नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XVII. 105 ] DICTION OF A PLAY 319

Sweetness

101. When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (mādhurya)¹.

Grandeur

102. When a composition consists of a use of many and varied compound words exalted [in sense] and agreeable [in sound], it is [an instance of] Grandeur (ojas)¹.

Agreeableness

103. When a composition consists of words easy to pronounce, euphonically combined, and giving agreeable impression [even when treating some unpleasant topic], it is [an instance of] Agreeableness (saukumārya)¹.

Directness of Expression

104. If any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well-known predicates, it becomes [an instance of] Direct Expression (artha-vyakti)¹.

Exaltedness

105. When in a composition superhuman characters are

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101 (C.102; B.XVI.104). ¹ Cf. Vāmana III. 1. 11-21; Daṇḍin I. 51-53.

102 (C.p.212, f. n. 2; B.XVI.105). ¹ Cf. Vāmana III.1.5; Daṇḍin I.80-85. B. (XVI.106) and C. (103) gives a second definition of this Guṇa which in translation is as follows : If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is rich in sound and sense it becomes [an instance of] Grandeur (ojaḥ). Hemacandra utilised this definition (Ch. IV.)

103 (C.104; B.XVI.107). ¹ Cf. Vāmana III. 1. 22; Daṇḍin calls this sukumārātā.

104 (C.p.212, f. n. 3; B.XVI.108). ¹ C. suprasiddhadhātunā for suprasiddhābhidhāna, (B.XVI.109) and C.(105). gives a second definition of this Guṇa, which in translation is as follows : When the meaning of a composition can be grasped by the penetrating mind just after its recital (lit. use) it is [an instance of] Directness of Expression (arthavyakti).

105 (C.p.212, f. n. 4; B.XVI.101).