288 THE NĀṬYAŚĀSTRA [XVI. 115

Seeing the beautiful Tilottamā created by the gods with the gait of an elephant in rut, while she came to circumambulate him, Śiva fixed all the eyes on her and kept his heads and mouths motionless. And then the lord of gods (Śiva) on seeing her who was beautiful on account of her breasts, face and the hip, sighed silently and put away on his back the golden bangles set with the best of jewels in which snakes were yawning.

The uneven and the semi-even metres

115. These are, O the best of Brahmins, the even metres I mentioned [before]. Now listen about the uneven and the semi-even metres.

116. The metres of which the feet belong to different metrical types and are dissimilar, are called uneven (viṣama).

117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] feet are not similar, are called semi-even (ardha-sama). And the metre in which all the feet are dissimilar is called uneven. The semi-even metre is to have its even and odd feet dissimilar and the first of such groups of feet may be shorter or longer than the rest or one of them may be longer and the other shorter than the rest.

Even metres

119. An even metre is defined by defining one of its feet while uneven metre requires the definition of all its feet. And from a definition of the two feet the semi-even metre is known. This is the division of feet [in different semi-even metres].

120. I have described the even metres with reference to their divisions of feet. Now I shall describe the characteristics of the uneven metres in terms of triads, (i.e. gaṇas).

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114a, (C.112, B.XV.153). ¹ According to B. it is spurious.
114b (C.113, B.XV.154). 115 (C.114, B.XV.155).
116 (C.115, B.XV.156).
117-118 (C.116-117, B.XV.157-158).
119 (C.118, B.XV.159). 120 (C.119, B.XV.160)

-XVI. 124 ] METRICAL PATTERNS 289

Pathyā

121. If [in Anuṣṭup], the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga and such will be the remaining even and odd feet¹, it is called Pathyā².

Example :

122. priya-daivata-mitrāsi priya-sambandhi-bāndhavā¹ ।
²priya-dāna-ratā pathyā dayite³ tvaṃ priyâsi me ॥

You respect the gods and the friends, you love the matrimonial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me.

Uneven Pathyā

123. [The Anuṣṭup metre of which] the first foot contains ma, ra, ga, ga, the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called an all-uneven (sarva-viṣamā) Pathyā]¹.

Example :

124. naivâcāro, na te mitraṃ na sambandhi-guṇa-kriyā¹ ।
sarvathā sarva-viṣamā pathyā na bhavasi priye ॥

O dear one, you have no [good] conduct, no friend and you have no good action towards the relatives and are in every way very rough ; so you are not agreeable.

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121 (C.120, B.XV.162). ¹ C. gives the correct reading yugmāyujakau 'even and odd' (feet).
² (I & III) ᴗ ᴗ —, ᴗ ᴗ —, — — and (II & IV) ᴗ ᴗ —, — ᴗ —, ᴗ —
122 (C.121, B.XV.163). ¹ C. daivata for sambandhi.
² C. varā for ratā.
³ C. yadyapi for dayite.
123 (C.133, B.XV.164). ¹ (I) — — —, — ᴗ —, — —, (II) ᴗ — —, ᴗ ᴗ —, ᴗ —, (III) — ᴗ —, — ᴗ ᴗ, ᴗ —, (IV) — ᴗ ᴗ, ᴗ ᴗ —, ᴗ —.
124 (C.134, B.XV.165). ¹ B. priyā for kriyā.

37

290	THE NATYAŚĀSTRA	[ XVI. 125-

Inverted Pathyā

125. These are the characteristics of the first and the third feet¹. They being inverted i.e. the second and the fourth being of this description, the metre will be called the inverted Pathyā.

Example :

126. kṛtena ramaṇasya kiṃ sakhi roṣena te' pyartham ।
viparītā na pathyâsi tvaṃ jaḍe kena mohitā¹ ॥

What is the use of this anger shown to your beloved one ? [It seems that] you are foolish and have been deluded by somebody and have been upset, [so] you are not agreeable.

Capalā

127. [The metre with the feet of eight syllable of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anuṣṭup Capalā.¹

Examples :

128.

na khalv asyāḥ priyatamaḥ śrotavyaṃ vyāhṛtaṃ sakhyā ।
nāradasya pratikṛtiḥ kathyate capalā hîyam ॥

[He] is not this girl’s dearest one. This [information] to be heard [privately] was proclaimed loudly by the female friend. This fickle woman is indeed [to be] called an image of Nārada (the deity of quarrel).

Vipulā

129. [If a metre with the feet of eight syllables has] the seventh syllable short in its second and the fourth feet, it is

---

125 (C.122, B.XV.166). ¹ A passage before this seems to be lost. C. reads yugmayor—of the two even (feet). B. has ayujor—of the two odd (feet).

