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

438 रत्नावली
which again sets in activity the course of the drama which
seems to be already interrupted), पताका (episode), प्रकरी (incident)
and कार्य ( denouement ) which are all प्रयोजनसिद्धिहेतवः। बीज is
the brief allusion of the circumstance which develops to its
ultimate end. ( “अल्पमात्रं समुद्दिष्टं बहुधा यद् विसर्पति। फलस्य प्रथमो हेतुर्बीजं
तदभिधीयते”—साः दः ६।६५-६६ ) The brief soliloquy of यौगन्धरायण in
Act I—“एवमेतत् कः सन्देहः....भीत एवास्मि भर्तुः” (Pp. 18-20) is called
the बीज of रत्नावली, because this initial stage develops into the
conclusion of the drama [“रत्नावल्यां वत्सराजस्य सागरिकाप्राप्तिहेतुरनुकूलदैवो
यौगन्धरायणव्यापारो विष्कम्भके न्यस्तं...यौगन्ध......कः सन्देहः इत्यादिना......स्वामिनी
इङ्गितज्ञो इत्यन्तेन”—दशरूपके १।१६ ] बिन्दु is what bridges up the break
caused by some digression. [ “अवान्तरार्थविच्छेदे बिन्दुरच्छेदकारणम्”
—साः दः ६।६६ ] When at the end of Act I, the worship of Cupid
was concluded, and Ságariká was going away, she heard the
वैतालिक sing “उदयनस्येन्दोरिवोदीक्षते” (P. 59) and longed for seeing
the King whom so long she took for Cupid in flesh and blood.
This sets up the connection with what transpires in Act II.
[ cf.—“रत्नावल्यामनङ्गपूजापरिसमाप्तौ कथार्थविच्छेदे सति ‘उदयनस्येन्दोरिवोदीक्षते’
इति सागरिका श्रुत्वा ( सहर्षम् ) ‘कथं एसो सो उदअणणरिंदो’ इत्यादिरवान्तरार्थहेतुः”
—सा. द. ६ ] “There are also five elements of the plot (arthapra-
kriti), which the theory not very accurately parallels with the
five stages of the action.* The first is the germ (bija) whence
*The parallelism is faulty ; neither episode or incident
is necessary nor corresponds to práptyáshá, and niyatápti, nor
garbha, nor vimarsha. Dhanika admits this in effect ; there
is no episode in Ratnávali.

APPENDIX B 439
springs the action, as in the Ratnávali from Yaugandharáyana's
scheme to secure the princess for the king. The second, with
change of metaphor, is the drop ( bindu ), which spreads out as
oil on water ; the course of the drama, which has seemed to be
interrupted, is again set in activity ; thus in the Ratnávali,
when the festival of the god of love is over, the princess gives a
decisive impulse to the motion of the drama by recognising in
him, whom she deemed the god himself, the king for whom,
she was destined as a bride. The other three elements are the
episode, the incident and the denouement ( kárya )."—Keith—
Sanskrit Drama, P. 298. [See दशरूपक १।१७] पताका is an episode
which contributes greatly to the development of the plot [“व्यापि
प्रासङ्गिकं वृत्तं पताकेत्यभिधीयते”—साः दः ६।६७ ]. In Ratnávali the concoc-
tion of the plot made by विदूषक and सुसङ्गता which extends to a
great length (i.e., the whole of Act III) may be roughly called a
पताका, though Prof. Keith does not admit it. प्रकरी is an incident
of small dimension, which can be illustrated by the introduction
of the incident of the monkey and the Sáriká (“प्रासङ्गिकं प्रदेशस्थं
चरितं प्रकरी मता”—साः दः ६।६७) (Act II—Pp. 122-154). कार्य is the
final unravelling of the plot (denouement). In रत्नावली, the final
union of the hero and the heroine is the example of कार्य ।
The अवस्थाs or the stages of the development of the plot are
five in number ; such as, प्रारम्भ, यत्न, प्राप्त्याशा, नियताप्ति and फलागम ।
प्रारम्भ (Beginning) is the first stage in which the desire to attain
the final end is indicated. ( “भवेदारम्भ औत्सुक्यं यन्मुख्यफलसिद्धये”
—साः दः ६।७१ ) । यौगन्धरायण’s anxiety to put Ratnávali in

