi$to

59. prayotalirayal;l

60. jape~

61. japogati

62. mitral;

63. srayava

64. smayapural;l

65. avalokiteti

66. ejalapralidiittal;l

67. putra

125
68. viiru7Jam

69. We get the first reference to the Udattariighava here.

70. samo

71. r;agaj1Jamasvelam miitrii sahaivodinatav sugriva vilita no camuga]iniinau

pariisaspadarh proddhata~m dharapodhatmayaprastiihiyah ....... .

72. MS has kathodghiitasya .... prayogati5ayasya ViSe$(ltii~

73. thiirapakasya

74. nisviittaper:to dak$erathaiigiinii jiiilii$tidatvasye jiitasphariihari thiipr~

75. miicane vai nikalavi

76. prapamcane

77. capatiti

78. sitii gamatajiival;

79. bhanii

80. padiirthasya

81. enakara

82. vamupupa tiikapri f)iigarbhiita vimapragrdvapataka

83. pravrttida~niit.If
the MS reading be accepted it would not tally
with Abhinavagupta's interpretation (see next note). In the light of
this fact we have emended the text with the reading patiikiiyii
pravrttyadarsaniit.

84. NS XIX/1!}, Abhinavabharati has; niruaha7;UZparyantdatphale

kriyamii'}t tulyalcalayor upakiiryapakiirakatviibhiiviit tena
pradhiinopakQrabliiivoi ~t~Ehaiie~~Vol. ill, p. 18)

85. From abhinavaguptiipada~ to ....... sandhan darsitam repeated.

126
86. vutluivavibhipraf)Q

87. prasatadina

88. atiprasafigetyadasanitu nasyaditagatipattyam

89. campative

90. evakasyiitraveti

91. should we read ap~itam?

92. riipavatadena

93. datta

94. rnu
95. The reference is to the Avaloka commentary of Dhanika, under DR
(I/42, p. 21)

96. dattam

97. vastutrapapaiz cane

98. From vastuprapamcane viSe~al) to prakalpayet repeated, but

second time he has niiyakasya rasasya ~ correctly whereas rasasya
is omitted in the first occurrence. SD has minor variants.

99. The reference is to kaikeyi's seeking two undue boons from

Dasaratha, an episode which Bhasa changed in the fratimii

100. Viti$Qf.Ul

101. rasiibhi

102tarapyanya

103 kincidutpadya vastu ceti- This could not be traced in NS, but
according to ~aradatanaya (Bhiivapraka5ana, p. 234) such a view is
maintained by Mat:rgupta. See Siddhesvar Chattopadhyay,
Matrgupta., A forgotten Author on Indian Dramaturgy. Our herita~,
special number 150th Anniversel!Y. volume (1824-1974) Calcutta

127
 Sanskrit College Research Series No. CXIX, Sanskrit College,
Calcutta 1'179, editorial date (pp. 189 -211)

104 vadvilevapu1Jilviinaitre$ii~

105 vahumahayam vadasinal)

106 tudavariighave

107 sado5avahariz

108 casma

109 pratiivaniintii

110 ruliihilsii

Ill tatrevam

112 patviivasthil

113 tatrevariz

114 unavap1

115 ekaikesyam

116 sphal)

117 asvetaih

118 arthatraheniitra

119 mukhasiidluznam

120 ]J(tyate

121 lcitikinaya

122 prasavodbhavam driidayo

123 ekadhavanubandhavii

124 tu$tiinakha

128
125 datvadi sraukisphutab

126 bijavatJikaprakaram pusyii lijaraka? should we read karyasya

hetuviSe$0 bijavad bijam after Dhanika(Avaloka under DR 11.17ab, p. 5)

127 vistaryatJekapra

128 poetic citation illegible.

129 nijiimttethii giidhpasya

130 venasiinena

131 It is clear that, the killing of Ravat;ta by Rama is hidden as the seed
of that drama, but the text is mutilated.

132 dohala

133 kokapiiji

134 5e$llpak$a ~krita

135 mavye

136 prasangaJcrta

137 kara~ra1)tl

138 Reference has been made here to the view of Matrgupta on bindu,
but this could not be traced in the Abhinavabhiirati or elsewhere.
On the views of Matrgupta on various dramaturgical issues, see
Siddhesvar Chattopadhyay, Miltrgupta a Forgotten Author on Indian
Dramaturgy.