126 (C.123, B.XV.167). ¹ We adopt B's reading. (I) ∪ - ∪, ∪ ∪ -, ∪ -, (II) ∪ ∪ -, - ∪ -, - -, (III) - ∪ -, - ∪ -, ∪ -, (IV) ∪ ∪ -, - ∪ -, - -.

127 (C.124, B.XV.168). ¹ C. vipulā for capalā.

128 (C.125, B.XV,169). 129 (C.126, B.XV.170).

-XVI. 135 ] METRICAL PATTERNS 291

called [Anuṣṭup] Vipulā. According to some¹ the seventh syllable in all the feet will be short in [such] Vipulā.

Example :

130. saṁkṣiptā vajravan-madhyā hema-kumbha-nibha-stanī ।
     vipulâsi priye śroṇyāṁ pūrṇa-chandra-nibhānaṇe ॥

O dear one, you are thin [in body], your waist is slender in the middle like a Vajra, your breasts are like golden pitchers, your hips are large and your face is like the full moon.

131. gaṅgêva tvaṁ meghâgame āplāvita-vasundharā ।
     kula-vṛkṣān ārujati sravanti vipulâcalāt¹ ॥

You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank and flowing down from a high mountain

132. The feet of Pathyā are thus of various types ; in the remaining [types of Anuṣṭup] even and odd feet may be made up with other triads (trika)¹.

133. In this metre a triad ending in a heavy syllable (i.e. ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never to occur (lit. desired) after the first syllable while after the fourth syllable a short syllable must occur (lit. is prescribed).

134. If in the feet of a Pathyā there are three heavy syllables at the end it is called [Anuṣṭup] Vaktra.

Example :

135. danta-kṣatâdharaṁ subhru jāgara-glāna-netrântam ।
     rati-sambhoga-khinnaṁ te darśanīya-taraṁ vaktram ॥

O fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become more charming, after its exhaustion in love's enjoyment.

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¹ Saitava—mentioned in Piṅgala and Agni P. See CSS. p. 38.
130 (C.127, B.XV.171).
131 (C.128, B.XV.172). ¹ B. C. vanāt for calāt.
132 (C.129, B.XV. 174). ¹ We follow B. 133 (C.130, B.XV.175).
134 (C.131, B.XV.176). 135 (C.132, B.XV.177).

292 THE NATYASASTRA [ XVI, 136-

136. These are all-uneven metres of the Anuṣṭup class. The authorities differ from one another as regards [the arrangement of] the triads and syllables.¹

Vānavāsikā

137. The metre which has its feet consisting of sixteen Mātrās as parts of Gāthā to be divided into four sections in terms of triads and the part of a triad, is called Vānavāsikā.¹

Example :

138. asaṁthita-padā suviḥvalâṅgī
mada-skhalita-ceṣṭita-manojñā ।
kva yāsyasi varoru surata-kāle
viṣamā kiṁ vānavāsikā tvam ॥

O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming. Where are you going at the time of love’s enjoyment ? Are you a perverse woman of Vanavāsi ?

Ketumatī

139. The metre of which the first and the third feet consist of sa, ja, sa, ga and the second and the fourth bha, ra, na, ga, is called Ketumatī.¹

Example :

140. sphuritâdharaṁ cakita-netram
rakta-kapolam ambuja-dalâkṣam ।
kim idaṁ ruṣâpahṛta-śobhaṁ
ketumatī-samaṁ vada mukhaṁ te ॥

Your lips are throbbing, the eyes which are like lotus-petals are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumatī (flame) ?

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136 (B.XV.178). ¹ C. omits this.
137 (C.146, B.XV.179). ¹ Piṅgala calls this Mātrāsamaka. His Vānavāsikā is simply a variety of this. See CSS. p. 21.
138 (C.147, B.XV.180).
139 (C.140, BXV.181). ¹ Scheme : (I & III) ᴗ ᴗ -, ᴗ - ᴗ, ᴗ ᴗ -, -, (II & IV) - ᴗ ᴗ, - ᴗ -, ᴗ ᴗ ᴗ, - -
140 (C.141, B.XV.182).

-XVI. 145 ] METRICAL PATTERNS 293

Apaarvaktra

141. In the metre called Aparavaktra the first and the third feet consist of na, na, ra, la, ga and the second and the fourth of na, ja, ja, ra.¹

Example :

142. sutanu jala-parita locanaṃ
     jalada-niruddham ivêndu-maṇḍalam ।
     kim idam apara-vaktram eva te
     śaśi-vadane'dya mukhaṃ parāṅ-mukham ॥

O fair lady (lit. moon-faced one) why are your eyes full of tears and why do you look like like the orb of the moon obscured by the clouds and why has your face turned today like some one else's face ?

