उत्तररामचरितम् (महाकवि भवभूति - संस्कृत मूल एवं हिन्दी व्याख्या)

138 NOTES ON [IV. 22— adj. neighbouring. It is derived from अर् with अभि, according to 'अभेश्चाविदूरे' पा 7 2 25. (अभ्यर्थम् । नातिदूर नासन्न वा । अभ्यर्हितम् न्यक् । सि कौ ). मेध्वा सहात् on account of (lit. on the occasion of) having to protect the sacrificial horse. मेघ-मेधे साधु जानासि—do you know? एता पुरुषौ—these are the very heroes of the story of the रामायण अथ किम् what else? e just as you say मैथिलस्य दौहित्र —this is dramatic irony लव, not knowing whom he was addressing, speaks in this way दुहितु' अपत्यं पुमान् दौहित्र यदि निष्ठ' If you are so well versed in the story (of the रामायण) कियन्ति how many ? किं नामधेय येषाम् जनक could not rid himself of the forlorn hope that the boy might still turn out to be the son of सीता He puts a fishing question to लव, which, if answered, would dispel all doubts प्रविभाग division, portion पूर्वं कृतः श्रुतपूर्व प्रणीत composed. प्रकाशित not made public अन्य सन्दर्भे (प्रबन्ध) सन्दर्भान्तर डेन 'सन्दर्भों रचना न ना' क्षीरस्वामी अभिनेय अर्थः यस्य. क्षोभ्ये वृत्त' A portion of it has been turned into an independent work, full of senti- ments and fit for being acted on the stage As to rasas, see notes above (p 118) The रामायण is that species of काव्य which is called श्रव्य (to be heard), while a drama is a दृश्य काव्य अभि- नेय (potential pass p of नी with अभि) what is to be acted मुनि भगवान्—these words refer to वाल्मीकि. व्यसृजत् sent भरतस्य—the genitive is used for the dative तौर्य • कारभ् (who is) the author of Sūtras upon singing, dancing and instrumental music 'तौर्यत्रिकं नृत्यगीतवाद्य नाट्यमिद त्रयम्' इत्यमर तूर्यम् a drum तूर्ये भवं तौर्य शुन्द त्रयोऽशा अस्य इति त्रित् (a collection of three), according to 'संख्याया अतिशदन्ताया वन्' पा 5 1 22. (संख्याया कन् स्यादतिंशेदूर्चे न तु त्यन्ताङ्शन्तादा । पञ्चक । अन्तादास्तु सामयिक । सि कौ.) तौयौपन्तश्चि त्रित्न तौर्यत्रिकम् भरत is reputed to be the author of the extant नाट्यशास्त्र The extant नाट्यशास्त्र has 37 chapters and contains over 5000 verses, mostly in the Anushtubh metre There are here and there a few prose passages, which seem to be the original सूत्र round which the extant नाट्यशास्त्र was woven at some later period The नाट्यशास्त्र is said to have been first promulgated by ब्रह्मा कालिदास also refers to भरत as a नाट्याचार्य 'मुनिना भरतेन य प्रयोगो भवतीष्वप्सरसाप्रयो निभुन । ललिताभिनयं तमद्य भर्ता मरुतां द्रष्टुमना मनाकप्रान ॥' विक्रमोर्वशीय I ४ दिप्सतीति for the reason that he will represent it on the stage with the help of the Apsarases We learn from the नाट्यशास्त्र that the Apsarases helped Bharata to perform before the gods. 'अप्सरो- भिर्वर सार्धं तौहर्नायैकहेतुकम् ॥ मषिदिनं मया सर्ग स्वातिना नारदेन च।'