नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

362 THE NATYASASTRA [ XX. 42-

42. But an elephant, a horse, a palace, a hill or any conveyance as well as imitation weapons may be presented (lit. made) by means of model-work by these who know the rules [for their construction]¹.

Introducing an army on the stage

43. If due to any reason¹ a detatchment of an army is to be introduced on the stage (lit. here), only five (lit. four) or six persons are to make their appearance (lit. going).

44. [In a play an army] should be made to appear as consisting of a small number of men, representing mounts and travelling requisites, and it should move slowly. For in the military role (kṣatra)¹ of the actors, [actual] rules of polity do not apply.

45. In the composition of a play Denoument should be made [like] the tip of the cow's tail¹, and all the exalted situations (lit. states) should be put at the end.

46-47. At the conclusion of all the plays which contain various States and Sentiments, experts should always introduce the Marvellous Sentiment¹. Thus I have briefly but properly spoken about the characteristics of the Nāṭaka. I shall hereafter describe the Prakaraṇa by mentioning its characteristics.

The Prakaraṇa

48. The play (lit. where) in which the writer prakurute (devises)¹ by his own genius an original plot with its Hero, and works up its elaboration (śarīra), is called the Prakaraṇa.

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42 (C.42). ¹ See above 41 note 2.
43 (C.44). '¹ Emend kāraṇopapannā into kāraṇopa°.
² Emend kartavyamantra into kartavyam atra.
44 (C.45). ¹ Emend kṣatena into kṣatre na.
45 (C.46; B.XVIII.42). ¹ The exact significance of this expression as well as the implication of the entire rule is not clear. Ag. however quotes two different views on the subject but none of them seems to be convincing,
46-47 (C.47-48; B.XVIII.43-44). ¹ This is mostly to be done by causing unexpected things to happen. The sudden revelation of Āvantikā as Vāsavadattā in Bhāsa's Svapna. (VI) and the dramatic re-union of Śakuntalā with Duṣyanta in Śak. (VII) are examples of this rule.
48 (C.49; B.XVIII.45). ¹ From this it may be assumed that once there were Prakaraṇas in which the plot was not wholly original, i.e. the