नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XX. 85 ] TEN KINDS OF PLAY 369

79. It is to abound in vehement (uddhata) Heroes and to have its construction dependent on feminine anger which is to give rise to commotion (saṃkṣobha), excitement (vidrava) and angry conflict (saṃpheṭa).

80. The Īhāmṛga should be a play with well-ordered construction in which the plot of love is to be based on causing discord among females, carrying them off and oppressing [the enemies].

81. All that are to be made [available] in the Vyāyoga—its male characters, Styles and Sentiments—should be brought in the Īhāmṛga also, except that the latter is to include (lit. have connexion with) the goddesses (lit. divine females) only¹ as its female characters.

82. [In the Īhāmṛga] when persons intent on killing¹ is on the point of killing, [the impending] battle should be avoided by some artifice.

83. O Brahmins, the characteristics of the Īhāmṛga have been briefly mentioned by me. I shall speak hereafter on the characteristics of the Ḍima.

The Ḍima

84. The Ḍima should be constructed with a well-known plot, and its Hero should be wellknown and of the exalted (udātta) type. It is to contain the six Sentiments and to consist of four Acts only¹.

85-86. It should contain all the Sentiments except the Erotic and the Comic, a plot (kāvyayoni) with exciting Sentiments and various States, and it is [also] to include incidents such as an

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(See Keith, Skt. Dr. p. 266). Two other late specimens of this kind are Kṛṣṇamiśra’s Vīra-vijaya and Kṛṣṇa Avadhūta’s Sarva-vinoda-nāṭaka. (See Sten Know, ID. p. 114).
79 (C.83; B.XVIII.79).
80 (C.84a, 85a; B.XVIII.80).
81 (C.85b-86a; B.XVIII.81)- ¹ See below 90-93.
82 (C.84b, 86b; B.XVIII.82). ¹ C. vadho’pyudaśrayo for vadho’pyudagro.
83 (C.87; B.XVIII.83).
84 (C.88; B.XVIII.84). ¹ No old example of this type of drama is available.
85-86 (C.89-90; B.XVIII.85-86).
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