440 रत्नावली

the harem is the example of this stage—“रत्नावल्यामन्तःपुरनिवेशनार्थं
योगन्धरायणस्य औत्सुक्यम्—साः दः ६ and दशरूपक १।२०। This stage is
characterized by the बीज mentioned above. (Act I—Pp. 18-20)
यत्न ( Determined effort ) is the second stage in which the hero
and the heroine exert themselves for the quick achievement
of the final result [ “प्रयत्नस्तु फलावाप्तौ व्यापारोऽतित्वरान्वितः”—सा. दः. ६।७२
and दशरूपक १।२० ] । In the रत्नावली, the heroine Ságariká exerts
herself in quickly devising some means for having a sight of the
King [ Cf. “यथा रत्नावल्याम्—तइवि णा पत्थि अच्ची दंसणोवाओत्ति जधा तथा
आलिहिअ अप्पाणमोहिदं करिस्सं—इत्यादिना प्रतिपादितः रत्नावल्याश्चित्रलेखनादिर्वत्स-
राजसङ्गमोपायः”—साः दः ६।७२ and दशरूपक १।२०—Act II. Pp. 112-113.]
This stage is characterized by बिन्दु that cements the break,
and the प्रयत्न stage is due to that cementing. प्राप्त्याशा ( Hope
of union ) is the third stage in which the hope of attaining
the final end passes through an uncertain state due to
advantages and disadvantages. In Act III of Ratnávali when
everything was arranged that Ságariká would meet the King
under the disguise of the Queen, the King became hopeful.
But Vásavadattá’s detection leaves the King in disappointment.
[ “उपायापायशङ्काभ्यां प्राप्त्याशा प्राप्तिसम्भवः”—“रत्नावल्यां तृतीयेऽङ्के वेशपरिवर्त्तनाभि-
सरणादेः सङ्गमोपायात् वासवदत्तालक्षणपायशङ्कया च अनिर्द्धारितैकान्तसङ्गमरूप-
फलप्राप्तिः प्राप्त्याशा”—साः दः ६।७२, दशरूपक १।२१—Act III. Pp. 233-245.]
नियताप्ति ( Sure attainment ) is the fourth stage in which
the obstacle in the way of achievement of the final end is
removed [ “अपायभावतः प्राप्तिर्नियताप्तिस्तु निश्चिता”—सा. दः ६।७३ ] In
रत्नावली, the King made up his mind to attain the desired object

APPENDIX B 441
by pacifying Vāsavadattá who was the only obstacle. [Cf.—
"यथा रत्नावल्यां—राजा—"देवीप्रसादनं त्यक्त्वा नान्यमत्रोपायं पश्यामि इति देवी-
लक्षणापायस्य निवारणान्नियतफलप्राप्तिः सूचिता"—सा. दः ६।७३ and विदू—"सागरिका
दुक्करं जीविस्सदि......पश्यामि"—दशरूपक १।२१। Act III. Pp. 266-67. ]
फलागम ( Attainment of the desired object ) is the fifth stage
in which the final end is achieved when all unfavourable
circumstances are removed through gradual unravelling of the
plot in its different stages. ["सावस्था फलयोगः स्याद् यः समग्रफलोदयः"
सा. द. ६।७३ ] In रत्नावली this stage is illustrated when the King
finally obtained Ratnávali along with the paramount monarchy
over the world ( cf.—'यथा—रत्नावल्यां रत्नावलीलाभश्चक्रवर्तित्वलक्षणफलान्तर-
लाभसहितः"—सा. द. ६।७३ and दशरूपक १।२२ ]
"As action, when developed in full, as normally it is in
the Nátaka, the most perfect of forms of drama, involves of
necessity of five stages of development (avasthá); there must
be as the beginning (árambha) the desire to attain some end,
which leads on to the determined effort (prayatna) to secure
the object of desire; this leads to the stage in which success
is felt to be possible (práptyáshá—práptisambhava) having
regard to the means available and the obstacles in the way of
achievement: then arrives the certainty of success (niyatápti),
if only some specific difficulty can be surmounted; and
finally the object is attained (phalágama)......The Ratnávali,
no less perfect an example of the minor type, the Nátiká,
reveals to us the aims of the minister to secure the union of
the heroine and the king; a definite step to this end is taken

442 रत्नावली

when the heroine decides to depict the face of Vatsa on the
canvas ; in Act II the lovers are united for the moment,
but subject to the risk of discovery by the queen ; then the
king recognizes that his success in love depends on winning
the queen's favour, which is successfully accomplished in the
last act."—Keith, Sanskrit Drama. Pp. 297-98].
"Corresponding to these five gradual stages of development
there are five Sandhis which set up connecting links of
different incidents with the main action of the drama"
( "अन्तरैकार्थसम्बन्धः सन्धिरेकान्वये सति" साः दः ६।७५ ) । They are five in
number, such as मुख, प्रतिमुख, गर्भ, विमर्श and उपसंहृतिः । "Based on
these parallel sets is a third division of the junctures (sandhi),
which carry each of the stages of the action to its normal
close. They are the opening (mukha), progression (prati-
mukha), development (garbha), pause (vimarsha) and conclu-
sion (nirvahana), corresponding clearly and closely with the
stages set out above. Abhinavagupta ( Dhvanyālokalochana )
frankly treats the avasthás as sandhis...and distinguishes the
arthaprakritis. Dasharupaka is responsible for the doctrine
that each sandhi rests on an avasthá and an arthaprakriti,
accepted in Pratíparudriya...In the Ratnávali, the opening
extends to that point in Act II, where Ratnávali decides to
depict the king as the only means of gazing on him whom
she loves...the progression extends then to the close of the
Act ; the development occupies Act III, while the pause due
to the intervention of the queen, is brought to an end by