Puṣpitâgrā

143. In Puṣpitâgrā metre the first and the third feet consist of na, na, ra, ya, and the second and the fourth of na, ja, ja, ra, ga.¹

Example :

144. pavana-raya-vidhūta-cāru-śākhaṃ
     pramudita-kokila-kaṇṭha-nāda-ramyam ।
     madhukara-parigīyamāna-śabdaṃ
     varatanu paśya vanaṃ supuṣpitâgram ॥

O fair lady, look at the top of the blossoming forest in which the wind is shaking the beautiful branches of trees, the gladdened cuckoos are singing with sweet voice and the bees are humming all around.

Udgatā

145. In Udgatā metre the first foot consists of sa, ja, sa,

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141 (C.142, B.XV.183, 184). ¹ Scheme : (I & III) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ –, (II & IV) ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ – ᴗ, – ᴗ – .
142 (C.132, B.XV.177).
143 (C.144, B.XV.186). ¹ Scheme (I & II) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, – ᴗ –, ᴗ – –, (II & IV) ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ – ᴗ, – ᴗ –, –
144 (C.145, B.XV.187). 145 (C.135, B.XV.188).

294 THE NATYASASTRA [ XVI. 150-

la, the second of na, sa, ja, ga, the third of bha, na, ja, la, ga and the fourth of sa, ja, sa, ja, ga.¹

Example :

146. tava roma-rājir atibhāti
sutanu madanasya mañjarīm |
nābhi-kamala-vivarôtpatita-
bhramarâvalīva kusumāt samudgatā ||

O fair one, the hairs which rise from the hollow of your lotus-like navel are comparable with a swarm of bees coming out of flowers and they exceed in beauty Cupid's blossoms.

Lalitā

147. The metre Lalitā has its first foot consisting of sa, ja, sa, la the second foot of na, sa, ja, ga, the third foot of na, na, sa, sa, and the fourth foot of sa, ja, sa, ja, ga.¹

Example :

148.
lalitā kula-bhramita cāru-vasana-kara-cāru-pallavā |
pravikasitakamala-kānti mukhi pravibhāsi-devi surata-śramâturā||

O lady, hurriedly but gracefully moving the beautiful clothes and the delicate hands and having a blooming lotus-like face you look charming after the fatigue of love's sports.

149. These are the syllabic metres of the even and uneven types, to be used in dramas and poems.

150. There are besides many other syllabic metres which have been mentioned here collectively. They are not to be used because they do not embellish [a composition].

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¹ Scheme (I) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ –, ᴗ, (II) ᴗ ᴗ ᴗ, ᴗ ᴗ –, ᴗ – ᴗ, –, (III) – ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ – ᴗ, ᴗ –, (IV) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ –, ᴗ – ᴗ, –
146 (C.136, B.XV.189).
147 (C.137, B.XV.190). ¹ Scheme (I & II) same as in Udgatā. (III) ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ ᴗ –, ᴗ ᴗ–, (IV) ᴗ ᴗ –, ᴗ – ᴗ, ᴗ ᴗ–, ᴗ – ᴗ, Piṅgala's Lalitā has the fourth foot similar to that of Udgatā
148 (C.133, B.XV.191).
149 (C.148, B.XV.192). 150 (C.149 B.XV.193).

·XVI. 158 ] METRICAL PATTERNS 295

151. The syllabic metres forbidden here after may be used in songs. I shall describe their varieties while treating the Dhruvās.

Āryā metres

152. This is the definition of various syllabic metres briefly treated by me. Next I shall give the definition of the Aryās.

153. The Aryās are of five types, viz, Pathyā, Vipulā, Capalā, Mukha-capalā, and Jaghana-capalā.

154. I shall speak about their caesura and division of Mātrās and their varieties depending on Gaṇas which have been prescribed as characteristics of these.

155. In these metres the cæsura marks the division [of feet]; the Gaṇa consists of four Mātrās, the second and the fourth (lit. the last) feet are the even ones, and the first and the third (lit. the rest) odd ones.

156. [In an Āryā] the odd Gaṇas consisting of four Mātrās should have no ja and the even Gaṇas may be of any type according to the choice [of the poet].

156 a. The eighth Gaṇa in every Ārya is to be known as half a Gaṇa (i.e. two Mātrās).

157. The sixth Gaṇa may be of two alternative types and the eighth will consist of one [syllable]. The sixth Gaṇa in the second hemistich will consist of one Mātrā only¹.

158. In one alternative is that the sixth Gaṇa will be ja, (∪ – ∪,) and in the other it will consist of four short syllable, (∪ ∪ ∪ ∪) and these relate to the caesura (yati).

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151 (C.150, BXV.194).	152 (C.151, B.XV.195).
153 (C.152, B.XV.196).	154 (C.153, B.XV.197).
155 (C.154, BXV.198).	156 (C.155, B.XV.199, 211, 208a).
157 (C.156, B.XV.200, 208b-209a).	¹ Read 157b (with C) as पश्चार्धे यो गणः षष्ठ एकमात्रः स उच्यते.
158 (C.157, B.XV.201, 209b-210a).