139 arthavicchedrel)

140 nauyakamatJga

141 linesrepeated

142 a uta the reference is to Vakulavaliki's speech as dted by Kumari

Vast(.laksmf, Malaviki~imitra, Act 1,,- '~y;>.8

129
143 avanayakam

144 ayaccha

145 vapra

146 pii1Jiprada~

1.47 syiidiricchii miitramiirabha~

148 should we read yauga1Jdhariiya~JQsya

149 majavika

150 bhiva~

151 karyiinukula~

152 vyopiira

153 praphatva

154 malavinatmitrepi

155 rava

156 camatkarakarityavadheya(?)

157 anibandhana

158 $0drada

159 prapteradarhbhiivat

160 vighvapayoyamu

161 pratikararapothayiim tare1JQ

162 Words (riimas tu ......... tiithah)

163 /aha

130
164 gu1JQjanam

165 ptavyakfa/:z

166 nelogre

167 malatyam

168 daprapilJ

169 gudrika

170 sakhyam

171 ivaharya

172 kulalaehim

173 kamuchi

174 lataSca

175 napathye acara a aput;o yavaratte dohelasma maublti pa1JQddhona

varat;i iiyo ana devie nivedemiubhe

176 asasidu

177 kope~akopa

178 phalitirtal)

179 matra

180 tatra bijotpattau ........... yathasam khena jayate etc. upto

arambhayuktani bijiini muklulsanadhilj repeated.

181 pracchimukha sandhav api

182 vi eva eva

183 iivasyaketi

184 enarathariipa

131
185 MS reading clear, but meaning ambiguous.

186 sandhya~gani

187 vidheyanittiti.

188 svalpatvenodet

189 bijani

190 prayojanivad]:zaranam yuktil;l

191 About prapti the author is silent

192 MS has upiidana. Then follows agatal;l upiidarit unnecessarily and

wrongly.

193 Repeated

194 tavastha

195 rajakala

196 maramarahavululsvatrane tyanena

197 bhidal.z

198 InDRmata

199 pravigukham

200 vija

201 vitasya

202 biyujasya

203 A few words - kva punar idavum etc. seems to be repeated illegibly

204 lak$yatva

205 masatyam

132
206 jiinasityiidina repeated

W7 MS has dlultipuspablulyam api

WB vavef;e

209 samakara~

210 binanam

211 samviidana

212 gamanamani

213 mirodlul~

214 bhutyarthe ha
-
215 riijiisamagama

216 dn$tasya

217 drsta, na$/a anusara~- three stages of parisarpa seem. to be

mentioned, but writing illegible. SM does not give or cite the
difinition of parisarpa, but explains it clearly.

218 Slna~

219 SM does not give the definition of Sarna but explains it without any
example.

2W vaci

221 katirilartlul

222 pragama~ has not been defined.

223 sanuragamityamedina

224 para5ugama

225 pratikulavena

133
226 vacane vajram

227 upanyasa is defi.ned as prasadana (pacification and alternatively as

sopiiyam (achievement of a means). The second explanation (sopayam)
follows a different reading in DR upanyiisas tu sopiiyariz(See Haas's ed.
of DR p. 19) There is a third reading upanyasas tu sopavam (See Adyar
library Ed., p. 34)

228 dvividhodyapanu panya~

229 prapitinukha

230 prastiinam

231 nistisambhava}:t

232 prama

233 kirttate

234 pragupayacita

235 Tcaryiista

236 pamsubhil,z

237 caturfhankam arambhya paflalmankizv~mbhtzktzm garbhasandhiJ:t sa ca

priig upayacita eva upto praplih the sentences speak of places of upiiya
and apaya in the garbhaJ;andhi of the relevant drama. Unes not clear.
Then comes athiisyiimgani, noting the accessories of the garbha

238 krit/.inam

239 yanmamityadi .

