नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
302 THE NATYASASTRA [ XVII. 13-
Discovery
- 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
- 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
- When well-known instance are mentioned for rejecting the contrary view it is [an instance of] Unfavourable Precedent (nidarsana, lit example)¹
Convincing Explanation
- Words that are spoken in support of the meaning of some faultless statement made before, constitute Convincing Explanation (nirukta, lit etymology)¹.
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
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)$^1$.
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
- 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
- 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
- When from a sweetly-worded mention of something, some other object is to be understood, it is [an instance of] Presumption (athāpatti).¹
Celebrity
- That which is expressed with excellent words mentioning many well-known exploits, gives rise to Celebrity (prasiddhi).¹
Interrogation
- 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
- 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
- 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
- Words which are addressed in a [clever] manner by expert disputants and which relate to accomplishment of similar objects¹, constitute Wit (leśa).²
Concealment
- 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.
308 THE NATYASASTRA [ XVII. 39-
Enumeration of Merits
- 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
- 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
-
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.
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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
- Four figures of speech available in drama¹ are : Simile (upamā), Metaphor (rūpaka), Condensed Expression (dīpaka, lit. lamp) and Yamaka.
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.
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.
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 :
- 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.
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).
-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.
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
- 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
- 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
- When one consonant with different vowels occurs in various words it is [an instance of] Mālā Yamaka.
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.
- 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.
- 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.
- 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
- 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
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).
816 THE NATYASASTRA [ XVII. 89
(abhiplutārtha), Logical Defect (nyāyādapeta), Metrical Defect viṣama), Hiatus (visandhi) and Slang (śabdacyutā)¹.
Circumlocution
- Mentioning [anything] by means of a [manufactured] synonym, is to cause Circumlocution (gūḍhārtha, lit. hidden meaning)¹
Superfluous Expression
When anything not to be mentioned is described it is [a case of] Superfluous Expression (arthāntara)².
Want of Significance
- An expression which is irrelevant¹ or which remains incomplete² is [an instance of] Want of Significance (arthahīna)³.
Defective Significance
Defective Significance (bhinnārtha, lit. broken meaning) includes an expression which is not refined, or is worthy of a rustic.
- When the intended sense is changed into another sense it is also called Defective Significance.
Tautology
- Tautology (ekārtha), means [indiscriminating] use of [many] words for a single purpose¹.
¹ For a discussion of the faults in NŚ. see S. K. De, Skt. Poetics, II, pp. 19.
89 (C.89; B.XVI.89). ¹ An example of such a synonym is Ekādhika-nava-vimāna for Daśaratha, Cf. Bhāmaha (1.37.) seems to be using guḍhaśabdābhidhāna in an identical sense. See 1. 45-46. S. K. De translates this term as "use of difficult expressions" (loc cit).
² An example of such an expression is चिन्तामोहम् अनङ्गम् अङ्ग तनुते सुभ्रुवः 'The beautiful lady's look injects (lit. spreads) indeed love as well as anxiety and insensibility. Here "anxiety and insensibility" are superfluous, for love includes these two states of the mind (Ag.).
90 (C.90; B.XVI.90). ¹ An example of such an expression is अद्यापि खरसि (स्मरति) रसालग्नं मनो मे मुग्धायाः समरचतुरानि. To say that a mugdhā heroine can be samara-catura (expert in love) as well, is incoherent. (Ag.).
² The example of sāvaśeṣa is स महात्मा भाग्यवशात् महापद्मम् उपागतः.
³ For mahātmā bhāgyavaśāt may be construed as mahātmā abhāgyavaśāt and thereby its meaning may remain incomplete or undecided without a reference to the context. 91 (C.91; B.XVI.91).
92 (C.92; B.XVI.92). ¹ An example of Tautology (ekārtha) is kundendu-hāra-hara-hāsa-sitam. White like a Kunda flower, the moon
.XVII. 96] DICTION OF A PLAY 317
Want of Synthesis
[When a sentence is] completed within [each] foot [of a verse] it [is an instance of] Want of Synthesis (abhiplutārtha)$^2$.
Logical Defect
- Anything devoid of reasoning is an example of Logical Defect (nyāyād-apeta)$^1$.
Metrical Defect
Lapse in the metrical structure is called Metrical Defect (viṣama, lit. unevenness).
Hiatus
- When words [which should combine in Sandhi] are kept separate it is [an instance of] Hiatus (visandhi).
Slang
When a sound or accent is dropped it is an instance of slang (śabdacyuta, lit. lapse in a word)$^1$.
Guņas
- These are the faults of a poetical work properly described by me. Guņas (merit) are their negation and are characterised by sweetness and depth of meaning$^1$.