296 THE NATYASASTRA [ XV. 159-

159. The caesura may occur when the second la after the fifth Gaṇa has been completed or it may occur from the first syllable [of the sixth Gaṇa], or after the fifth Gaṇa [has been completed].¹

Pathyā-Āryā and Vipulā-Āryā

160. The Āryā metre of which the caesura occurs after the three Gaṇas (lit. feet are made up of three Gaṇas) is called Pathyā. The Vipulā Āryā is different from this, only because it observes no cæsura (yati) of any kind [within its hemistichs].¹

Examples :

Pathyā Āryā

161.

rakta-mṛdu-padma-netrâsita-dīrgha-bahula-mṛdu-[kuṭila]-keśī।
kasya tu pṛthu-mṛdu-jaghanā tanu-bāhvaṃsôdarī [na]pathyā ॥

To whom is not agreeable a woman with lovely and lotus-like soft eyes, copious long, black and [curled] hairs, large and soft hip, slim arms and abdomen ?

Vipulā Āryā

162.

vipula-jaghana-vadana-stana-nayanaiś
tāmradharoṣṭha-kara-caraṇaiḥ।
āyata-nāsā-gaṇḍair lalāṭa-
caraṇaiḥ śubhā kanyā ॥

A maiden is auspicious when her hip, face, breasts and eyes are large, lips, palm and feet are red and nose, cheeks, forehead and ears are prominent.

Capalā Āryā

163. In the Capalā (Āryā) the second and the fourth

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159 (C.158, B.XV.202, 210b). ¹ Read 159 as द्वितीयादि लघुर्ज्ञेयः समाप्ते प्रथम यतिः.
160 (C.159, B.XV.203). ¹ Read the couplet as गणेषु त्रिषु पादः स्यात् यस्या प थ्या तु सा भवेत् । अतश्च विपुलाऽन्या तु विशेषाद्यतिलक्षणा.
161 (C.160, B.XV. 213).
• 162 (B.XV.214). 163 (B.XV.215, 204).

.XVI. 167 ] METRICAL PATTERNS 297

Gaņas in each hemistich are to consist of a ja (lit. Gaņa with a heavy syllable in the middle).

Example :

164. ¹udbhartṛ-gāminī paruṣa-bhāṣiṇī kāma-cihna-kṛta-veśā ।
     ²yā nâti-māṃsa-yuktā surā-priyā sarvatas capalā ॥

The woman who goes defying her husband, speaks harshly, has erotic signs in her dress, is not very fleshy and is fond of meat, is inconstant in every respect.

Mukha-capalā and Jaghana-capalā Āryā

165. When the definition of a Capalā applies to the first hemistich [only] of an Āryā it is called the Mukha-capalā. And when the same applies to the second hemistich [only] it is called Jaghana-capalā.

Examples :

Mukha-capalā Āryā

166. āryā mukhe tu capalā tathâpi caryā na me yataḥ sā tu ।
     dakṣā gṛha-kṛtyeṣu tathā duḥkhe bhavati duḥkhârtā ॥

My lady is talkative, but still her conduct [in general] is not bad, for she is an expert in my household work, and in my misery she feels miserable.

Jaghana-capalā Āryā

167. vara-mṛga-nayane capalâsi
     varôru śaśâṅka-darpaṇa-nibhâsye ।
     kāmasya sārabhūtena
     pūrṇa-mada-cāru-jaghanena ॥

O fair lady with the eyes of the best deer, and a face like the moon or the mirror, by your hips which constitute the best prize of love and which are charming on account of your swelling passion, you are [marked as] faithless (lit. inconstant).

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164 (B.XV.216). ¹ B. reads udbhaṭa.
² B. reads jānāti, for yā nâti. Prof. S. P. Bhattacharya suggested this emendation
165 (B.XV.217). 166 (B.XV.218). 167 (B.XV.219).
38

298 THE NATYASASTRA [ XVI. 168-

168. When the two hemistichs of a Capalā have the same characteristics it is called the all-round Capalā.

169. This metre is known have thirty Mātrās in its first hemistich and twenty-seven in the second¹.

170. Following these rules (lit. thus) one should compose plays (lit. poetical composition) utilising (lit. having) therein different metrical patterns belonging to (lit. arising from) different Rhythm-types, and such plays are to have the thirtysix characteristic marks (lakṣaṇa).

Here ends Chapter XVI. of Bharata's Nāṭyaśāstra which treats of the Metrical Patterns.

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168 (B.XV.220 ; C.162b-163a).

169 (B.XV.205, 201 ; C.163b-164a,). ¹ The five couplets after this (B.XV.222-226) are corrupt and appear to be spurious. These will be discussed in the Introduction.

170 (C.186b-189, B.XV.227).