APPENDIX B 443
the mock fire of the palace in Act IV, and the remaining
portion of that Act gives the conclusion......But far more
complex is the insistence on the subdivision of the five
junctures into 64 members (12, 13, 12, 13 and 14 respectively).
The distribution, however, has no real value......when used,
they should be essentially subservient to the sentiment which
the piece seeks to create ; they should either treat the subject
chosen, expand the plot, increase interest, produce surprise,
represent the parties in action or conceal what should be
concealed......some must be included in any drama, since
one without any would be like a man without limbs, and
adroitly used, they may give merit to a mediocre subject-
matter" (Nātyashāstra, Benares Edition, Chapter XXI, 53-56)
—Keith, Sanskrit Drama, Pp. 298-300.
As regards the working of मुखसन्धि, see the Critical Remarks
of Act I—Pp. 106-107. मुखसन्धि—has twelve aspects ( अङ्गs ) :—
(1) उपक्षेपः ( काव्यार्थस्य समुत्पत्तिः, बीजन्यासः, beginning )—e. g.,
एवमेतत् कः सन्देहः हौपादन्यस्यात् etc. (P. 18).
(2) परिकरः ( सस्तुतप्रार्थबाहुल्यं, elaboration of the plan)—e. g.,
अन्यथा कः......स्पृशन्ति स्वामिनमभ्युदयाः (P. 18).
(3) परिन्यासः ( तन्निष्पत्तिः ) e. g., प्रारम्भेऽस्मिन् स्वामिनः वृद्धिहेतौ etc.
(P. 20).
(4) विलोभनम् ( गुणाख्यानम् )—e. g., विश्रान्तविग्रहकथः etc. (P. 21) ;
or कस्सापाम्न etc. (P. 59).
(5) युक्तिः ( अर्थानां सम्प्रधारणम् )—e. g., मयापि चेनां देवीहस्ते...मिलितः
(P. 18). Cf. दशरूपकः—"इत्यनेन सागरिकाया अन्तःपुरस्थाया वत्सराजस्य सुखेन

414 रत्नावलो
॰दर्शनादिप्रयोजनावधारणात् वाक्यस्यसिंहलेश्वरामात्ययोः स्वनायकसमागमहेतु प्रयोजनले-
नावधारणात् युक्तिः” (I. 27).
(6) प्राप्तिः (सुखागमः )—e. g., राज्यं निर्जितशत्रु योग्यसचिवे etc. (P. 24) :
or सागरिका—कधं अअं सो राआ......(P. 59).
(7) समाधानम् (बीजस्यागमनम् )—e. g., ता पूआणिमित्ताइं उवअरणाईं मे
उवणेहि......ता अलक्खिदा पेक्खिस्सं (Pp. 47-44).
(8) विधानम् (सुखदुःखकृतः हर्षः)—e. g., the speech of Ságariká
at the first sight of the King near the red Ashoka tree (कधं
पेक्खिदो व्येव्व अपुव्वो कुसुमउदो......गमिस्सं (P. 56).
(9) परिभावना (कुतूहलोत्तरा वाक् अद्भुतावेशः)—e. g., इह पञ्चक्खोकिटी ता
अहंपि इमेहिं कुसुमेहिं... पूजइस्सं (P. 56).
(10) उद्भेदः (बीजार्थस्य प्ररोहः, गूढभेदनम्)—e. g., अस्मापाम्त इत्यादि
उदयनस्येन्दोरिवोद्दीक्षते इत्यन्तम् (P. 59), in the shloka अस्मापाम्समसभासि
etc. Here Ságariká knows the King to be उदयन and grows
love-sick.
(11) करणम् (प्रकृतार्थसमारम्भः)—e. g. कहं अअं सो राजा उदअणो
जस्स अहं तादेण दिन्ना etc. (P. 59) ; or Acc. to दशरूपक—शमी दे कुसुमा-
उह......गमिस्सं (Pp. 56-57).
(12) भेदः (संहतभेदनम्, प्रौत्साहना)—e. g. कधं मंदभाइणीए मए
पेक्खिदुं वि चिरं ण पारिदी अअं जणो ! (P. 60).
प्रतिमुखसन्धि—It begins in Act II along with its 13 elements
(अङ्गs). As regards प्रतिमुखसन्धि and its working, see the Critical
Estimate of Act II (Pp. 217-219). The 13 अङ्गs of प्रतिमुख are :—
(1) विलासः (रत्यर्थेहा—Desire for enjoyment) e. g. हिअअ पसीद
पसीद etc. (Act II—Pp. 112-113).
(2) परिसर्पः (दृष्ट[नष्ट]नटानुसरणम्)—e. g. ता जहा तहा आलिहिय णं