The ten Guņas
- The ten Guņas are : Synthesis (śleṣa, lit, union), Perspicuity (prasāda), Smoothness (samatā), Concentration (samādhi),
and the laughter of Śiva. Any one simile would have been enough. Each simile here serves the same purpose and hence Tautology has occurred (Ag.). See Bhāmaha, IV. 12.
$^2$ Read samāpyate (ms. na. in B.) for samasyate. An example of this is स राजा नीतिकुशलः सरः कुमुदशोभितम् । सर्वप्रिया वसन्तश्री योषि मालतिकागमः. Here all the four feet contain four complete sentences which are not connected with one another by sense.
93 (C.93; B.XVI.93). $^1$ nyāyād-apetam = deśakāla-viruddham etc. (Ag.) 'defying the limitation of place and time'. Bhāmaha's deśa-kāla-kalā-lokanyāyāgama-virodhitā (IV.28ff) seems to be included in this.
94 (C.94; B.XVI.94). $^1$ Such dropping occurred probably due to the Prakritic habit in speech.
95 (C.95; B.XVI.95). $^1$ Vāmana holds the opposite view (guṇa-viparyayātmāno doṣāḥ II. 1.1.) and according to him Guṇas are positive entities (kāva-śobhāyāḥ kartāro dharmā guṇāḥ, III, 1. 1).
96 (C.96; B.XVI.96). $^1$ Bhāmaha, III. 1. 4., and Daṇḍin, I.41-94.,
318 THE NĀṬYAŚĀSTRA [XVII. 97-
Sweetness (mādhurya), Grandeur (ojas), Agreeableness (sauku-mārya, lit. delicacy), Directness of Expression (artha-vyakti, lit. expression of meaning), Exaltedness (udāra, lit. deep) and Lovelines (kānti).
Synthesis
- Union of words connected through meanings intended is called Synthesis (śleṣa)¹.
Perspicuity
- Where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is [an instance of] Perspicuity (prasāda)¹.
Smoothness
- When a composition does not contain too many uncompounded words, redundant expressions and words difficult to understand it is [an instance of] Smoothness (samatā)¹.
Concentration
- Possessing some special sense which the men of genius can find out in a composition (lit. here) is called Concentration (samādhi)¹.
have ten Guṇas and name them similarly But their descriptions are different. Cf. De, Skt. Poetics, II. pp.15ff. Nobel, Foundations, pp. 104ff.
97 (C.97; B.XVI.97). ¹ Cf. Vāmana, III. I. 11 ; Daṇḍin I. 43-44. BC. give another description (C.98, B.XVI.98) of this Guṇa, which in translation is as follows : A [composition] which is, imbued with deep logic but from its nature is [very] plain and is very well-knit-together is called Compact (śliṣṭa).
98 (C.99; B.XVI.99). ¹ Cf. Vāmana III. 1. 6; Daṇḍin I.45.
99 (C 100; B.XVI. 100). ¹ Cf. Vāmana III. 1.12; Daṇḍin I-47-50. (B.XVI.101) and C. (100) gives an additional description of this Guṇa which in translation is as follows : When alaṃkāras and guṇas match and illuminate one another it is called [an instance of] Smoothness (samatā).
100 (C.p.212 f.n. 1. B.XVI.102). ¹ Cf. Vāmana, III. 1.13; Daṇḍin I. 93-94. B.(XVI.103) and C (101) gives an additional description of samādhi, which in translation is as follows : Careful condensation of meanings suggested by and derived from similes, is called Concentration (samādhi).
-XVII. 105 ] DICTION OF A PLAY 319
Sweetness
- When a sentence heard or uttered many times does not tire or disgust [anyone], it [is an instance of] Sweetness (mādhurya)¹.
Grandeur
- When a composition consists of a use of many and varied compound words exalted [in sense] and agreeable [in sound], it is [an instance of] Grandeur (ojas)¹.
Agreeableness
- When a composition consists of words easy to pronounce, euphonically combined, and giving agreeable impression [even when treating some unpleasant topic], it is [an instance of] Agreeableness (saukumārya)¹.
Directness of Expression
- If any subject (lit. action) relating to the [common] events occurring in the world gets expressed by means of well-known predicates, it becomes [an instance of] Direct Expression (artha-vyakti)¹.
Exaltedness
- When in a composition superhuman characters are
101 (C.102; B.XVI.104). ¹ Cf. Vāmana III. 1. 11-21; Daṇḍin I. 51-53.
