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

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प्रस्तुत चित्र पूर्णतः रिक्त (सफेद/कोरा) है। इसमें कोई पाठ (टेक्स्ट) विद्यमान नहीं है, अतः इसका लिप्यन्तरण संभव नहीं है। कृपया सही अथवा पाठ युक्त पृष्ठ की छवि पुनः प्रेषित करें।

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॥श्रीः॥
RATNAVALI
of
EMPEROR
SHRI HARSHA
Edited by
Prof. Ashokanath Bhattacharya
Shastri, Vedantntirtha, M. A., (Gold Medalist)
Premchand Roychand Scholar, Mouat Medalist, Eshan
Scholar, Sometime Lecturer in Sanskrit and Bengali
Ashutosh, Hughli and Presidency Colleges,
Lecturer and Examiner in Sanskrit,
Calcutta University.
&
Prof. Maheshwar Das, Kavyatirtha, M. A.,
(Gold Medalist)
Sometime Lecturer in Sanskrit & Bengali, Presidency
College, Calcutta.
Lecturer and Examiner in Sanskrit and Modern
Indian Languages, Calcutta University.
[मुद्रा: श्रद्धावान् लभते ज्ञानम् / MODERN BOOK AGENCY / श्रीः]
MODERN BOOK AGENCY
10, College Square, Calcutta
1939
Rs. 2/8/-

Published by
D. C. Basu
10, College Square, Calcutta.

Printed by
Ashutosh Bhur,
SAKTI PRESS
27/3 B, Hari Ghosh Street
CALCUTTA.

PUBLISHERS' PREFACE
This New Edition of Ratnávali was originally pre-
pared with the help of several authoritative editions, by
Prof. Maheshwar Das of the Calcutta University. We
are, however, thankful to Prof. Ashokanath Shastri for
having kindly revised the book thoroughly.
10, College Square,
Calcutta. } Modern Book Agency
August, 1939 .

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BIBLIOGRAPHY

1. Abhijnana Shakuntalam Ed. by M. R. Kale.
2. A History of Sanskrit Literature - Dr A. B. Keith.
3. Amarakosha with Bhanuji's Commentary
   ( Nirnayasgar )
4. Aristotle's Poetics.
5. Bhāsanātakachakram by Prof. C R. Devadhan.
6. Brihatkathāmanjari,
7. Chandomanjari.
8. Concise Oxford Dictionary.
9. Dasharupaka ( Niranayasagar Ed. ).
10. Encyclopaedia Britanica.
11. Haradatta's Padamanjari.
    12 Harivamsha.
12. Hudson's History of English Literature.
13. Katha'saritsagara.
14. Loci Critici by Saintsbury.
15. Mahābhārata.
16. Nātya Shāstra of Bnarata ( Benares Ed. ).
17. Prākrita prakasha of Vararuchi.
18. Prākrita-Paingala.
19. Ratnavali by Prof. C. R. Devadhar & N. G. Suru.
20. Ratnāvali ( Eng. Trans. ) by H. H. Wilson.
21. Ratnāvali by Prof. M. M. Krishnanath Nyāyapanchānana.
22. " Mr. M. R. Kale B. A.
23. " Pt. Narayana Sarma Nigudhbakar.
24. " " M.M. Dr. S. C. Vidyabhusana
    M. A., Ph., D.
25. " " S. C. Chakravarti, M. A.

( 2 )
27. Rámáyana of Válmiki.
28. Sanskrit Drama Dr. A. B Keith.
29. Sanskrit English Dictionary by V. S. Apte.
30. Sáhityadarpana by Prof. Kane.
31. Shabdakalpadruma.
32. Shakespeare's Works.
33. Shrimad Bhagavadgítá.
34. ,, ( Ch. XI ) Ed. by Prof. A. Shastri.
35. Shrimad Bhágavata.
36. Siddhánta Kaumudi with Tattvabodhini and
Balamanorama.
37. Theory of Drama by Mc. Nicol.
38. Tithitattva ot Raghunandana.
39. Uttararamacharitam. M. R. Kale
40. Váchaspatyam by Pandit Taranath Tarkavachaspati.