240 ket/Jaketvena
241 vanw
242 putriyatam

243 prasmi

134
244 anubhaga

245 abhisandhanam

~ titi

2A7 Probably raghildvahenetyiidinil

248 priiyasya

2A9 vilodhena ,

250 mitravamdanam

251 priipe

252 garbhesandhyadbhigna

253 praJcrtab

254 Other textsHke OR and SO have the reading sampheta for

samsphefa. It is difficult to ascertain the correct reading in the text
of SM from one correct MS

255 samsphoto

256 athavasamgab

257 guhakirtanam

258 The difinition and illustration of virodha are missing

259 DR has vikatthana vicalanam (DR I/48a). SM's definition differs

from DR and there is no example. yatha prakrte etc. is omitted.

260 It appears that Abhiriimama7Jinilfaka: is a drama in seven Acts

261 grapamnam

2h2 upaguhanail;z

263 sarizhatau

135
264 The definition of vibodha (DR J/Slb) is missing

265 lanisa

266 nin:Wya/:l

267 anubhutakhyiituttakhyiitu

268 nin:Wya

269 Read anubhutakhyii

270 parijiiaya~m

271 Example of prasiida is missing

272 There seems to be a reference to abhi$ilal (coronation ) of Rama.

273 MS has laviirthe iidasya5amanakrti~ cf lcritir labdha rthaSamanam

(DR I/53a). See Avalolal on DR l/53 , alternative example of Terti. p. 30

274 darsini

275 unnecessarily repeated.

276 Apparently some words relating to the example of purvabiiva are

missing.

277 The reference to a Rama play is obvious but not very clear.

278 LineS are repeated twice. purvamayarir dhanadasyam iidda

ityiidinii with the reading dhaniirtham for dhaniidhiniitham in the last
occurrence

279 puvati

280 Apparently lines are missing here between the second

interpretation of purvabhiiva and the example of upagilhana

281 riimiigamananii

282 svarayena

136
283 gatau

284 vijanam

285 prapta?Q~

286 ramabhagaviyo

287 nuirgam

288 amgoda

289 vidhayitvam iti

290 Apparently some letters are missing here

291 prakarinyamoditi; The citation could not be traced in NS. Three

syllables seem to have been omitted in the second quarter.

292 bhavamityadinii

293 vakye~

294 nirdvaSiui

295 DR reading sucanam

296 The reference is to the statement of Dhanika lac ca tulyetivruataya

tulyavise$Qt;a taya ca dviprakilram anyoktisamasokti bhedat DR(l/14, p.4)

297 bimbam iveti dilttapamana

298 The reference is to the exposition ofDhanika under DR (l/14) where he

speaks of two figures of speech, namely anyokti and samasokti, based
respectively on the mention of parallel incidents and use of parallel
epithets resulting in two varieties of patakilsthana. As the example of
Jlnd
the first variety, Dhanika quotes Ratnavali, Illlbtas that of the second
variety Ratnilvali, W4. This is criticized by our commentator according to
whom the verse uddilma ........ contains upama and not samasokti. That
Dhanika speaks of two types of patakilst Ilana based on anyokt i and
samasokti has already been criticized by SM who points out other
possibilities also based on other figures of speech like
aprastutapra5amsa, rupaka, upama, atisayokti etc.

137
299 sucanakam

300 drsyam

301 madhyamakrtai~

302 vimkalika~

303 vahibhavita

304 A portion of the text containing the definition of ciililca seems to be

missing. The example of culika apparently cited from the
Malatimadhava is too corrupt to be traced.

305 vaddhara~ita

306 The generally accepted DR reading purviinka is clear and hence,

better.

307 Reading in Dwivedi' s edition of Malavikagnimitra in the kiilidasa

granthavali (p. 272) is a little different.

308 Should we read vyatikarilvatarasya(?). The reference is to verse

vyatikara iva bhima stama asa vaidyuta5 ca ........ .
(Malatimadhava IX/53a p. 556)

309 ityulcta~

310 DR reading eka~ for evatiz

311 Sentence repeated (lingininiltiz ...... ve~yayo~ kvacit)

312 kitava for kirata in SD

313 DR reads praJcrtatiz praya~

314 This line seems to be a citation (a hemistich)

315 sugrhitanilmatriti

316 rajiiiyaiti ca 5abdate. The DR variant rajiiil cetiti 5abdyate is

confusing.

