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.)