CHAPTER SEVENTEEN

DICTION OF A PLAY

Thirtysix marks of a good play

1-5. The thirtysix characteristic marks (lakṣaṇa)¹ of [a good] dramatic composition (kāvya)² are as follows : Ornateness (bhūṣaṇa), Compactness (akṣara-saṁghāta), Brilliance (śobhā), Parallelism (udāharaṇa), Causation (hetu), Hesitation (saṁśaya), Favourable Precedent (dṛṣṭānta), Discovery (prāpti), Fancy (abhiprāya), Unfavourable Precedent (nidarśana), Convincing Explanation (nirukta), Persuation, (siddhi), Distinction (viśeṣaṇa),

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1-5 (C.1-5, B. p.348-350, XVI.1-5). ¹ About the significance of the the term lakṣaṇa, the commentators of the NŚ. are not at all unanimous. Ag. mentions no less than ten different views on the subject. Evidently some of these are far-fetched and off the mark. It seems that lakṣaṇa in this connexion is comparable to the same word occurring in the compound word mahāpuruṣa-lakṣaṇa (characteristic marks of a superman). According to one view this lakṣaṇa differs from the alaṁkāra (ornament) and the guṇa (qualities) of a person as figures of speech (alaṁkāra) and excellences (guṇa) of a composition differ from its characteristic marks (lakṣaṇa). The composition in this connexion is evidently a dramatic one though some of the commentators think otherwise. For a discussion on the position of lakṣaṇas in the history of the Alaṁkāra literature see S. K. De, Skt. Poetics, II. pp. 4-5 ; see also Ramakrishna Kavi, (B.II.pp. 348 349) and V. Raghavan's paper on Lakṣaṇas in the Journal of Oriental Research, Vol. VI. pp. 70, 71, 81, 82. Mss. of the NŚ. fall into two distinct recensions as regards the text treating the thirty-six lakṣaṇas. One recension followed by older commentators, and late writers like Viśvanātha, and Śiṅgabhūpāla, uses Anuṣṭup verses for the enumeration of lakṣaṇas We have adopted this as the basis of our translation. The second recension which seems to be later, has been followed by commentators like Kirtidhara, Abhinavagupta and late writers like Dhanañjaya and others. This greatly varies from the other recension with which it has not more than seventeen names (of lakṣaṇas) in common, and among these, definitions of eight only are similar in both the recensions.

² Kāvya in this connexion means the dṛśya-kāvya or dramatic composition.

300 THE NATYASASTRA [ XVII. 6-

Accusation of Virtue (guṇātipāta), Excellence (guṇātiśaya), Inference from Similitude (tulya-tarka), Multiplex Predication (padoccaya), Description (diṣṭa), Pointed Utterance (upadiṣṭa), Deliberation (vicāra), Inversion (viparyaya), Slip of Tongue (bhraṃśa), Mediation (anunaya), Series of Offers (mālā), Clever Manner (dākṣiṇya), Censure (garhaṇa) Presumption (arthāpatti), Celebrity (prasiddhi), Interrogation (pṛcchā), Identity (sārūpya), Indirect Expression of one's Desire (manoratha), Wit (leśa), Concealment (saṃkṣepa)$^3$, Enumeration of Merits (guṇa-kīrtana), Semi-uttered Expression (anukta-siddhi) and Compliment (priyavacana = priyokti).

Ornateness

6. $^1$To adorn the composition with many figures of speech (alaṃkāra) and Guṇas as if with ornaments, for creating manifold meanings is called Ornateness (bhūṣaṇa, lit. ornament)$^2$.

Compactness

7. $^1$When an wonderful sense is expressed by means of a small number of syllables with double entendre, it is called the mark named Compactness (akṣara-saṃghāta, lit. assemblage of syllables)$^2$.

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$^3$ Emend saṃkṣobho to saṃkṣepo. See below 38 note 1.

6 (C.6; B.p 350, XVI.6) $^1$ A close study of Ag's. commentary on passsages dealing with lakṣaṇas is liable to give one an impression that the exact meaning of some of the terms at least relating to this subject, has been to some extent lost, and various explanations have been partly based on guess. But in the absence of anything better we are to depend on them though very cautiously. Definitions of various lakṣaṇas are mostly not at all clear without examples which have been very liberally given by Ag. To avoid prolixity we refrain from quoting them here. Interested persons may see them in the Baroda ed. of the NŚ. (Vol. II pp. 294ff.). For an example of bhūṣaṇa. See Kavi. As any old commentary to these (NŚ.) passages dealing with lakṣaṇas, has not come down to us, we used in this connexion the one prepared by M. Ramakrishna Kavi. See B. II pp. 348ff. (Referred to as Kavi).

7 (C.7; B.p.350, XVI.7). $^1$ See Kavi.

-XVII. 12 ] DICTION OF A PLAY 301

Brilliance

8. $^1$If a charming and novel meaning [arises] when a less known object is referred to by likening it to a well-known one, and a wonderful sense is expressed through double entendre$^2$ it is called Brilliance (śobhā, lit. beauty)

Parallelism

9. When by words expressing similar circumstances$^1$ a suggestion is cleverly made to accomplish an object, it is called Parallelism (udāharaṇa, lit. example)$^1$.