138
317 The Da5ariipaka (W62) followed in the Siihityadarpa1,Ul (VI/143, p. 353)
makes a little different in the distribution of the vrttis. There sattvati
is prescribed for vira and iirabhati for raudra and viibhatsa.

318 bhayenavihitam

319 agriithamya

320 bhayahnsyena vihitam trividariz ....... ityadina repeated.

321 DR narmasphiiija~

322 drav~.

323 This seems to be a citation (a hemistich)

32A DR reading niinabhiivarasii mitha~ (Il/54ab)

325 matriirthadanai5atsiide~t yatltiiyiitha ghanedanariz

326 mariztra5atpratidanam

327 enirat)gai

328 DR reading samphafo

329 nivrtya

330 niktama

332 Read gat)Jlniibhiivad ityiidipadyena

333 5atrnistha

334 prayo

335 DR reading natiiSrayah

336 bhidai}.z

139
337 The line, part of a longer citation, found in the Avaloka under
DR (III/13-14 p. 65) could not be traced in the generally available
printed text of the Vikramorvasiya. May be it was available in the text
known to Dhanika (and SM). As a parallel case, one may recall the
verse kviikaryam 5a5alak$maPJil~ kva ca kulam etc. cited by Mammata in his
!<avyapraka5a. His commentators believe it to be occurring in the
Vikramorvasiya, Act. IV, but it is not found in the generally available
printed text of the diama (see Kavyapraka5a ch. IV, Jhalakikara's
commentary, Katmarkar's Ed., p. 126). This gives us reason for
believing that the drama in question was handled by a different hand.

338 Pii1pjavananda, apparently a drama based on the Mahiibhiirata story,

quoted by Dhanika, is not available now. SeeM. Krishnamachariar,
History of Classical Sanskrit Literature (1970 Reprinted), pp. 644, 696
and 820).

339 iisriyate~

340 First two quarter's and ko mrtyur vyasanarh repeated thereafter

341 In the original we get aka~ (BHU, Varanasi & Nirnay Sagar Press
Edition)

342 virehitii

343 da~t.etyiidikena

344 TII1JYOnyii

345 It appears that text is missing here between the treatments of

vakkeli and adhivalam

346 prtyatiim

347 uvatthido

348 sitiibhiiva

349 Read sitiivirahavacanam: still then, the mention of the incidents of

the two dramas in the reverse order is not happy

140
350 vithya

351 srvgaraviranilmyatama

352 pancadayo

353 sahastranilstrata

354 divyadivya atmani narabhitniltri repeated with error hereafter.

356 yadil samdar5ayeca upto vi$kambhaka~ repeated hereafter.

357 ityaitkatviprflyet)a

358 asyagrahanildini

359 vinduyak$imiirtha

360 Lines (prathmiiitko ........ vistaravan) repeated twice. Only in the

third occurrence (in the second repetition) -aoes the text seems to
offer a fairly correct reading. The scribeS unacquantance with DR
and the meaning of the text copied is obvious.

361 mitthasamiisama

362 dvitivaitkati parasuramo~ujiva tityiidi

363 Better read vi5i$yata eva. The portion of the text da5arilpakad
bharatamUlo ........... ·vithyaitgiini trayoda5a repeated

364 read praptir vicara eva ca after SD

365 ga1)Qnam

366 Seems to be a hemistich citation

367 mimah

368 viikyasyiidaniscaya

369 yatturthasiidhanilya

141
370 ucceta

371 SD reading adbhutarthasya kalpana

372 Hereafter praptil.z kena cid amSend I yatha kai havissmaya etc
repeated upto yathanena dvipenevasta menetyadina

373 apratya~dhil

374 sastranuyani~

375 siddhanutkii

376 pharvasiddluirthaka

377 siddhaya

378 varta~

379 k$iraniranidherinidhericetyiidina

380 arthasyiisiidhanam

381 sarupyam abhibhutasya and its example are repeated. The SD

variant for varddhanam is vartanam. Our reading is perhaps better.