INTRODUCTION
Drama.—‘Drama’ is derived from the root ‘Dráo’ (Greek)—which
means ‘to act’ or ‘to do’. The term ‘Drama’ is used to indicate
those works of art which do imitate or represent actions by pro-
ducing personage taking part in them as real. In spite of the
different varieties of the drama as to their objects imitated and
matter represented, what is essential to all successful dramas is
the imitation of action. With this in view the author of Daśa-
rupaka, gives the definition of the dramatic art as “अवस्थानुकृतिर्नाट्यम्”
(The dramatic art is the imitation of circumstances or action).
The same author does not forget to style it as a representative
art—रूपं दृश्यतयोच्यते (the art which is called रूपम् on account of its
दृश्यता, i.e., what is capable of being seen and represented by
personage called actors).
**Action.—**Action is the thing represented as done in a drama.
The event or series of events real or imaginary governing the
subject-matter of a drama is styled as action. The imitation
of an action as set forth through proper characterization is the
foundation-stone upon which the whole structure of the drama
is constructed. ‘It is action which connotes character and implies
it. Through the very movement of a story and particularly through
its great crises and situations, the larger intellectual and moral
qualities of the persons who take part in it are necessarily im-
pressed upon us. We know them by what they do, as the tree is
known by its fruit’. So imitation which is the first step in the
drama, does not mean the imitation of person but the imitation of
action as set forth through the actors of the play who carry the
action. In a good play the question of successful plot comes first
and this plot again really rests upon character which evolves “as a

ii RATNAVALI
natural consequence of the fact that a number of given people
of such and such disposition and impelled by such and such
motives and passions are brought together in circumstances
which give rise to an interplay of influence or clash of interests
among them." "This being so, the evolution of the story in-
evitably reveals their dispositions, motives and passions which
are indeed actual forces behind the event of which the story is
composed" (Hudson). Thus dramatic art is not the imitation of
the persons actually but the imitation of action which qualifies the
characters.
Essential constituents—Drama in order to be successful and good
should have the following elements as its constituents :—

1. Plot.—A well-constituted plot shorn of its unessential and
   engrossing scenes is one of the most important factors in the
   drama. As it is a दृश्यकाव्य and as Aristotle holds that it is intended
   to be of a single hearing, care must be taken to leave out un-
   necessary details and eliminate everything not absolutely essential
   for the purpose of the dramatist in consideration of the limitedness
   of the physical endurance of the spectator. .So the Sanskrit
   dramaturgy says :—
   युक्तो न बहुभिः कार्यैर्बीजसंहतिमान् न च ।
   नानाविधानसंयुक्तो नातिप्रचुरपद्यवान् ।
   आवश्यकानां कार्याणामविरोधाद्विनिर्मितः ॥ सा. द. । (६ परि)
   In order to avoid the practical difficulty of a drama being
   unpopular and uninteresting Arsitotle has given the warning that
   the playwright should not attempt to construct the plot on an
   epic plan which means an episode composed of many other
   incidents and episodes. The Sanskrit drama Mahávíracharita
   by Bhavabhuti can be cited as an instance of a play being
   written on an epic plan. There the whole of the epic Rámáyana