APPENDIX B
445

पेक्खिस्स' (P. 113). अथवा दशरूपके—"सारिकावचनचित्रदर्शनाभ्यां सागरिकानुराग-
बीजस्य दृष्टनष्टस्य क्वाऽसौ क्वाऽसौ इत्यादिना वत्सराजेनानुसरणात्" (P. 168)
(3) विधूतम् (Non-acceptance of a courtesy, कृतस्यानुनयस्यापरिग्रहः )
—e. g. सहि णवगेहि इमस्स' णलिणीयत्ताइ' (P. 120) दशरूपके—विधूतम् अरतिः
—'दुल्लह......वरमेक्क' (P. 120).
(4) तापनम् ( उपायादर्शनम् )—e. g. दुल्लहजणाणुरागो.........वरमेक्कं' ।
(P. 120). दशरूपके श्रमः ( अरतेरुपशमः )—अनया लिखन्तोऽहमिति......
(P. 158).
(5) नर्म ( परिहासवचः )—e. g. सुसङ्गता—सहि ! यस्स किदे तुमं आगदा
सो अअं दे पुरदो चिट्ठदि...ण' चित्तफलअस्स (Pp. 159-163).
(6) नर्मद्युतिः ( Satisfaction caused by joke.—परिहासजा धृतिः )—
e. g. सुसङ्गता—सखि ! पदक्खिणा.........सागरिका—भद्द सुसंगदे ! दाणि' वि
(कौलिदुं) ण विरमसि etc. (P. 172).
(8) विरोधः ( व्यसनप्राप्तिः )—e. g. भो वयस्स ! पच्छादेहि चित्तफलअ' इमिणा,
कदलीवत्तेण । एसा क्खु देवीए...धाअदा (P. 164). दशरूपके—निरोधनम्
(हितरोधः)—राजा—धिक् मूर्ख ! ...प्राप्ता कथमपि...भवता (P. 177).
(9) पर्युपासनम् ( कृतस्यानुनयः )—e. g. विदूषकः—एसा कदलीघरं...गदा
etc. (P. 144). अथवा दशरूपके—प्रसीदंति ब्रूयाम्...(Pp. 183-184).
(10) पुष्पम् ( विशेषवचनम् )—e. g. राजा—(हस्ते गृहीत्वा स्पर्शं नाटयति )
विदू—भो वयस्स ! एसा अपुव्वा सिरी...समासादिदा...सुधामृतद्रवः (P. 172)
(11) वज्रम् ( प्रत्यक्षनिष्ठुरं वचः )—e. g. सुसङ्गता—ण केवलं देवी चित्तफलएस.
...ता जाव गदूण देवीए णिवेदइस्सं' (Pp. 165-166).
(12) उपन्यासः ( प्रसादनम्—pacification )—e.g. सुसङ्गता—भद्द ! अलं.
संकाए...भङ्गिओए पसादिअ कौलिदं जेव्व etc. (P. 167).
(13) वर्ण संहारः ( चातुर्वर्ण्योपगमनं—पात्राणां सम्मेलनम् )—e. g. एसी उण,
मे गब्बी पसादो...अणहत्थे गेण्हिअ पसादेहि णं' (Pp. 167-172).

446 रत्नावली
(14) प्रगमनम्—( उत्तरोत्तरवाक्यम् )—e. g. Conversation of the
King, Jester, Susangatá and Ságariká in the plantain-bower.
विदू—भो वअस्स ! दिट्ठिआ बड्ढसि...किमु स्यात् (Pp. 149-159).
गर्भसन्धि—Its working begins in Act III. (Vide, Critical
Estimate, Act III—Pp. 315-316 ). It has 13 elements ( अङ्गs )
[12 Acc. to दशरूपक ] which minutely work within this Act.
They are :—
(1) अभूताहरणम् (Suggestion by the use of clever words—
व्याजाश्रयं वाक्यम् )—e. g. काञ्चनमाला—साधु रे—वसंतअ साहु...संधिविग्गहचिंताए ।
(P. 220).
(2) मार्ग ( तत्त्वार्थकथनम् )—e. g. विदूषकः—जअदु जअदु पिअवअस्सो !
भो वअस्स ! दिट्ठिआ बड्ढसि तुमं समीहिदकज्जसिद्धीए (P. 232).
(3) रूपम् (Remark with logical argument—वितर्कवत् वाक्यम् )—
e. g. मनसिजं प्रकृत्यैव दुर्लक्ष्यं च etc. (P. 227). दशरूपके—दृष्टो कोऽपि...देव्या
वासवदत्तया (Pp. 241-245).
(4) उदाहरणम् ( उत्कर्षयुक्तं वचनम्—A thoughtful speech) e. g.
बाणाः पञ्च मनोभवस्य etc. (P. 227) and दशरूपके—विदूषकः ( सहर्षं ) ही ही
भो ! कोसम्बीराअलाहेणवि...तक्केमि (P. 232).
(5) क्रमः ( भावतत्त्वोपलब्धिः—Knowledge of the feelings of
another )—e. g. शीतांशुर्मुखमुत्पले...बिम्बाधरे (P. 251). Here वासवदत्ता
knows the feelings of the King towards Ságariká. दशरूपके—
सञ्चिन्त्यमानाभिः, राजा—उपस्थितप्रियसमागमस्यापि...तुङ्गागमणं (P. 250)—इति
वत्सराजस्य सागरिकामभिलषत एव आन्तसागरिकाप्राप्तिः ।
(6) संग्रहः ( Gift and satisfying words—सामदानार्थः )—e. g.
राजा—साधु वयस्य ! इदं ते पारितोषिकम् ( इति हस्तादवतार्य कटकं ददाति
(P. 233).