382 SO reading sa~ yatha sa~d atmanyarthe prayujyttte

(SD VI/201 p. 378)

383 Ya

384 SD reading yat

385 vi§e$iirtho ha~prapiivenukta piddhiritiryate SD reading udiryate

386 pramaJ:l{lyitu~

387 MS has prahar$ii$(Qhanam silhizyyam pasiihilyya malimani between

pravarttanalchyiinyukti and its natyiilanlqtay~

388 parilaval)

142
389 SD reads svalpo' api na:+.L"'Sahyate

390 MS illegible

391 SD reading karyagraha1)am ullekha~

392 SD reading bhartsana tu parivada~

393 SD reads parasya ca

394 MS anuvartana

395 SD reads anuvrttirbhutakaryakhyanam utkirtanam rna tam

(VT/231-32 p. 388-89)

396 krtanucitamarjar1Jil

397 Reference seems to be the karikas of Bharata as quoted in SD

under (VJ/240, p. 392). The kiirikiis can be traced in NS(XIX/139-141,
GOS Ed. Vol. III)

398 vi5e~ntabhavi~mtam

399 rasta

400 Hereafter the lines upamadyalaizkiiragunabhava... .. vithyaizgani

tuktany eva atha lasyaizgani ...... uttamottamakam canyad ~epeated.

401 SD reads tadangamuktam ma1)isibhih

402 Line stripumsayorviparyasa ....... pracchedako mat~ repeated hereafter

403 SD reads dharinam pumsam

404 ynnyaktakarananvita~

405 karanam kaJ)adivanu vaprayadariz gitam

406 SD reading puna~

407 Metrical structure disturbed. SO reading kopaprasadajam

adhik$epayuktam rasottram (Vl/250 p. 395)

143
408 Probably referring to the disputed acceptance of the lasyangas by
Bharata as recorded by the editor of NS (GOS Vol. ll) See
introduction to this Vol. pp. XI - XIll)

409 ubhayam iti

410 DR reading sopayam

411 DR reads nayika tu dvidlui tatra

412 ati

413 tata

414 DR reading samstavaib

415 cetah

416 prahasanan ta

417 sandhyakalasyadayab

418 de5ab~di

419 The Avaloka reads here bhujanga carabhatadyab under ID/55 p. 74

420 Should we read vagve~di ?

421 sadvidha

422 MS corrupt

423 MS corrupt

424 nyayopriiso

425 MS has candrasuryaparagadyai DR reads candrasuryopariigaisca

426 purvarangal:t lqtah pUrvariz tatrayam dvijasattamal:z I

tatha tripuradahaS ca dimasamjiiab pryojitab II (NS, IVI10 GOS Vol. I)

144
427 . DR reading nuja~

428 yuddholasa DR reading sastrollasa

429 khyiittotivrtto vyiiyorgii~

430 The reference is to the killing of Kartaviryarjuna by Jamadagna' s

son Parasurama after the former had killed the latter's mother as
noted by Dhanika under DR (IIV61, p. 75) See Vettam Mani's
Puranic Encyclopaedia, p. 395

431 bahubhicanareriti~

432 davala~ayadini

433 Should we read caturvi5amlinadi ketivrttaprama1)Qh?

434 pratyaizkacaikacaikaika

435 krtasceviva$Q~

436 DR reading nagaroparodhayuddhebhaviitiignyiidi$U vidrava~ is

wrong, as this hemistich in the anu?tupa contains seventeen
syllables. SM reading as emended by us seems to be correct.
' .·..•
., '

437 vithya1igiini

438 dvakapiitra

439 nisviisodiisyarudita

440 The third hemistich in the citation from DR mentioning the

transitory moods (vyiibhicarin) is missing in the MS. The hemistich
runs thus: sviipiipasmaradainyiidhimara1J[zlasyasambhramii~

441 MS has vrttiragluuihava iti

442 See NS (XVIW81 GOS Vol. II)

yad vyiiyoge karyam ye puru$ii vrttayo rasiis caiva I
ihiimrge' pi te syub kevalam amara striya yogab J/

443 khyiito

145
444 The third hemistich of DR samrambham param aniya yuddham
vyiijiin niviirayet has been omitted in our MS

445 calaciritScamdo

446 na cavasyo

447 dvanaSah

448 These lines are not an exact dtation from SD but follow the same in
ideas. Only the first and last verses as well as the hemistich
devipumibinrpavam5ajii are dted verbatim.
449 niSeito
450 SD reading pratyankam savidu~kam

451 satkam
452 satkam
453 syiidanyan natikasamam preceded by evam and one illegible letter
is wrongly placed after lak$yam atra karpuramafljari

454 This hemistich is unnecessarily borrowed here in MS from the

definition of adbhutarasa, which follows - har~vegaf.tipraya bhavanti
vyabhicarit;a~.