Causation

10. When brief and pleasing words by the force of their [tactful] use achieve the desired object, it is called [an instance of] Causation (hetu)$^1$

Hesitation

11. When due to many considerations a sentence is brought to an end without fully communicating the essential theme [in view], it is [an instance of] Hesitation (saṃśaya, lit. doubt).$^1$

Favourable Precedent

12. That which supporting the case in hand$^1$ is an example of its reason and is pleasing to all people, is a Precedent Favourable to the speaker (dṛṣṭānta, lit. example).$^2$

---

8 (C.8; B.p 350, XVI.8). $^1$ C. yatra sliṣṭaṃ viśiṣṭyarthaṃ for yatra śliṣṭā vicitrārthā. See Kavi.

9 (C.9; B.p.351, XVI.9). $^1$ C. tvalpārtha for tulyārtha. Cf. SD.438 Ag's definition in trans. is as follows. When from the occurrence (lit. sight) of a single word good many unmentioned ones can be inferred (lit. accomplished) it is called Sample (udāharaṇa).

10 (C.10; B.p 352, XVI.10). $^1$ Cf. SD. 439. Ag. reads this definition as follows:

बहूनां भाषमानानां ह्येकस्यार्थविनिर्णयम् । सिद्धोपमानवचनं हेतुरित्यभिसंज्ञितम्

(B.XVI.14). Its meaning is not clear, Ag.'s explanation does not seem to be convincing. Possibly there is textual corruption in this.

11 (C 11; B.p.352, XVI.11). $^1$ Cf. SD. 440.

12 (C.12; B. p.352, XVI.12). $^1$ C. pakṣapakṣārtha for yastu akṣārtpha. Cf. SD. 341. Ag.'s text in translation is as follows : That a

302 THE NATYASASTRA [ XVII. 13-

Discovery

13. When on seeing some indications, the existence of something is assumed it becomes [an instance of] Discovery (prāpti, lit. attainment)¹ which is included among the marks of a [good] drama.

Fancy

14. When an idea interesting to people [but] hitherto non-existent, is conceived on the basis of similarity [of two objects], it is [an instance of] Fancy (abhiprāya, lit. belief)¹

Unfavourable Precedent

15. When well-known instance are mentioned for rejecting the contrary view it is [an instance of] Unfavourable Precedent (nidarsana, lit example)¹

Convincing Explanation

16. Words that are spoken in support of the meaning of some faultless statement made before, constitute Convincing Explanation (nirukta, lit etymology)¹.

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learned person discovers similarity [of anything] with something perceived by him earlier, is called Illustration (dṛṣṭānta). Cf. the figure of speech of this name in SD. 697.

13 (C.1 ; B.p.353, XVI.13). ¹ Cf. SD. 446, Ag. similar (B.XVI.32).

14 (C.14; B.p.353; XVI.14). ¹ SD. 445, Ag. reads this as a variant of yukti (B.XVI.36) which in translation is as follows : The meaning which is made up only of many mutually compatible objects combining with one another, is called Combination (yukti). Cf. SD. 501.

15 (C.15; B.p.254, XVI.15). See SD. 444. Ag. reads this as a variant āsīḥ (B.XVI.28). The meaning of this def. is not clear. Ag. offers no explanation of this, but gives an example which it is very difficult to fit in with the definition. Cf. SD. 471.

16 (C.16; B.p.254, XVI.16). ¹ Cf. SD. 453. Ag.'s text in translation is as follows : Explanation (nirukta) is two kinds : factual and non-factual. [Of these] the factual [explanation] is that which is well-known (lit. accomplished before), and the non-factual is that which has not been so (lit. not accomplished).

.XVII. 21 ] DICTION OF A PLAY 303

Persuasion

17. When name of great¹ persons are mentioned with a view to accomplish the object aimed at, it is [an instance of] Persuation (siddhi, lit. success)².

Distinction

18. When after mentioning many well-known great objects something is said distinguishing a thing from them, it is [an instance of] Distinction (viśeṣaṇa)¹.

Accusation of Virtues

19. When virtues are mentioned with sweet words of harsh import¹ which carry the contrary implication, it is [an instance of] Accusation of Virtues (guṇātipāta, lit. opposition of virtue)².

Excellence

20. When after enumerating the qualities available in common men, one mentions some special qualities, it is [an instance of] Excellence (atiśaya)¹.

Inference from Similitude

21. When an object directly perceived is inferred from a mataphor or simile applied in an identical sense, it is [an instance

---

17 (C.17; B.p.354, B.XVI.17). ¹ C. pravaktṝṇām for pradhānānām. Cf. SD. 454. Ag. reads this with a slight variation.