INTRODUCTION iii
has been attempted to be dramatized with its all details of events
and episodes. So the dramatic plot should have relative brevity
compressing all minute details to a few that may suit the purpose
of contributing to the main action of the play.
2. Characterization—Next comes in importance the method
of characterization upon which the plot the of drama really
depends. With respect to the character, as Saintsbury holds, four
things are to be aimed at by the poet. First, it must be good—
which means that whatever disposition a character may
mainfest it must be good so far as the plot of the drama is con-
cerned. Secondly, the character should have propriety. The
manly character and bravery and fineness cannot be attributed
with propriety to a woman. The third requisite is versimilitude
and the fourth is consistency. The playright should be careful
to represent his persons as consistent throughout however, in-
consistent they might be in the original. Apart from these the
most important factor in the dramatic characterization is
what is called impersonality. The dramatist is to keep himself
entirely aloof from mingling his own personality in his men and
women and passing his own judgment as the author of the
fictions are allowed to do. Dramatic art being objective in its
nature, all subjective elements which mar the universality of
Art, are to be eliminated ; and with a view to doing so the
playwright should stand apart and give free scope to his
characters to move in their own natural way in revealing their
personalities through the medium of the plot. So there must
be everything direct concerning the characters and nothing
should be reserved as poet's own. For this reason the Sanskrit
Dramaturgy tacitly refers—
प्रत्यक्षनेत्रचरितो रसभावसमुज्ज्वलः ।
भवेदगूढशब्दार्थः क्षुद्रचूर्णकसंयुतः ।
प्रत्यक्षचित्रचरितैर्यु'क्ती भावरसोद्भवैः ॥ साः दः ( ६ परि )

iv RATNAVALI
3. Three unities—This means the unity of place, unity of
time and unity of action. These are the three principles governing
the structure of a drama and were introduced by Aristotle in
his Poetics and derived by the writers of the French Classical
school. As rigidly formulated they required that the action
of the play be represented as occuring in one place, within one
day and with nothing irrelevant to the plot. "Let the stage be
occupied to the end by a single completed action, which takes
place in one spot in one day." These theories were upheld by the
Neoclassicists and challenged by the writers of romantic bent. The
utility of three unities, specially those of time and place in the
Greek dramas, is owing to the prominence of Chorus. But gradually
the French Neoclassicists adopted them as a dramatic convention.
The utilitiy of the unities of time and place was disregarded by
the romantic playwrights, and the unity of action was faithfully
followed in all dramas, as its utility could not be avoided. Here is
an observation of a romantic writer against the unities of time and
place—"By their servile observations of the unities of time and
place, and integrity of scenes, they have brought themselves the
dearth of plot and narrowness of imagination, which may be
observed in their plays. How many beautiful accidents might
naturally happen in two or three days which cannot arrive with
any probability in the compass of twenty-four hours ?" In the
Sanskrit drama the provision of the unity of time has been made so
far as an act of the drama is concerned, but not the whole drama
as in Greek plays ; in Sanskrit Dramaturgy much liberality as to
the unity of time is found as the unity of time is extended from
twenty-four hours (as in Greek plays) up to one year—
या च स्याद्वर्षपर्यन्तं कथा दिनद्वयादिजा—साः दः ( ६ परि )
But this is also violated by eminent playwrights like Bhava-
bhuti and others. The unity of place meaning that the dramatic
subject-matter should be represented as occurring in one place is

INTRODUCTION v
not at all observed in Sanskrit plays by reason of the absence of
scenery. For the plays were often performed in the open courts of
the palaces, perhaps at times in large halls set apart for public
entertainments or in the open air.
Unity of action—Unity of action, which is the most
important element for a drama to be successsful, does not mean
one and only one action complete in itself undiversified
by subordinate incidents and uncomplicated by accompanying
episodes as the most rigorous Neoclassicists observed. Unity here
is not incompatible with complexity; it means merely organic
connexion and co-herence. Minor actions and subplots and
episodes inseperably linked with the main action are to be con-
nected in such a way that the seperation of any one of them from
the body of the play would mean nothing but the destruction of
the whole plot. That is, the organic—not mechanical—connexion of
the subplots with the main one is the unity or singleness of
action. The episodes or minor incidents which we come across in
S'ákuntala are each essentially meant for revealing the different
aspects of the character of the hero and the heroine. As for
example, the Dhanamitra episode in the 6th act makes us know the
feelings of Dushyanta as a sonless king and that knowing on one
part helps us to know how it was the high time for the king to
be introduced to his son in the 7th act. In the Sanskrit Drama-
turgy, the subject-matter has been classified into two heads—(1)
चाधिकारिक (the main plot) and (2) प्रासङ्गिक (subsidiary plots or
episodes) Cf :—
“इदं पुनर्वस्तु बुधैर्द्विविधं परिकल्पितम् ।
चाधिकारिकमेकं स्यात् प्रासङ्गिकमथापरम् ॥
अधिकारः फले स्वाम्यमधिकारी च तत्प्रभुः ।
तन्निर्वृत्तं कविभिराधिकारिकमुच्यते ॥” साः दः ( ६ परि )
The subsidiary plots contribute to the development of the
main one—cf. “अस्योपकरणार्थं तु प्रासङ्गिकमितीर्य्यते”—सा दः। The unity of