455 bhabhyamatra

456 Corrected after MS 1148d as per India office Library catalogue. Our
MS has anumajam iiniti

457 Corrected after MS 1148d our MS has yiime

458 Our MS seems to have the reading vari$tha for va5i$tha of the other
MS(l148d)

459 Corrected after MS 1148d Our MS has muda

460 bhinnagamyiim

461 Four final syllables illegible.

146
 A Select Bibliography
I. Original Texts

1. Abhijfiana5akuntalam of Kalidasa, edited by M.R. Kale, Eighth Edition Book-

sellers Publishing Co. Bombay, 1957

2. Biilacarita of Bhasa, edited by S.R. Sehgal with a forward by V. Raghavan, Munshi

Ram Manohar Lal, Delhi, 1957

3. Bhiivaprakiisana ofSaradatanaya, edited with an Introduction and Indices by

Jadugiri Yatiraja Swami of Melkat and K.S. Ramaswami Sastri Siromani,
Oriental Institute, Baroda, 1930

4. Da5arupaka of Dhananjaya with the Avolaka Commentary of Dhanika's,

edited by K.P. Parab, Nirnaya Sagar Press, Fifth Edition, Bombay,
1941 (References have been made to this edition unless otherwise mentioned)

5. Da5arupaka of Dhananjaya with the Commentary Avolaka by Dhanika and

the Sub-commentary Laghutika by Bhananrsirhha, edited with Introduction
and Notes by T. Venkatacharya;. The Adygar Library Research Series, Vol.
Ninet}rseven, theAdyarti'brary and Research Centre, Adyars, Madras, 1969.

6. (The) Da5arupaka-by Dhananjaya, Translated from the Sanskrit with the-Text ·

and Introduction and Notes by George 0. Haas, Motilal Banarsidass, Delhi
1962 By arrangement with Columbia University(author's date 1912).

7. Dhvanyaloka of Anandavardhana edited by Pattabhirama Sastri, with Loama

and Balapriya Commentaries by Abhinavaguptacarya and Ramasaraka and
Divyanjana Notes by _Mahadeva Sastri, Kashi Sanskrit Series - 135,
Chowkhamba Sanskrit office, Benares City, 1940

8. Kavyamimamsii ®virahasja) of Rajasekhara (Rajasekhara 0

J9.~amimarhsa) edited By Nagendranath Chakravarti, Visva-Bharati,
Santiniketan, 1960.

147
9. Kavyapraka5a of Mammata with .the Sanskrit Commentary Biilabodhini by the
Late Vamanacharya Ramabhatta Jhalakikar, edited By Raghunath Damodar
Karmarkar, Bhandarkar Oriental Research Institute, Poona, Sixth Edition,
1950

10. Malatimadhava of Bhavabhiiti, Text with the Commentary of Bhavamanohara

with the Bengali Translation by Haridasa Siddhantava~a Bhattacharya,
Calcutta, Third Edition, 1858 Saka era

11. Malavikiignimitra of Kalidasa edited By C.R. Devadhar, Third Edition, Motilal

Banarsi Dass, Delhi, 1966

. ~
12. Mudriiriilcyasa of,.Vi~atta, edited By Dr. Satyavrata Singh, Chowkhamba
Sanskrit Series Office, Varanasi, Fourth Edition, 1973

13. (The) Niifakillak$anaratnako~ of Sagaranandin, edited By Myles Dillion,

Volume I, Text Oxford University Press, London, 1937

14. Niityadarpar;uz of Ramacandra and GuQ.acandra with their eommentary,

edited by Gajanan Kushba Shrigondekar and Lalchandra Bhagawandas
Gandhi, Gachward's Oriental Series No. XLVIII, Vol. I, Oriental Institute,
Baroda, 1929