APPENDIX B 447
(7) अनुमानम् ( Inference—लिङ्गादूहः )—e. g. राजा—धिक् मूर्ख !
त्वत्कृत एवायमापतितोऽस्माकमनर्थक्रमः... ...अविषह्यं हि भवति.........तर्कयेमि
(Pp. 262-266).
(8) प्रार्थना ( रतिहर्षोत्सवानां प्रार्थनम् )—e. g. शीतांगुर्मुखमुत्पलं etc.
(P. 251).
(9) आक्षिप्तिः ( Disclosure of secret—रहस्यार्थस्य उद्भेदः )—e. g.
राजा—देवीप्रसादनं मुक्त्वा नान्यमुपायं पश्यामि etc. (P. 267).
(10) त्रोटकं or तोटकम् ( संरब्धवाक् )—e. g. वासवदत्ता—अज्जउत्त !
जुत्तं खेदं सरिसं एदं...भगदी करेहि (Pp. 279-280). अज्जउत्त ! मा एव्वं भण ।
असगदाइं एदाइं अक्खराइ' (P. 256

448 रत्नावली
are not elaborated in full details of all their अङ्गs । The अवमर्श
has 13 अङ्गs of which only six are illustrated in the drama.
(Vide, सा: द: ६।१०१-१०७ and दशरूपक १।४४-४८, for details).
(1) अपवाद: (दोषप्रख्या)-e. g. विदूषक—पढिसिणिधणं दाणिं देहीए
किदम् । (P. 319).
(2) शक्ति: ( विरोधशमनम् )-e. g. सव्याजैः शपथैः etc. (Pp. 324-25).
(3) छलनम् ( अवमाननम् ) e. g. अहो निरनुरोधिता मयि देव्या; etc.
(P. 330) सा: द: has छादनम्—कार्यार्थमवमानादेः सङ्गनम् ।
(4) व्यवसायः —प्रतिज्ञाहितुसम्भवः (Determination of one's power )
—स्वशक्त्युक्तिः ( दशरूप ) —The speech of the magician. किं धरण्यां
etc. (Pp. 345-46).
(5) द्रवः [शोकावेगादिसम्भवा गुरुव्यतिक्रान्तिः )-e. g. दुर्भागाणां हेमशङ्खम्
...सागरिया विबज्झदि (Pp. 360-64) इत्यनेन सागरिकावधबन्धादिभिर्विद्रवः (दशरूपक
has विद्रवो वधबन्धादिः )।
(6) आदानम् (Summary—कार्यसंग्रहः )-e. g. हद्धी हद्धी ! षा समं-
तदो...करिस्सटि मे दुक्खाबसानम् इत्यनेनोभयोरपि दुःखायसानकार्यस्य संग्रहादा-
दानम् । ( दशरूपके ) यथा च जगत्स्वामित्वलाभः प्रभोः (P.379) इति दर्शितमेवम् ।
निर्वहण सन्धि which begins after the outbreak of the fire when
the King went to deliver Ságariká from fire. It has 14 अङ्गs
of which the important are illustrated in the drama. (For
details, vide, सा: द: ६।१०८-११४ and दशरूप १।४६-५४ )
(1) सन्धिः (connection with बीजार्थ-बीजोपगमनम् )-e. g. The
speech of बाभ्रव्य and बसुभूति-बाभ्रव्य !...वर्त्तते (P. 374).
(2) विरोधः (कार्य्यमार्गणम् )—वसुभूतिः—देव ! कुत इयं कन्यका ?...अनिर्वेद्यः
किञ्चित् करिष्यति ? (Pp. 374-75).
(3) ग्रथनम् (कार्य्यस्य उपन्यासः )—योग—देव ! क्षम्यतां... कृतम् (P.379).

