रत्नावली नाटिका (सम्राट हर्षवर्धन - शास्त्रीय नाटिका रत्न सम्पूर्ण ४ अङ्क सान्वय सटीक)

APPENDIX B 457 N. S., Benares Edition, Ch. XVIII, 23-49. षट्त्रिंशल्लक्षणान्येव, नाट्यालङ्कृतयस्तथा । त्रयस्त्रिंशत् प्रयोज्यानि वीथ्यङ्गानि त्रयोदश ॥१७०॥ लास्याङ्गानि दश यथालाभं रसब्यपेक्षया” । (साः दः ६ष्ठ परि) The details may be found in Sâhityadarpana Ch. VI, and Nátyashástra Ch. XXI. The Ratnávali is predominated by the erotic sentiment ( शृङ्गार ). The dominant emotion of love or attachment (rati) existing in the hero Udayana,—coupled with the fundamental determinant (álambana vibháva—Ságariká), inflamed by excitant determinants (uddipana vibháva—creeper-bower, spring season etc.), made cognizable by consequents (anubháva —sidelong glances and embraces of the heroine) and strengthe- ned by transitory feelings (vyabhichári bhávas) such as desire etc.,—unfolds itself to the erotic sentiment ( शृङ्गाररस ). Plot, characters and sentiment are not the only constituent elements of drama ; the poet must be adept in adopting the appropriate manner of style (vritti) for each Dramatic style action...the style adds to the play the inde- finable element of perfection which is present in the highest beauty of feature or dress. The manners......are four—the graceful ( Kaishiki ), the grand (Sáttvati), the violent (Arabhati) and the verbal (Bhárati).” ‘The Ratnávali illustrates the first and the last with slight traces of the other two. ( Cf : The monkey and the fire episodes.)