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).

---

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.

---

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).$^2$

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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

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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.

308 THE NATYASASTRA [ XVII. 39-

Enumeration of Merits

39. When merits of men who excel [others] in qualities in this world, are ascribed to one single person it [is and instance of] Enumeration of Merits (guṇa-kīrtana)¹.

Semi-uttered Expression

40. When from the mere commencement of a subject the rest of it is comprehended without being actually expressed in words¹ it [is an instance of] Semi-uttered Expression (anukta-siddhi, lit. unuttered achievement)².

Compliment

41. When words are uttered in a pleasant mood to honour an honourable person and to express joy [for his acts] it [is an instance of] Compliment (priyokti, lit. pleasing utterance)³.

42. These thirtysix characteristic marks of a dramatic (lit. poetical) composition conducing to the object in view (i.e. writing plays) will beautify a play (lit. composition)¹ and [hence they] should be properly used according to the Sentiment² [introduced in it].

Four figures of speech

43. Four figures of speech available in drama¹ are : Simile (upamā), Metaphor (rūpaka), Condensed Expression (dīpaka, lit. lamp) and Yamaka.

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39 (C.39 ; B.p.363, XVI.39). ¹ Cf. SD.466. Ag. reads this def. in translation as follows : When a proclamation of various qualities of a person takes place, but his faults are not given out, it is [called an instance of] Enumeration of Merits (guṇa-kīrtana). See B. XVI. 9.

40 (C.40; B.pp. 363-64, XVI.40). ¹ C. vijānātu for vinānukta. Cf. SD. 469. Ag. reads this as a variant of the def. paridevana etc. (see 38 note above).

41 (C.41; B.p.364, XVI.41). ¹ Cf. SD. 470. Ag. reads this differently, see above 27 note 1.

42 (C.42; B.p,364, XVI.42). ¹ C. kāvyeṣu sodāharaṇāni for prabandhaśobhākarāṇi, C. balānu-rūpam (rasānurūpam), C. for yathārasāni.

43 (C.43; B.XVI.40). ¹ B. reads the second hemistich as kāvyasy ete hyalaṃkārāś catvāraḥ parikīrtitāḥ.

-XVII. 53 ] DICTION OF A PLAY 309

Simile

44. When in a poetical composition anything is compared on the basis of some similarity it is [an instance of] Simile (upamā.) It relates to quality and form.

Number of objects compared

45-49. This comparison may be of one with one or many, or of many with one, or of many with many. (Examples of these are as follows): your face is like the moon (one compared with one)¹, stars shine like the moon (many compared with one), having an [²eye like¹ that of a hawk, a peacock and a vulture (one compared with many) ; and elephants are like clouds (many compared with many).

Five kinds of simile

50. Simile is of five kinds, viz. [that of] praise (praśaṃsā), [that of] censure (nindā), [that of] conceit (kalpitā), [that of] uniqueness (sadṛśī. lit. similar looking) and [that of] partial likeness (kiṃcit sadṛśī).

Simile of praise

51. The king was pleased to see that large-eyed lady just as the sages are pleased to see the success incarnate after it has been achieved with austerity.

Simile of censure

52. The woman clung to that rough-looking person devoid of all good qualities just as a creeper clings round a thorny¹ tree which has been [partially] burnt by the forest-fire.

Simile of conceit

53. The Elephants exuding ichor and moving slowly with gracefulness look like mobile mountains.

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44 (C.44; B.XVI.41).
45-49 (C.45-49; B.XVI.42-45). ¹ ekasyānekaviṣayā should be emended to anekasy ekaviṣayā (47b).
² tulyākṣa (ms. na in B.) for tulyārtha (B. C.).
50 (C.50; B.XVI.46). 51 (C.51; B.XVI.47).
52 (C.52; B.XVI.48). ¹ Read kaṇṭakinam for kaṇṭhagatam, C.
53 (C.53; B.XVI.49).

310 THE NATYASASTRA [ XVII. 54-

Simile of uniqueness

54. What you have done today to satisfy someone else’s desire, is comparable only to your [other] superhuman¹ deeds.

Simile of partial likeness

55. Here is come my lady friend whose face is like the full moon, eyes are like the petals of a blue lotus and the gait is like that of an elephant in rut.

56. These briefly are the varieties of similes. Those not described here are to be gathered from [different] poetical works and from the popular speech (lit. the people).

Condensed Expression

57. When words agreeing with different [sets of] words are combined into one sentence by way of illuminating them together it is [an instance of] Condensed Expression (dīpaka, lit. light)¹.

