Ind L1504.5

LIBRARY

minos fund

Registered under Act XXV of 1867.

HARVARD UNIVERSITY

LIBRARY

DEC 1 2 1983

शारदाक्रीडनप्रन्थमाला पु० १

महाकविश्रीकालिदासविरचितं

विक्रमोर्वशीयम्.

मयूरेश्वरकृतयार्थप्रकाशिकयोद्भासितम् ।

मोरेश्वर रामचन्द्र काळे इत्यनेन विषमपदविमर्शिटिपण्यादिभिः पाठान्तरैश्व संयोज्य संस्कृतम्

तच्च

मुंबय्यां

शारदाक्रीडनमुद्रालयाधिपतिना

स्वकीये मुद्रणागारे मुद्रापितम्

शकाब्दाः १८२०

मूल्यं रूपकद्वयम्.

1

*I THE SANSKRIT DRAMA.

We shall begin with a brief outline of the general structure and arrangement of the Sanskṛt Drama without a knowledge of which the technical remarks on the construction of the present play here as well as those made in the notes will not be intelligible to the general reader. † Poetry in Sanskṛt, from its inherent nature as apart from its intrinsic merit, is divided into two kinds-what is capable of being seen or exhibite l' and 'what can only be heard or chanted'. The drama falls under the first division. Rupaka' is the general term in Sanskṛt for all dramatic compositions, which also comprises a subordinate class called Uparùpaka. The Rupaka y which has Rasa or sentiment for its substratum is divided into ten classes, riz. नाटकं सप्रकरणं भागः प्रहसनं डिमः । व्यायोगसमवकरी वीथ्यङ्के¿ à || Of the Uparùpakas or minor dramas there are eighteen species, the most important of which are Nâžikâs' such as tho Ratnàvali, Viddhas'àlabhanjikâ &c., Trotakas such as the Vicramorvasʼiya, and Sattakas, such as the Karpùramanjarî,-all differing very little from the general features of a Nataka.

Having thus disposed of the divisions into which the whole of the scenic art is capable of falling we turn to the principle of division among the Rupakas themselves, which is threefold. ‡ (1) FF (Res-business) or the Plot of the play, (2) a or the Hero, (3) and or the Sentiment. These three are the essential constituents, nay, the very life-blood, of every dramatic piece Each of these we shall succintly deal with in its order.

O The first two sections are the same as those prefixed to the S'ak. †The information given here is mainly culled from the Das'arúpaka. The minor particulars not noticed here will be found in my Sahityasa'rasangraha (Nir. Ed. ).

$ अवस्थानुकतिर्नाटयं रूपं दृश्यतयोच्यते । रूपकं तत्समावेशादशधैव रसाश्रयम् । D. R.; रूप्यते ऽभिनयैर्यत्र वस्तु तद्रूपकं विदुः । नाटकाद्यैर्दशविधन्.

Natya is another and perhaps a wider term for the drama ΟΙ the dramatic art and is so called because it represents the different situations in (the scenes presented by) life. The sage Bharata is the founder of the science of music and dramaturgy and his work is styled Na'tya S'a'stra. Na'tya is also called Rûpa in as much as it has dṛs'yata' or the capability of being seen, and Rupaka in as much as its subjectmatter is represented by actors assuming particular characters. + वस्तु नेता रसस्तेषां भेदकः ।

1 VASTU OR PLOT

Vastu is primarily of two kinds;

aft or principal and

or ‘accessary'. The principal is that which relates to the ́chiet characters or the persons concerned with the essential interest of the piece, and pervades the whole arrangement. The accessary is that which appears in furtherance of the main topic and is concerned with characters other than the Hero or the Heroine. This latter is of two kinds, viz. Patûká and Prakani. Patáká or 'banner' is an episode by which the progress of the plot is illustrated, furthered or hindered (so as to give additional interest to it). It is of a considerable length and sometimes extends to the very end of a play. The Prakart is also an episodical incident-of limited duration and minor importance-one in which the principal characters take no part. Besides these two, there are three other elements requisite for the development of the plot. These are T or the seed, for the drop, and or the final issue. Bija is the circumstance leading to the ultimate end briefly stated, which, as the plot develops, bears multifarious results* and which is as it were the seed of the plot. Bindu is what cements a break in the plot caused by the introduction of some other incident.† Kárya is the final object of the plot which being attained the whole is finished. These fire are technically called Arthaprakṛtis (ara4; ).

The Fastu which is thus divided into five classes may again be divided into three classes according to the source of its derivation. It may be borrowed from history or tradition, or it may be fictitious, or mixed i, e. partly drawn from history and partly the creation of the poet's fancy. A Nataka belongs to the first class, a Prakarana to the second.

As regards its development a dramatic plot has five stages or conditions called Avasthas. They are (1) beginning or setting on foot of the enterprise, ( 2 ) यत्न effort, ( 3 ) प्राध्याशा prospect of success, (4) certain attainment through the removal of obstacles, and (5) ~¶¶ obtainment of the desired object. While these fire stages are in progress there must be some links to connect them with the principal and subordinate parts of the main action (the episodes and incidents). These are called the Sandhis. They are five in number, answering to the five Arthaprakṛtis each

*

स्वल्पोद्दिष्टस्तु तद्धेतुर्बीजं विस्तान्यनेकधा । + भवान्तरार्थविच्छेदे बिन्दुरच्छेद