vi RATNAVALI
action is tacitly refered to in Sâhityadarpana as “गोपुच्छाग्रसमायं तु
बन्धनं तस्य कीर्तितम्” । “गोपुच्छायसमायमिति क्रमेणाङ्गाः सूक्ष्माः कर्तव्याः”—that is, as
the tip of the tail of a cow is gradually tapering towards the end,
so the action of the drama proceeds towards the end with all
subsidiary plots absorbed into it.
4. Dialogue.—The last but not the least is the dialogue which
is regarded as an essential adjunct to action and which is very
important by reason of its being the means to exhibiting passions,
motives, feelings with all the main constituents of characters.
When the interest of the drama is predominantly psychological,
dialogue is essentially helpful. On the whole the portrayal of
the character of a person and exhibition of his feelings and other
mental phenomena in a play mainly depend upon the successful
reference by dialogues. In a fiction or an epic by a detailed narration
the character is painted ; but as the compass of a drama is limited,
much worth is to be attained by short and intelligent dialogues
which more suggest about the character than express. In S'ákuntala
the pithy statement “सकृत्कृतप्रणयोऽयं जनः” by the king Dushyanta
throws much light upon the private character of the king, which
we cannot expect so impressively from a detailed exposition of
the situation. Thus a play to be successful should have good and
impressive dialogues.
Sanskrit Drama.—The origin of Sanskrit drama is religious. As
such it has its own distinguishing characteristics which fundamen-
tally determine its value as a type. Indebted as it is for its origin to
the surroundings and atmosphere of Vedic religion and ritualistic
practices full of Brahmanical influences at every point the
Sanskrit drama maintains its ideal character throughout being
isolated from other types of drama in the world. Sanskrit drama
regarded as the highest product of Indian poetry is essentially
aristrocratic mainly for the reason of its being an evolution of the
intellectual effort of two aristrocratic classes—the Brahmanas
and the Kshattriyas, the upholders of the supremacy of Brahmanic

INTRODUCTION vii
civilization. This is one of the notable reasons of Sanskrit drama
being inaccessible to the general mass and for this reason a qualified
audience (gunagrāhinī parishat) is always sought for and on
their satisfactions absolutely depended the success of dramatic
representation. As Dr. Keith holds, "The drama bears, therefore,
essential traces of its connection with the Brahmins. They were
idealist in their outlook, capable of large generalizations but
regardless of accuracy in detail, and to create a realistic drama was
wholly incompatible with their temperament. The accurate
delineation of facts or character was to them nothing ; they aimed
at the creation in the mind of the audience of sentiment, and what
was necessary for this end was all that was attempted". Following
this idealistic bent of the Brahmanic school the dramatists sometimes
thought it a necessity to effect changes in the original from which
their theme had been derived with a view to representing his
persons as consistently ideal in their character so that their
representation may evoke in the mind of the audience a perfection of
sentiment. Thus some changes are effected in Dushyanta and
S'akuntalā of the original epic with a view to removing all blemishes
from their character and thus the representation of their character
being far removed from reality presents an example of perfect
ideal sentiment of love-arousing emotion in the mind of
the learned audience. From the viewpoint of this idealistic
character Sanskrit drama cannot be described as national in the
broadest and the highest sense of the word as the Hellenic plays
are called. It is in short a drama of a literary class though as such
it exhibits many of the noblest and most refined as well as the most
characteristic features of Hindu religion and civilization. The
ethics of Indian drama are of a lofty character, but they are those
of a scholastic system of religious philosophy self-conscious of its
completeness. In the delineation of the characters and movement
of the plot the supremacy is attributed to the power of fate to
which the gods as well as the mortal world bow.