18 (C.18; B.p.355, XVI.18). ¹ Cf. SD. 452. Ag. reads this as a variant of kṣamā (B XVI.31) which in translation is as follows : When one being hurt by harsh and provoking words uttered by a wicked person in the presence of good people, remains without anger, it is [an instance of] Forgiveness (kṣamā).

19 (C.19; B.p.355, XVI.19) ¹ C. madhuro niṣṭhurārtho for madhurair niṣṭhurārthaiḥ. Cf. SD. 450. Ag. reads this as a variant of guṇānuvāda (B.XVI.13a) which in translation is as follows : Eulogy (guṇānuvāda) relates to inferior subjects compared with superior ones.

20 (C.20; B.p.355, XVI.20). ¹ Cf. SD. 451 Ag.'s reading (B.XV.13) in translation is as follows : When anything compares favourably to the best thing [to which it can be compared] it is [an instance of] Excellence (atiśaya). 21 (C.21; B.p.356, XVI.21).

304 THE NATYASASTRA [ XVII. 22-

of] Inference from Similitude (tulya-tarka, lit. reasoning from the comparables)¹.

Multiplex Predication

22. When a number of words are used along with a number of other words to form different groups for the same purpose, it becomes [an instance of] Multiplex Predication (padoccaya)¹.

Description

23. When any object or incident directly seen or not, is described in harmony with locality, time or from related to it it becomes [an instance of] Description (diṣṭa)¹.

Pointed Utterance

24. When one says something of his own on the basis of Śāstras and thereby pleases the learned, it is a Pointed Utterance (upadiṣṭa, lit. utterance)¹.

Deliberation

25. That which establishes something not directly perceived and is in harmony with the meaning expressed earlier¹ and

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¹ Cf. SD. 442. Ag. reads this is as a variant of the definition of Exhortation (B.XVI.19) which in translation is as follows: To say something very pointedly through suggesting one's own idea by means of likening it to others' actions, is called Exhortation (ākranda). Cf. SD. 472.

22 (C.22; B.p.356, XVI.22). ¹ Cf. SD. 443 Ag.'s reading in translation is as follows: When anything is described as possessing different aspects by means of many words of similar import, it is [an instance of] Multiplex Predication (padoccaya) which puts together many objects.

23 (C.23; B.p. 356, XVI.23). ¹ BC. dṛṣṭa for diṣṭa Cf. SD. 448. Ag. reads this as a variant of sārūpya (B.XVI,15) which is different from XVI.35 and is as follows:

अपदिष्टस्तु परोक्षो यक्षादनुपपद्यतेऽनुकरणेन । लब्धवा-समानकरणात् सारूप्यं तन्तु विज्ञेयम् ॥

24 (C.24; B p.357, XVI.24). ¹ Cf. SD.449; Ag. reads this is as a variant of Argumentation (upapatti, B.XVI.35). The def.in translation is as follows: When faults discovered are explained away as being otherwise it is called Argumentation (upapatti) in connexion with drama. Cf. SD. 482.

25 (C.25; B.p. 357, XVI-25). ¹ C. pūrvadeśa° for pūrvāśaya; B. anekopādhi for anekāpoha. Cf. SD. 447. Ag.'s reading of the definition in

-XVII. 29 ] DICTION OF A PLAY 305

includes much elimination of errors (apoha), is called Deliberation (vicāra).

Inversion

26. When due to seeing [something] an alteration of Deliberation, takes place on account of a doubt, it is called Inversion (viparyaya)$^1$.

Slip of Tongue

27. Manifold deviation of proud and similar other persons from the intended words to something else is called Slip of Tongue (bhraṃśa, lit. lapse)$^1$.

Mediation

28. [Words] which please the two persons with mutually opposed resolution and [are aimed at] accomplishing some object, constitute Mediation (anunaya, lit imploring)$^1$.

Series of Offers

29. When for the purpose of accomplishing an object one (lit. learned men) suggests to a person his many needs [which may be fulfilled], it is [an instance of] Series of Offers (mālā, lit. garland)$^1$.

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translation as follows : Deliberation (vicāra) is the critical examination of many things (under B.XVI.33).

26 (C.26; B.p. 357, XVI.26). $^1$ B. dṛṣṭopadiṣṭayoḥ for dṛṣṭopayogataḥ Cf. SD. 456. Ag. reads this as a variant of the def of Wrong Perception (mithyādhyavasāya B.XVI,16) which in translation is as follows : When in place of a non-existent object one takes for certain something similar to it, it [becomes an instance of] Wrong Perception (mithyādhyavasāya).

27 (C.27; B.p.358, XVI.27). $^1$ Emend dṛṣṭādibhir to dṛptādināṃ Cf. dṛptādināṃ bhaved bhraṃśo vācyād anyatarad vacaḥ. SD. 455. Ag. reads this as a variant of the def. of Witty Compliment (priyavacana) which in trans. is as follows : That which is apparently liable to provoke anger but brings joy in the end and includes a blessing, is called Witty Compliment (priyavacana = priokti) B.XVI.29.

