नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

•XX. 99 ] TEN KINDS OF PLAY 371

The Utsṛṣṭikâṅka

94. The Plot in it is [usually to be] well-known, but it may sometimes be otherwise, and it is to be furnished with male characters other than those who are divine¹.

95-96. The Utsṛṣṭikâṅka should abound in the Pathetic Sentiment ; it will treat women's lamentations and despondent utter-ances at a time when battle and violent fighting has ceased ; it should include bewildered movements [of mourners] and it must be devoid of the Grand, the Energetic and the Graceful Styles and its Plot should relate to one's fall (lit. end of the rise)¹.

Scenes with celestial Heroes

97. [Scenes of] all the plays which have celestial Heroes, and which [treat] a battle, capture and killing [of enemies], should be laid in Bhārata-varṣa¹.

98. Of all the Varṣas (sub-continents) prescribed for the gods why¹ is Bhārata-varṣa chosen [in this connexion] ? Because the entire land here is charming, sweet-smelling and of golden colour.

99-100. [But scenes of their] garden party (lit. going to a garden), sport, pastime and enjoying the company of females, are always to be laid in the other Varṣas ; for there is neither any sorrow nor any grief there. Their enjoyments should take place in the mountains which are connected with those Varṣas in the Purāṇic accounts, but their [other] deeds should begin here (i. e. in Bhārata-varṣa).

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94 (C.91: B. XVIII.94). ¹ Bhāsa's Ūru. is a solitary example this type of drama. See Pusalker, Bhāsa, pp. 199, 200. Keith seems to be in error when he says that a play within a play is often called an Aṅka. See Skt. Dr. p. 268.

95-96 (C.99-100 ; B. XVIII.95-96). ¹ C. kartṛvyo abhyudayāntas tajñaiḥ for kāryaḥ kāvyavidhijñaiḥ .

97 (C.101; B.XVIII.97). ¹ This and three following couplets (97-100) seem to be more relevant after NŚ. XIV. 26 which treats similar topics.

98 (C.102; B.XVIII.98). ¹ C. tasmāt for kasmāt.

99-100 (C.103-104; B.XVIII.90-100).