102 (C.p.212, f. n. 2; B.XVI.105). ¹ Cf. Vāmana III.1.5; Daṇḍin I.80-85. B. (XVI.106) and C. (103) gives a second definition of this Guṇa which in translation is as follows : If a [composition otherwise] censured and deficient in quality reflects an exalted sense through its words and is rich in sound and sense it becomes [an instance of] Grandeur (ojaḥ). Hemacandra utilised this definition (Ch. IV.)
103 (C.104; B.XVI.107). ¹ Cf. Vāmana III. 1. 22; Daṇḍin calls this sukumārātā.
104 (C.p.212, f. n. 3; B.XVI.108). ¹ C. suprasiddhadhātunā for suprasiddhābhidhāna, (B.XVI.109) and C.(105). gives a second definition of this Guṇa, which in translation is as follows : When the meaning of a composition can be grasped by the penetrating mind just after its recital (lit. use) it is [an instance of] Directness of Expression (arthavyakti).
105 (C.p.212, f. n. 4; B.XVI.101).
320 | THE NATYASASTRA | [ XVII. 106-
described in relation to the Erotic and the Marvellous Sentiments and the various States, it is [an instance of] Exaltedness (udātta)$^1$.
106. That which [in a composition] while describing the sportive movement of [a character] delights the ear and the mind just as the moon [pleases us], is [an instance of] Loveliness (kānti)$^1$.
Alaṃkāras, and Guṇas according to Sentiments
107. These are the figures of speech, faults and Guṇas [available in a poetical composition]; I shall now describe their application in connexion with different Sentiments.
Sounds and Figures of Speech according to Sentiments
108. The poetical composition in connexion with the Heroic, the Furious and the Marvellous Sentiments should consist mostly of light syllables and should include similes and metaphors.
109-110. In the Odious and the Pathetic Sentiments it (the composition) should be similar except that it should consist mostly of heavy syllables.
Metres according to Sentiments: in the Heroic and the Furious Sentiments
Whenever any act of boldness is described (lit. occurs) in connexion with the Heroic and the Furious Sentiments, it (the composition) should be in the Āryā metre and should have metaphor and Condensed Expression in it.
In the Erotic Sentiment
In the Erotic Sentiment the composition should be in gentle metres.
$^1$ Cf. Vāmana, III. 1. 23; Daṇḍin, I. 76-78. B.(XVI. III.) and C(106) give along with this a definition of the Guṇa named udāra. In translation it is as follows : When the composition includes witty and graceful words having many special senses which are marvellous, it is [an instance of] Exaltedness (udātta).
106 (C.p.212 f. n. 5; B.XVI.112). $^1$ Cf. Vāmana, III. 1. 25; Daṇḍin, I. 85-88. C (107), gives an additional definition of this Guṇa, which in translation is as follows ; When a composition gives delight to the ears as well as to the mind on account of its well-put-together words, it is [an instance of] Loveliness (kānti).
107 (C.108; B.XVI.113). 108 (C.109; B.XVI.114).
109-110 (C.110-111; B.XVI.115-116).
-XVII. 117 ] DICTION OF A PLAY 321
In the Heroic Sentiment
111-112. In the Heroic Sentiment the poetical composition should have gradation [of sounds] and it should be in metres of the Jagatī, Atijagatī and Śaṃkṛti types. In the description of battles and tumults Utkṛti has been prescribed by the experts.
In the Pathetic Sentiment.
Śakkarī and Atidhṛti would be the proper metres in the Pathetic Sentiment..
In the Heroic and the Furious Sentiments
113. The metres prescribed for the Heroic Sentiment may be applied in the Furious Sentiment as well ; and as for metres in the rest of the cases (i. e. those not mentioned) they should be made suitable to the meaning intended.
Vowel-length in different Sentiments and States
114. In connexion with the drama the poets should use¹ short, long and prolated (pluta) vowels for representing different Sentiments and States.
115. In the intonation [in Recitation] a vowel consisting of one Mātrā is short, of two Mātrās is long and of three Mātrās is prolated (pluta).
Uses of the prolated vowel
116. In remembering anything, in [expressing] indignation¹, in lamenting or in the reading of Brahmins the prolated (pluta) vowels occur.
117. [Syllables concerned in these connexions] will be ‘ā’ for remembering, ‘ū’ for indignation, ‘hā’ for lamentation and ‘om’ for the reading of Brahmins.
111-112 (C.112-113; B.XVI.117-118).
113 (C.114; B.XVI.119).
114 (C.115; B.XVI.122). ¹ C. kāvyaṃ vijñeyaṃ for kāryaṃ kavibhir.
115 (C.116; B.XVI 123).
116 (C.117; B.XVI.124). ¹ C. smṛte cāstrayute for smṛte cāsūyite.
117 (C.118; B.XVI.125).
41