28 (C.28, B.p.358, XVI.28). $^1$ Cf. SD. 458 Ag. reads this as a variant of the def. of Subservience (anuvṛtti) which in trans. is as follows : To follow with a purpose another person as a matter of courtesy, love or favour, is called Subservience (anuvṛiti) B.XVI 34. Ag. reads this differently. Cf. SD. 494.

29 (C.29; B.p.359, XVI.29). $^1$ Cf. SD. 459.

39

306 THE NATYASASTRA [ XVII. 30-

Clever Manners

30. When one attends another person with a happy and pleased face, [sweet] speech and [agreeable] movements, it [is an instance of] Clever Manners (dākṣiṇya).¹

Censure

31. If any one mentions [someone's] faults and explain them as merits, or decries his merits and calls them faults, it becomes [an instance of] Censure (garhāṇa).¹

Presumption

32. When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (athāpatti).¹

Celebrity

33. That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi).¹

Interrogation

34. When by courteous (lit. proceeding from courtesy)¹ words one questions oneself or another [imaginary person] it is [an instance of] Interrogation (pṛcchā).

---

30 (C.30; B.p.359, XVI.30). ¹ Cf. SD. 457. Ag. reads this as a variant of the def. of Clever Request (yācñā) which in translation is as follows : Words which are apparently liable to provoke anger, but bring joy in the end and turn favourable are called. Clever Request (yācñā) See B. XVI. 22 Cf. SD. 496.

31 (C.31; B.p. 359, XVI.31). ¹ Cf. SD. 461, Ag. reads this as a variant of the def. of Deceit (kapaṭasaṁghāta) (B.XVI.30) which in translation is as follows : Application of some stratagem for the deception or defeat of others, is called Deceit (kapaṭa). When two or three (stratagems) are applied together it becomes a Multiplex Deceit (kapaṭa-saṁghāta) Cf. SD. 473.

32 (C.32; B.p.360, XVI.37), ¹ Cf. SD.460. Ag. reads as a variant of the def. of Embellishment (kārya, B.XVI.37) which in translation is as follows : When defects of an object are explained as merits or merits are derived from the defects it is [an instance of ] Embellishment (kārya).

33 (C.33; B.p.360, XVI.33). ¹ Cf. SD. 463. Ag. reads this as a variant of the def. of Submission (anunīti, B.XVI.38) which in translation is as follows : Sweet words which are uttered, to please one after forgiving one's singular offence due to anger, is called submission (anunīti). See also under B.XVI. 21.

34 (C.34; B p.361, XVI.34). ¹ Emend ākarod (ākārod C) to ācārod

-XVII. 38 ] . DICTION OF A PLAY 307

Identity

35. When from seeing or hearing something [suddenly] one is confused by its suspected identity [with another it is an instance of] Identity (sārūpya)¹.

Indirect Expression of Desire

36. Expressing one's secret desire of the heart¹ by a pretence of referring to somebody else's condition, is called Indirect Expression of Desire (manoratha, lit. object of the mind).

Wit

37. Words which are addressed in a [clever] manner by expert disputants and which relate to accomplishment of similar objects¹, constitute Wit (leśa).²

Concealment

38. When being faultless one declares to be taking upon oneself various faults of another, it [is an instance of] Concealment (saṁkṣepa, lit. taking away)¹

---

Cf. abhyarthanāparair vākyair, SD. 462. Ag. (B. XVI.24) reads this identically.

35 (C.35 ; B.p.361, XVI.35). ¹ Cf. SD. 464. Ag. reads this as a variant of the def. of Wounded Self-respect (abhimāna, B.XVI.8) which in translation is as follows : When one is not pacified even when one is consoled by means of many words and acts, it is [an instance of] Wounded Self-respect (abhimāna). Cf. SD. 493.

36 (C.36; B.p. 362, XVI.36). ¹ Cf. SD. 468. C. hṛdayārthasya for hṛdayasthasya Ag. reads this in substantially identical manner (B.XVI.20).

37 (C.37; B.362, XVI.37). ¹ C. sadṛśārthā-vinispannaḥ for °bhiniṣpatyā, Cf. SD. 467, Ag. reads this as a variant of the def. of Obstruction (pratiṣedha B.XVI.23) which in translation is as follows : When one sets out to do something contrary to another's desire and is opposed by clever persons (lit. those who know the businecs) it is called Obstruction (pratiṣedha).

38 (C.38; B.p.363, XVI.38). ¹ Emend tu ksobha to saṁkṣepa. C. tu doṣa) Cf. SD. 465, saṁkṣepo yat tu saṁkṣepād ātmanyarthe prayujyate. Ag. reads this as a variant of the def. of paridevanam (parivādanam of Bhoja, parivāda of Śāradātanaya, parivedana of Sarveśavara) See B.XVI.39 foot note (*). The meaning of its def. is not clear.