नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XVII. 88 ] DICTION OF A PLAY 315

Example :

84. halī balī halī mālī śūlī khelī lalī jalī । balo balocca-lolākṣo muṣalī tv abhirakṣatu ॥

Let the strong Balarāma, the garlanded Balarāma, who holds a a spike, is sportive, faltering [in gait] and is full of Sentiment, and Balarāma who is high in strength and who has his eyes rolling and who holds a club, protect you.

85. asau hi rāmā rati-vigraha-priyā rahaḥ-pragalbhā ramaṇaṃ raho-gatam । ratena rātrau ramayet pareṇa vā no ced udesyaty aruṇaḥ puro ripuḥ ॥

This beautiful woman who is fond of love’s fight and is unashamed in it, will secretly please her lover at night with the best embrace, till the sun will rise in the east as her enemy.

86. sa puṣkarākṣaḥ kṣatajôkṣitākṣaḥ kṣarat kṣatebhyaḥ kṣatajaṃ durīkṣam । kṣatair gavākṣair iva saṃvṛtāṅgaḥ sākṣāt sahasrākṣa ivāvabhāti ॥

The lotus-eyed one having his eyes bathed in blood, letting fall from his wounds awful blood and [having his body] covered with window-like wounds looked like the thousand-eyed god (Indra) in person.

87. A play (lit poetical work) should be composed by [introducing] these [characteristic] marks after considering their objects and functions. I shall speak hereafter about faults (doṣa) in such works.

Ten faults

88. Faults in a play (lit. poetical work) may be of ten kinds such as, Circumlocution (gūḍhārtha), Superfluous Expression (arthāntara), Want of Significance (arthahīna), Defective Significance (bhinnārtha), Tautology (ekārtha), Want of Synthesis

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84 (C.84; B.XVI.84). 85 (C.85; B.XVI.85).
86 (C.86; B.XVI.86). 87 (C.87; B.XVI.87).
88 (C.88; B.XVI.88).