15. Niitya~tra of Bharatamuni with the Commentary AbhinavabharatT by

Abhit\Bv~u~aca.tr.CJ, edited By M. Ramakrishna Kavi, Vol. I, Revised by KS.
Ramaswami Sastri Siromoni Gaekwad' s Oriental Series No. XXXVI, Oriental
Institute, Baroda, Second Edition, 1956

16. NiityaSiistra of Bharatamuni with the Commentary Abhi.n.a.vat~ by

Abhinavaguptacarya, Vol. II, edited with Introduction and Index by M.
Ramakrishna Kavi, GOS No. LXVlll, Oriental Institute, Baroda 1934

17. NiityaSiistra of Bharatamuni with the Commentary Abhinavabharati by

Abhinavaguptacarya, Vol. m edited with an Index by M. Ramakrishna Kavi,
VoL ill, GOS No. CXXIV, Oriental Institute Baroda 1954. References have
been made to the GOS edition unless otherwise mentioned.

148
18. Natyasastra of Bharata edited By Batuka Nath Sharma and Baladeva
Upadhyaya, The Kashi Sanskrit Series 60, Chaukhamba Sanskrit Sansthan,
Varanasi, Second edition, 1980

19. (fhe)Rasan;avasudhakara of Simhabhupala critically edited with Introduction and

Notes by T. Venkatacharya, The Adyar Library Series, The Adyar Library Research
Centre Adyar, Madras, 1979.

20. Ratnavau of Sriharsa, edited by Ashokanath Bhattacharya and Maheshwar Das,

Modem Book Agency Private Ltd., Calcutta, 1967

21. SQhityadarpaf)a of Visvanatha, with the commentary Kusumapratimfl by Haridasa

SiddhantavagiSi.Bhattacharya, Fifth Edition, Calcutta, 1875 Saka era.

22. Uttararamacarita of Bhavabhuti with the Commentary of Ghana5yama edited by

P.V. Kane and Translated by C.N. Joshi, Motilal Banarsi Dass, Delhi, Fifth Edition,
1971

23. Vef)isamhara of Bhat;~~irayana with the Commentary of Jagaddhara, edited by

KaSmatha Panduranga Parab, Nimaya Sagar Press, Bombay, 1856 Saka era.

24. Vikramorvasiya of Kalidasa with the Commentary Prakasika of Ranganatha, edited

by Vasudev Lak~man Sastri Panisikar, Nimay Sagar Press, Bombay, Sixth
Revised Edition, 1925.

II Secondary Literature

1. Chattopadhyay, Siddheswar, Matrgupta, a Forgotten Author on Indian_,- P

Dramaturgy, Our Heritage, Special Number, 150th Anniversary Volume (1824
- 1974), Calcutta Sanskrit College Research Series No. C XIX, Sanskrit
College, Calcutta, 1979 (editorial date)

2. Chintamani, T.R., Fragments of Matrguptacarya, Journal of Oriental Research,

Madras, Vol II, 1928 \
-.x
~l·~
P"
149
3. Dasgupta S.N. and De, S.K, A History of Sanskrit Literature, Vol. I, University
of Calcutta, 1947, Reprint 1975

4. De, Sushil Kumar, History of Sanskrit -poetics, In Two Volumes, Second

Revised Edition, Firma, K L. Mukhopadhyay, Calcutta, 1960

5. Dillion, Myles; Fowler, Murray and Raghavan, V., The Niitakalak$a1)Qratnako?Q

of§agaranandin, Introduction and Notes by V. Raghavan, Transaction of the
American Philosophical Society, New Series - Volume 50, Part 9, 1960,
American Philosophical Society, Philadelphia, November 1960

6. Eggeling, Julius, Catalogue of Sanskrit Mtlnuscripts in the Library of the India

Office, Part m, London, Printed by order of Secretary of State for India, 1891

7. Keith, A. Berriedale, The Sanskrit Drama, Oxford, At the Clarendon Press,

1924

8. Krishnamachariar, M., History of Classical Sanskrit Literature, 1937 (author's

date) First Reprint, Motilal Banarsi Dass, Delhi, 1970

9. Levi, Sylvain, Lethe'a'tre India, Paris, 1890 (Translated into English by

Narayan Mukherjee, writers Workshop, Calcutta, 1978.

