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

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.)

458 रत्नावली
“The Nátyashastra gives seven different Prakrits as in use..
Shauraseni is the speech of the land between the Yamuná
and Gangá or Doab ; it is to be used ly the
Dialects ladies of the play, their friends and servants,
generally by ladies of good family and many
men of the middle class. Prácyá is assigned to to the Vidu-
shaka, but in fact he speaks practically Shauraseni, and there-
fore the term can only denote an eastern Shauraseni dialect,
...Maháráshtri is unknown to the Shástra ; it is assigned to
the verses of persons who use Shaurasni, by Dasharupa, while
the Sanskrit Drama limits it to the verses of women.......
Mágadhi ..is ascribed to all those men who live in the women’s
appartments ......
The addition of Cháyás or translation in Sanskrit to explain
the Prakrit, is normal in the manuscripts of the dramas and
it is certain that it is old, for it is alluded
Chá'ya' to by Rájashekhara in his Bálarámáyana.
Evidently even so early as A. D 900, there
was no public who cared for Prakrit without a Sanskrit
explanation” (Keith, Sanskrit Drama, P. 337).
The name of the Nátiká is generally in accordance with
that of the heroine—“नाटिकासट्टकादीनां नायिका-
Name of the
Nátiká निर्विशेषणम्” (साः दः ६।१४९). The acts are normally
simply membered ; in some cases names are
also given, “doubtless not by the poet”—as Prof. Keith
thinks.

APPENDIX B 459

General Criticism of the Drama

"Comparison with Kálidása is doubtless the cause why
Harsha has tended to receive less praise than is due to his.
dramas. The originality of his Natikás is not perhaps great,
but he has effectively devised the plot in both ; the action
moves smoothly, and in either play there is ingenuity. The
scene of the magician's activity...is depicted with humour
and vivacity ; the parrot's escape and its chatter are sketched
with piquancy ; and the exchange of costumes...is natural
and effective. ...It is true that that the plays are full of
reminiscences of the Málavikágnimitra, such as the escape
of the monkey, and the monkey that there frightens the little
princess...But in this artificial comedy elegance is sought,
not originality, and Harsha is a clever borrower....
The dominant emotion...is love of the type which apper-
tains to a noble and gay (dhira-lalita) hero, who is always
courteous (dakshina), whose loves, that is to say, mean very
little to him and who does not forget to assure the old love
of his devotion while playing with the new. This is a different
aspect of Vatsa's character from that displayed by Bhása
and admittedly a much inferior one. Vásavadattá suffers
equal deterioration; for she is no longer the wife who sacrifices
herself for her husband's good ; she is rather a jealous, though
noble and kind-hearted woman whose love for her husband
makes her resent too deeply his inconstancy. The heroine is
an ingénue with nothing but good looks and willingness.

460 रत्नावली
to be loved by the king whom she knows, though he does not,
to be destined by her father as her husband. Susangatá...is
a pleasant merry girl who makes excellent fun of her mistress.
The Vidushaka...is typical for his greediness, but his figure
lacks comic force ; he is, however, a pleasant enough character,
for his love for his master is genuine ; he is prepared to die
with him...though he thinks his action in rushing into the fire
quixotic. The magician is an amusing and clever sketch of
great pretentions allied to some juggling skill....
Harsha is fond of descriptions in the approved manner....
In imagination and grace he is certainly inferior to Kálidása,
but he possesses the great merit of simplicity of expression and
thought ; His Sanskrit is classical and precise ; his use of
figures of speech and thought restrained and in good taste.
There is fire in his description of a battle ( IV. 6 ). The
matching of the sound to the sense is admirable, while a
delicate perception is evinced in the line describing the king's
success in soothing the wounded queen (IV. 1). Pretty...is
the king's address to the fire (IV. 16). There is excellent
taste in Vatsa's address to the dead Kosala king. Such a
phrase may reveal to us the true Harsha himself, the winner
of many victories and the hero of one great disaster.
Harsha's Sanskrit is of the usual classical type, eschewing any
deviation from the beaten paths, and his Prakrits, mainly Shaura-
seni with Maháráshtri in verses, offer nothing of special inter-
est, beyond evidence of his careful study of Prakrit grammar.

APPENDIX B 461
His use of metrical forms, on the other hand, marks the
tendency to reject the simplicity of the earlier dramatists and
to insist on the use of the more elaborate metres, which in
themselves are wholly undramatic, but give a much wider
range of opportunity for the exhibition of merits of description.
Harsha's favourite is the Shárdulavikridita, which occurs
23 times in the Ratnávali." Sragdhará 11 times, Shloka
9 times, A'ryá 9 times, while Shálini, Hárini, Pushpitágrá,
Prithvi, Praharshini also occur. The Ratnávali also contains
a pretty pair of rhymed verses, each with pádas of 12 morae,
five Prakrit Aryás and one Giti. Keith Sanskrit, Drama,
Pp. 175-181.