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P. 438. A: 8. S. 3. )
262
aga: The calamitous occurences shown are also of three kinds: in the first case, the calamity is brought on by some human agency; in the second, it is the work of some non-sentient thing; and in the third, it is brought on partly by human agency and partly by a non-sentient thing.
त्रिशृङ्गारः the kind of love as depicted in समवकार is also threefold. In the first case it has for its object a spiritual welfare, in the second sta temporal prosperity and in the third, a pleasures of life.
अष्टादशनालिकप्रमाणः The duration of a समवकार should be eighteen fats approximately.
The following verses ( 124, 125, 126) define BEIFA, another variety of a drama. The name ai is significant. It is a kind of a drama in which effort is shown ( sæt). as being made like the deer (9) for the possession of a woman.
In #4781 there is marked looseness of plot, but in ईहामृग the plot is skilfully arranged (सुविहितवस्तुनिबद्धः ). The male characters therein are divine beings; and they all fight for the possession of a celestial damsel.
विप्रत्ययकारण: There is a good deal of intigue in ŠEIET ( just as in ###).
17 is full of ferocious persons; it depicts fight for women ( aita), it is full of commotion and sudden calamities; it also shows keen rivalry ( ciqaz) among brave and learned men. Seduction and abduction of women (HCITITETIT ) and consequent revenge are the peculiar seatures of the love depicted in Selan. Almost all the technical points in a ang such an and others are also present in ईहामृग.
_In प्यायोग there is only one act (कार्यम् ).
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