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

106 रत्नावली
पङ्केन etc., the moon-like face is identified with the lotus (by
त्वन्मुखपङ्कजेन ) । Here the face overshadowing the moon that is
the cause of the निर्जितत्व of शङ्क, becomes lotus-like. Hence
the identification of cause and effect here is giving rise to the
figure of speech हेतु which is again mixed up with उत्प्रेक्षा।
Again from the हेत्वलङ्कार arises the figure of speech प्रतीप which
is defined as 'प्रसिद्धस्योपमानस्योपमेयत्वप्रकल्पनम्' ।—साः दः ।
निष्क्रान्ताः—Exeunt. At the end of an Act all the actors finish-
ing the business as occuring in one day, should all go out of
the stage. Cf. प्रत्यक्षनेतृचरितो बिन्दुव्याप्तिपुरस्कृतः ।
अङ्को नानाप्रकारार्थसंविधानरसाश्रयः ॥
“एकाहाचरितं कार्यमित्यासन्ननायकम् । पात्रै स्त्रिचतुरैरङ्कः तेषामन्तेऽस्य निर्गमः”—
दशरूपक ( ३।३६-३७ ) ।
अङ्कः—"अङ्क इति रूढिशब्दो भावं रसैश्च रोहयत्यर्थान् । नानाविधानयुक्तो यस्मात्-
त्माद भवेदङ्कः ॥"—भरत-नाट्यशास्त्रे । Also, vide verses 15-31, Ch. 20,
( Benares Ed. ).
CRITICAL REMARKS
Ratnávali belongs to a class of उपरूपक called नाटिका and is
based pre-eminently upon the dramaturgic rules. In the first
Act the action of which is centred in the royal palace of
Udayana where on the occasion of the celebration of the Cupid-
festival the heroine Ságariká, introduced as an attendant of
Vásavadattá, catches the first sight of the hero and thus her
attachment towards him begins. After the conventional Nándi
songs and the introduction of the drama (Prologue) by Sutra-
dhára, यौगन्धरायण by a tacit reference to a past incident gives rise
to what is called बीज ( germ or seed of the plot ). This germ is