APPENDIX B 449
(4) निर्णयः (अनुभूतार्थकथनम्—relating experiences)—e. g. देव !
सेयं सिंहलेश्वरस्य दुहिता etc. (Pp. 382-83)
(5) परिभाषणम् (परिवादकृतं वाक्यम्)—e. g. अज्जउत्त ! लज्जेमि अहं
इमिणा अत्तणो णिमंससत्तणेण etc. (P. 379). दशरूपके—परिभाषा मिथो जल्पः—
किदावराहा खु,...ण मे णिवेदिदं (Pp. 378-79).
(6) प्रसादः (शुश्रूषादिपर्य्युपासनम्)—e. g. यौग......देव ! क्षम्यतां etc.
(P. 379).
(7) आनन्दः (वाञ्छितागमः)—e. g. राजा (सपरितोषम्)—यथाह देवी
(इति सागरिकाया बन्धनमपनयति) (P. 379).
(8) समयः (दुःखनियर्याणम्)—e. g. वास—(रत्नावलीमालिङ्ग्य) वहिणि !
समस्सस...(P. 376).
(9) कृतिः (लब्धार्थशमनम्)—राजा—को देव्याः प्रसादं...सुमरेदि (P. 384).
(10) भाषणम् (सामदानादि, मानाद्याप्तिः)—राजा—किमतः परमपि प्रियमस्ति ?
...स्पृहाम् (P. 387).
(11) पूर्व्ववाक्यम् (यथोक्तार्थोपदर्शनम्—दशरूपके पूर्वभावः कार्य्यदृष्टिः)—e.g.
यौगन्ध—परिज्ञातायाश्च भगिन्याः...रयणावली त्ति (Pp. 383-84).
(12) उपगूहनम् (अद्भुतसम्प्राप्तिः)—e. g. यथा उदयनस्य चक्रवर्त्तित्वलाभः
(strictly speaking there is no उपगूहनम् in रत्नावली ).
(13) काव्यसंहारः (वरप्रदानसम्प्राप्तिः)—e. g. किन्ते भूयः प्रियमुपकरोमि
etc. (P. 387).
(14) प्रशस्तिः (नृपदेशादिशान्तिः)—e. g. उर्व्वीमुद्दामसस्याम् etc. (P. 388).
It is to be noted here that अर्थप्रकृतिs, अवस्थाs and सन्धिs are inter-
related with one another. अर्थप्रकृतिs are the characteristics of
different अवस्थाs which are again the different stages of the
plot, and the सन्धिs are the connecting links between these
अवस्थाs.
29

450 रत्नावली
"Various devices are recognized to help the movement of
the intrigue, five of which are classed as internal junctures
(ántara-sandhi)...The Nátyashástra ignores the term internal
junctures but has the term special junctures or divisions
(sandhyantara) which includes the dream, the letter and
the message among many other miscellaneous elements
[Cf. :—Nátyashástra, Benares Edition, Chapter XXI, 48-51]...
The picture is used in the Ratnávali as the mode by which
the heroine satisfies her longings for her beloved, while Vásava-
dattá discovers Vatsa's infidelity through seeing the portrait
of Ságariká, painted beside that of the king by the mischievous
Susangatá....( Act II. Pp. 113, 116, 179, 185) Other devices
might have been included in the list such as that of assuming
a disguise on the stage, a device used by Harsha in the
Ratnávali..." (Keith, Sanskrit Drama, Pp. 302-303.)
"Similarly the theory recognizes as a separate element
the pro-episode (Patákásthánaka), an equivocal speech, or
situation which foreshadows an event whether near at hand
or distant. The Nátyashástra distinguishes four kinds of
equivoke...Thus in Act III of Ratnávali, when Vatsa hastens
to save Vásavadattá, as he thinks, from hanging herself, he
finds to his equal joy and surprise that he has rescued none
other than Ságariká herself...Finally we may have a double
entendre...in the Ratnávali Vatsa playfully suggests that his
earnest gaze on the creeper, which has borne blossoms out of
season may cause jealousy in the queen ; his words apply