10. Mani, Vettam, Puranic Encyclopaedia, Motilal Banarasi Dass, Delhi, 1975,
Reprint, 1979

11. Mitra, Pramada dasa, The Mirror of Composition. At a treatise on Poetical

Criticism Being an English Translation of the Siihityadarpa1Jil of ViSwanatha
Kaviraja, The first 128 pages revised from the work of the late Dr. J.R
Ballantyne, Reprinted from Biblotheca India Edition of 1865, Motilal Banarsi
Dass, at the Aftuli-1-Alam press, 1956

12. Mitra, Rajyeswar, Vedganer Ritipralqti(Sap.ka Naradis~a) Uttarasuri

Prakasani, Calcutta, 1983

150
13. Raghavan, V., Some Old Lost Rama Plays(Lecturers delivered in the
Annamalai University), Annamalai University, 1%1·

14. Sastri, Surendra Nath, The laws and Practice of the Sanskrit Drama, Vol. I ,
Varanasi, 1%14

III Works consulted for methodological and allied purposes

1. De, Sushil Kumar, The Vakrokti]ivita by Rajanaka Kuntaka with his own
fommentary, Edited with Critical Notes, Introduction and R~sum,, Firma KL.
Mukhopadhyay, Calcutta, First Edition 1923, Third Revised Edition, 1961.

2. Gnoli, Raniero, Udbha¥z's Commentary on the Kavyiilankara of Bhiimaha with an

Appendix by Margarita Talicchi, including some fragments of Kalidasa's
Raghuvarir5a, Roma Instituto Italiano per it Medio Estremo Oriente, 1962.

3. Jha, V.N., Problems of Editing Ancient Texts, The Vrajajivan Indological Studies
- 1, Chowkhamba Sanskrit Pratisthan, Delhi, 1993 ,

4. Katre, S.M., Introduction to Indian Textual Criticism, Deccan College Hand-

book Series 5, Deccan College, Poona, First Published 1941 (author's date),
Second Edition 1954 .

5. The MLA Style Sheet, Modem Language Association of America, New York,
First Edition, published 1951, Second Edition 1970, Reprinted by American
Studies Research Centre, Hyderabad.

151
 Abbreviations
Da5arilpaka DR
Kavyaprakasha KP
Natyapradipa NP
Niitya5astra NS
-'; sahityadarpatJ.a SD
SundaramiSra SM
~~x~IJ1€lt{<=rft.. '-!~.

qJ rd4JIIOfll~l
• -~:-
0-
.. C(il.j!.

a-~ t'{t 4ifi fl', &-~·

~~tJlaig \it. .an.

~fr -;:n. m.
'
ait~faotll~fAA'H mc:J.
'
~~"'*~ 'Hltrcm'... ~1<'3dT.

~~.. ~·
~riftaoil ~.

~~~ft~a fclJr·
'
ij chl fl ~Q•I•f.. ~.

~t~~: ~-C{.

152
 APP,;;NDIX I
THE BRITISH LIBRARY

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COLLECTIONS

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our ref
Republic of India IOLR/PB/209
your ref
dalf
10 April 1991

Dear Dr Bandyopadhyay

I have not been involved in your protracted order for microfilm of Sanskrit manuscripts, but as your latest
letter (19 March 1991} has been brought to my attention and I have just returned to Orbit House from
Oriental Collections' premises in Store Street, I thought it an opportune moment to renew our acquaintance.

The endosed xerocopy of the shelf ticket for Sanskrit MS 10 1148 tells the sorry story- 'lost in transit
between UK and Allahabad', 1946. These things happened in our lending days, though remarkably rarely.

Do write to me whenever you need assistance.

r~ii~·~
M J C O'Keefe

Encl: 2

I.O. Libn:siry!; communication t'elatirtg to loss Of MS 1149 d.

£53
 APPENDIX ll
I.O. Lib~ay-•s ~COl"d Of loSS Of MS 1!49 d.
APP~ND1.X 1I1

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