viii RATNAVALI

One of the distinguishing excellences of Sanskrit drama is 'its
poetic grandeur which envelopes it as flowers overspread the bosom
of the earth in the season of Spring.......It weaves the wreath of
idyllic fancies in an unbroken chain adding to its favourite and
familiar blossoms ever-fresh beauties from an inexhaustible garden.
Nor is it unequal to depicting the grander aspects of nature in
her mighty forests and on the shores of ocean. A profound
familiarity with its native literature can here alone follow its
diction through a ceaseless flow of phrase and figure, listen with
understanding to the home of the bee as it hangs over the lotus
and contemplate with S'akuntalā's pious sympathy with the
creeper as it winds round the mango tree. But the poetic beauty
of the Indian drama reveals itself in the mysterious charm of its
outline, if not in its full growth even to the untrained'. (En-
cy. Brita. )

To the Brahmanic supremacy in the evolution of the dramatic
art and its idealism another notable characteristic of Sanskrit
drama can be attributed ; that is the absence of tragedy. Though
the tragic elements are not wanting in Sanskrit drama, yet tragic
end is denied us most probably on the ground of peculiar conditions
of Indian thought in propounding the law of action' and exposing
the existence of human life which is nothing but the outcome
of the workings of the deeds done in the previous birth. In
explaining this view Dr. Keith holds, "The actions and status
of man in existence depend on no accident ; they are essentially
the working out of deeds done in a previous birth and these again
are explained by yet earlier actions from time without beginning.
Indian drama is thus deprived of a motif which is invaluable to
Greek tragedy and everywhere provides a deep and profound tragic
element, the intervention of forces beyond control or calculation
in the affairs of man, confronting his mind with obstacles upon
which the greatest intellect and the most determined will are
shattered. A conception of this kind would deprive the working

INTRODUCTION ix
of the law of the act of all activity......"( Keith's Sanskrit Drama
P. 277.) According to Aristotle the conditions a tragedy essensially
lie in what is called 'undeserved misfortune,' which the hero of a
drama has undergone. And that 'undeserved misfortune' must be
the outcome of some great error on the part of the hero but not the
outcome of any depravity or systematic misdeed on his part. In
the case of a person filling into misery from happiness by reason
of his misdeeds no tragic feeling will be aroused. So Aristotle says,
"..the change in the hero's fortune must not be from misery to
happiness but on the contrary from happiness to misery ; the
cause of it must lie not in any depravity, but in some grat error
on his part" ( Aristotle on the art of poetry translated by In-
gram Bywater P. 50 ) Now the commission of a great error is
an accident which is not admitted in the Indian doctrine of Karma.
According to this doctrine every aspect and deed of human existence
is attributed to the working of the deeds done in the previous life ;
so any misfortune met with by a hero of a Sanskrit drama will
be attributed to his previous deed and as such his misfortune will
not create any tragic feeling and hence no tragedy is possible
according to the Sanskrit playwrights. In Venisamhára, Duryo-
dhana's helpless and deplorable plight, accentuated by the misfor-
tune due to the death of his heroic brothers-and military experts
who sided with him, may arouse some feeling but cannot create any
tragic feeling, as his said misfortune is not come to him accidentally
but is an outcome of his systematic misdeeds and mischievous
attitude of injuring the Pándavas. So our sympathy goes more
towards the Pándavas who attained to happiness in the long run
ofter continued struggle against the evils. So the strong conviction
of Indian mind as to the working of the law of action is reponsible
for the absence of tragedy in Sanskrit drama. Hence all Sanskrit
dramas are comedy in the loose sense of the term.
Another characteristic of Sanskrit drama is that the persons
represented herein are all typical characters ; Dr. Keith says