Example :
58. In that region (lit. there) fulness (lit. want of emptiness) was always effected¹ by swans in the lakes, by flowers in the trees, intoxicated bees in the lotuses and by friendly groups [of men and women] in the parks and the gardens.

Metaphor

59. An image of slight likeness which is conceived due to indecision [from objects] characterised by similar limbs, is called Metaphor (rūpaka)¹.

Example :
60. The pool of water and women, with their lotus-faces, Kumuda-smiles, beautiful and open Nīlotpala-eyes and swans cackling around, seem to be talking to one another.

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54 (C.54; B.XVI.50). ¹ Read atimānuṣa for iti mānuṣa. B.
55 (C.55; B.XVI.51). 56 (C.56; B.XVI.52).
57 (C.60; B.XVI.53). ¹ B. gives an additional def. (XVI.54).
58 (C.61; B.XVI.55). ¹ The plain meaning is that the lakes were full of swans, the trees full of flowers, lotuses full of bees, and the parks and gardens full of friendly groups of people.
59 (C.58; B.XVI.56). ¹ (B.XVI.57) and (C.57) give a second def. which does not appear in all mss.

• 60 (C.59; B.XVI.58).

XVII. 67] DICTION OF A PLAY [311

Yamaka

61. Repetition of words at the beginning of the feet and the other places constitute Yamaka (lit. twin). Listen to their characteristics which I am going to tell [you]¹.

Ten kinds of Yamaka

62-64. Yamakas are of the ten kinds : Pādānta Yamaka, Kāñci Yamaka, Samudga Yamaka, Vikrānta Yamaka, Cakravāla Yamaka, and Sandaṣṭa Yamaka, Pādādi Yamaka, Āmreḍita Yamaka, Catur-vyavasita Yamaka and Mālā Yamaka.

Pādānta Yamaka

65. When similar syllables occur at the end of all the four feet they constitute Pādānta Yamaka.

Example :

66. dina-kṣayāt saṃhṛta-raśmi-maṇḍalaṃ
    diviva lagnaṃ tapanīya-maṇḍalam ।
    vibhāti tāmraṃ divi sūrya-maṇḍalaṃ
    yathā taruṇyāḥ stana-bhāra-maṇḍalam ॥

At the decline of the day, the reddish (lit. copper-coloured) orb of the sun shorn of its cluster of rays, shining like a golden disc in the heavens, looks like a big round breast of a maiden.¹

Kāñcī Yamaka

67. Two similar words occuring at the beginning and at the end of each foot constitute Kāñcī Yamaka.

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61 (C.62; B.XVI.59). ¹ For an old definition of Yamaka see Bhāmaha, II. 17.

62-64 (C.63-65; B.XVI.60-62). ¹ Bhāmaha mentions a fivefold division of Yamaka See II. 9. He seems to have known the tenfold division of the NŚ., and is of opinion that his fivefold division includes at least Sandaṣṭa and Samudga Yamakas. See II. 10.

65 (C.66; B.XVI.63).

66 (C.67; B.XVI.64). ¹ B. gives an additional def. (B.XVI.65).

67 (C.68; B.XVI.66).

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-XVII. 77 ] DICTION OF A PLAY 313

Cakravāla Yamaka

73. When the word at the end of a foot is similar to the word at the beginning of the next foot it is [an instance of] Cakravāla Yamaka¹.

Example :

74. śarais¹ tathā śatrubhir āhatā hatā
hatāś ca bhuyas tv anupuṁkhagaiḥ khagaiḥ |
khagaiś ca sarvair yudhi sañcitāś citāś
citādhirūḍhā nihatās talais talaiḥ. ॥

Thus they were killed after being struck by arrows of the enemies as well as by birds of prey flying closely behind such missiles; the battle-field was swamped with such birds by which dead bodies placed on the funeral pyre were being pounced upon with their [sharp] talons.²

Sandaṣṭa Yamaka

75. When the two words at the beginning of a foot are similar, it is [an instance of] Sandaṣṭa Yamaka.¹

Example :

76. paśya paśya me ramaṇasya guṇān
yena yena vaśagāṁ karoti mām |
yena yena hi mamaiti darśanaṁ
tena tena vaśagāṁ karoti mām ॥

Look at the qualities of my lover, by which he makes me bow to him, and he charms me by those qualities with which he comes to my view.