APPENDIX B 451
equally to a maiden and in the sequel the queen is made
furiously angry by his ardent gaze at Ságariká. The Dasha-
rupa contents itself with two species, equivocation of situation
and deliberate equivocation of phrase, but there is general
agreement that pro-episodes may be used in any part of the
play and not merely in the first four junctures.”—Keith,
Sanskrit Drama, Pp. 303-304.
[cf. :— “यदार्थे चिन्त्यमानेऽपि तल्लिङ्गार्थः प्रयुज्यते ।
आगन्तुकेन भावेन पताकास्थानकं तु तत् ॥२१॥
सहसैवार्थसम्पत्तिर्गुणवत्युपचारतः ।
पताकास्थानकमिदं प्रथमं परिकीर्त्यते ॥२२॥
वचसातिशयश्लिष्टं (वचः साति ?) काव्यबन्धसमाश्रयम् ।
पताकास्थानकमिदं द्वितीयं परिकीर्तितम् ॥२३॥
अर्थोपक्षेपकं यत्तु लीनं सविनयं भवेत् ।
श्लिष्टप्रत्युत्तरोपेतं तृतीयमिदमिष्यते ॥२४॥
द्वयर्थो वचनविन्यासः सुश्लिष्टः काव्ययोजितः ।
उपन्यासः संयतश्च तच्चतुर्थमुदाहृतम् ॥२५॥
—N. S., Benares Edition, Chapter XXI ; for explanations,
vide, Sáhityadarpana, Chapter VI, 45-49.
Expl. of प्रथम पताकास्थान... वासवदत्तेयमिति यदा राजा तत्कण्ठपाशं मोचयति
तदा तदुक्त्या सागरिकेयमिति प्रत्याभिज्ञाय ‘कथम् ! प्रिया मे सागरिका !—अलमल-
मित्यादि । साः दः ६।४५ । Act III, Pp. 268-273.
Expl. of चतुर्थ पताकास्थान—“उद्दामोत्कलिकामित्यादि (Act II, P. 129).
अत्र भाव्यर्थः सूचित”—सा. दः ६।४६ ।
“प्रस्तुतागन्तुभावस्य वस्तुनोऽन्योक्तिसूचकम् ।
पताकास्थानकं तुल्यसंविधानविशेषणम् ॥”...१।१४

'452 रत्नावली
प्रासङ्गिकस्य भाविनोऽर्थस्य सूचकं रूपं पताकावद्भवतीति पताकास्थानकम्। तच्च
तुल्येतिवृत्ततया तुल्यविशेषणतया च द्विप्रकारम् अन्योक्तिसमासोक्तिभेदात्। यथा—
यातोऽस्मि पद्मनयने इत्यादि ( Act. III P. 236). यथा च तुल्यविशेषणतया—
उद्दामोत्कलिका मित्यादि ।"—दशरूपक १।१४ ]।
"Normally the actors speak aloud (prakásham) to be heard
by all those on the stage as well as by the audience, but
asides (?) (svagatam, átmagatam) are frequent, meant to be
heard by the audience alone. If the need arises for making
a remark to be heard by one actor only, it is made in the
form of a confidence (apaváritam, apavárya), while a private
conversation (janántikam) is arranged by the actors holding
up three fingers, the thumb (?) and ring finger being
curved inwards (tripatáka)...it is possible to avoid bringing
on a person by speaking in the air (ákáshabháshita) pretending
to hear the reply and repeating it, while a similar purpose
can be served by a voice from behind the scene."—Keith,
Sanskrit Drama, Pp. 304-305.
“सर्व्वश्राव्यं प्रकाशं स्यादश्राव्यं स्वगतम् मतम् ॥६४॥
त्रिपताककरेणान्यानपवार्य्यान्तरा कथाम् ॥६५॥
अन्योऽन्यामन्त्रणं यत् स्याज्जनान्ते तज्जनान्तिकम् ।
रहस्यं कथ्यतेऽन्यस्य परावृत्त्यापवारितम् ॥६६॥
किं ब्रवीष्येवमित्यादि विना पात्रं ब्रवीति यत् ।
श्रुत्वेवानुक्तमप्येकस्तत् स्यादाकाशभाषितम् ॥६७॥ —दशरूपक (१)
नाटिका लक्षणम् नाट्यशास्त्रे—
स्त्रीप्राया चतुरङ्का ललिताभिनयात्मिका विहितार्था ।
प्रवृत्तगीतपाठ्या रतिसम्भोगान्विता चैव ॥६२॥

्येष्ठा' (no ह)

• line 13: 'मनोहरा' (मनो-ह-रा): 'ह' is in line 13!
  Look at 'ह' in 'मनोहरा':
  It has a top bar, short vertical down, a curve right, then an S-like curve down to the left, and from the middle of the S, a loop/tail curves to the right!
  Now look at letter 2 in line 12:
  Does it look like that?
  NO! It has a vertical line, a loop on the left... wait, does it?
  Wait! Look at the top of letter 2:
  It is under the top bar.
  Wait, let's look at letter 1: 'स'.
  Letter 2: wait, is it 'हा'?
  Wait, what if it's 'दृ'?
  Could it be 'सदृशाङ्गे'?
  Look at 'सदृशाङ्गे':
  स (sa)
  दृ (dṛ) - wait! Does it look like 'दृ'?
  No, 'दृ' has a 'द' with 'ृ' below, like in 'एकद्वित्र्यङ्क' or 'सदृश'.
  Wait, what about 'सङ्गासङ्गे'?
  Look at letter 2: it clearly has the shape of 'ङ्गा' (like in 'चतुरङ्गादि').
  And letter 3 is 'स'.
  And letter 4: wait, is it

454 रत्नावली
beyond all is Vatsa in Harsha's dramas." He is usually
courteous (dakshina), i. e., "one who can find room in his
heart for more lovers than one; he seeks another to the
deep grief of the old, but he does not cease to feel affection
for his earlier love; such are the heroes of the Nátiká or
short heroic comedy, like Vatsa." (Keith, Sanskrit Drama,
Pp. 305-307).
"The king's confidant and devoted friend is the Vidu-
shaka, a Brahmin, ludicrous alike in dress, speech and
behaviour. He is a misshapen dwarf, baldheaded with
projecting teeth and eyes which makes himself ridiculous by
his silly chatter in Prakrit, and his greed for food and presents
of every kind. It is a regular part of the play for other
characters to make fun of him, but he is always by the king's
side, and the latter makes him his confidant in all affairs of
the heart, while the Vidushaka repays him by willing, if
frequently incompetent or unlucky, attempts at service.'. (Ibid,
Pp. 310-311).
"Others intimately associated with the royal household
are servants (cheta), the mercenaries, Kirátas or Mlecchas, the
chaplain...The minister (mantrin, amátya) is of good family,
of high intelligence, skilled in affairs human and divine and
devoted to the interests of the country (Cf. Yaugandharáyana).
The general (senápati) is also of high birth, incapable of
weakness, skilled in both the theory and practice of war and
kind of speech; ready to note the weakness of the enemy

APPENDIX B 455
and to direct at the suitable moment a campaign against him."
(Keith, Sanskrit Drama, P. 312).
"The chamberlain ( kanchukin ) is an old Brahmin worn
out in the service of the king, but still mentally alert and
skilled in his business of conveying the royal orders in the
palace. The enunchs (varshadhara) are effieminate and cowardly
but not lacking in savoir faire ; they find employment in
the king's amours." (Keith, Sanskrit Drama, P. 313.)
"The queen (devi) is...a daughter of a king, but she is more
proud than dignified, and intoxicated by her youth and
beauty, her mind is set on the pleasures of love." The chief
queen (Mahádevi) is "the equal in age and rank of her husband,
whose lapses in affection wound her without robbing her of
her sense of self-respect and dignity. In good fortune or evil
she is devoted to him and seeks ever his welfare." "The
doorkeeper (praithari) has the function of announcing to the
king such political events as the declaration of war and the
conclusion of peace." (Keith, Sanskrit Drama Pp. 312-313.)
"A king is styled as...Deva or Svámin by his courtiers,
while inferiors style him as Bhattá, master. A'rya, noble, is
is appropriate to Brahmins, ministers...while a wife should
address her husband as Aryaputra. Sages address an ascetic
as Sádhu : ministers are styled Amátya or Sachiva ; the king
calls his Vidushaka and is called by him, Vayasya, friend.
...The Vidushaka addresses the queen and her ladies as
Bhavati ; otherwise the queen is styled Bhattini or Svámini,

456 रत्नावली
a wife as A'ryá...Halá is used between friends of equal rank,
Hanjá is addressed to a servant.” (Keith, Sanskrit Drama,
P. 314.)
For, further, details, vide, Sáhityadarpana, Ch. VI. 144-158.
“राजा स्वामीति देवेति भर्त्य भंड़ेति चाधमैः ॥१४४॥
राजर्षिभिर्वयस्येति तथा विदूषकेण च ।
वयस्येत्यथवा नाम्ना वाच्यो राज्ञा विदूषकः ॥१४६॥
वाच्यौ नटीसूत्रधारावार्य्यनाम्ना परस्परम् ।
वदेद्राज्ञीं च चेटों च भवतीति विदूषकः ॥१४८॥
......वक्तव्योऽमात्य आर्य्येति चाधमैः ।
विप्रैरप्यममातेति सचिवेति च भण्यते ॥१५१॥
साधो इति तपस्वी च ... ...
हलेति सदृशी प्रेष्या हञ्जे ... ... ” ॥१५५॥
Also in नाट्यशास्त्र (Ch. XIX)—
“सर्व्वस्त्रीभिः पतिर्वाच्य आर्य्यपुत्रेति यौवने ।
राजन्वाऽथ सम्भाष्या सर्व्वाः परिजनेन तु ।
भट्टिनी स्वामिनी देवी इत्येवं नाटके बुधैः ॥२१॥
देवैति महिषी वाच्या राज्ञा परिजनेन च” ।
भाषाविभाग :—
पुरुषाणामनीचानां संस्कृतं ... ... ॥१५८॥
शौरसेनी प्रयोक्तव्या तादृशीनाञ्च योषिताम् ।
आसामेव तु गाथासु महाराष्ट्रीं प्रयोजयेत् ॥१५९॥
अत्रोक्ता मागधी भाषा राजान्तःपुरचारिणाम् ।
प्राच्या विदूषकादीनां ... ... ...
चेटीनामप्यनीचानामपि स्यात् शौरसेनिका ॥१६४॥
For, details, vide, Sáhityadarpana, Ch., VI, 158-169.

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.)