Pādādi Yamaka

77. When the same word occurs at the beginning of each foot, it is [an instance of] Pādādi Yamaka.

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73 (C.74; B.XVI.72. ¹ B. has an additional definition (B.XVI.73) of of Cakravāla Yamaka.
74 (C.75; B.XVI.74). ¹ Emend śailas to śarais.
² C. reads citādhirūḍhā hi hatā hatā narāḥ.
75 (C.76; B.XVI.75). ¹ This term occurs in Bhāmaha, II.10, and Daṇḍin, III.51-52. But the latter's def. is different.
76 (C.77; B.XVI.76). 77 (C.77; B.XVI.77).
40

314 THE NATYAŚĀSTRA [ XVII. 78-

Example :

78. viṣṇuḥ sṛjati bhūtāni viṣṇuḥ saṃharate prajāḥ ।
viṣṇuḥ prasūte trailokyaṃ viṣṇur lokādhi-daivatam ॥

Viṣṇu creates all living beings; Viṣṇu destroyes all creatures; Viṣṇu creates (lit. gives birth to) the three worlds and Viṣṇu is the over-lord of [all] the worlds.

Āmreḍita Yamaka

79. When the last words of a foot are reduplicated, it becomes [an instance of] Āmreḍita Yamaka.

Example :

80. vijṛmbhitaṃ niḥśvasitaṃ muhur muhuḥ
kathaṃ vidheya-smaraṇaṃ pade pade ।
yathā ca te dhyānaṃ idaṃ punaḥ punaḥ
dhruvaṃ gatā tām¹ rajanī vinā vinā ॥

[You had] deep repeated sighs, [you] remembered [her] as you uttered her name frequently and thus as [you were] in constant meditation [of her] your [sad] night passed without her.²

Catur-vayavasita Yamaka

81. When all the feet consist of similar syllables it is [an instance of] Catur-vyavasita Yamaka.

Example :

82. vāraṇānām ayam eva kālo vāraṇānām ayam eva kālaḥ ।
vāraṇānām ayam eva kālo vā raṇānām ayam eva kālaḥ ॥

This is the time of the Vāraṇa [flower]; this is the season when the elephants (vāraṇa) are free from disease. This is the time [for] the enemies to come; or this is the time for [going to] battle.

Mālā Yamaka

83. When one consonant with different vowels occurs in various words it is [an instance of] Mālā Yamaka.

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78 (C.78; B.XVI.78). 79 (C.79; B.XVI.79).
80 (C.80; B.XVI.80). ¹ Emend te to tām.
² The trans. is not very literal.
.81 (C.81; B.XVI.81). 82 (C.82; B.XVI.82). 83 (C.83; B.XVI.83).

-XVII. 88 ] DICTION OF A PLAY 315

Example :

84. halī balī halī mālī śūlī khelī lalī jalī । balo balocca-lolākṣo muṣalī tv abhirakṣatu ॥

Let the strong Balarāma, the garlanded Balarāma, who holds a a spike, is sportive, faltering [in gait] and is full of Sentiment, and Balarāma who is high in strength and who has his eyes rolling and who holds a club, protect you.

85. asau hi rāmā rati-vigraha-priyā rahaḥ-pragalbhā ramaṇaṃ raho-gatam । ratena rātrau ramayet pareṇa vā no ced udesyaty aruṇaḥ puro ripuḥ ॥

This beautiful woman who is fond of love’s fight and is unashamed in it, will secretly please her lover at night with the best embrace, till the sun will rise in the east as her enemy.

86. sa puṣkarākṣaḥ kṣatajôkṣitākṣaḥ kṣarat kṣatebhyaḥ kṣatajaṃ durīkṣam । kṣatair gavākṣair iva saṃvṛtāṅgaḥ sākṣāt sahasrākṣa ivāvabhāti ॥

The lotus-eyed one having his eyes bathed in blood, letting fall from his wounds awful blood and [having his body] covered with window-like wounds looked like the thousand-eyed god (Indra) in person.

87. A play (lit poetical work) should be composed by [introducing] these [characteristic] marks after considering their objects and functions. I shall speak hereafter about faults (doṣa) in such works.

Ten faults

88. Faults in a play (lit. poetical work) may be of ten kinds such as, Circumlocution (gūḍhārtha), Superfluous Expression (arthāntara), Want of Significance (arthahīna), Defective Significance (bhinnārtha), Tautology (ekārtha), Want of Synthesis

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84 (C.84; B.XVI.84). 85 (C.85; B.XVI.85).
86 (C.86; B.XVI.86). 87 (C.87; B.XVI.87).
88 (C.88; B.XVI.88).