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अनुसंधान - १७ • 81
सापायं
धर्मकामार्थतत्परम्
धीरप्रशान्तं शेषं
11
नाटक वत्संधिप्रवेशक रसादिकम् नायिका तु द्विधा नेतुः कुलस्त्री गणिका तथा क्वचिदैकेव कुलजा वेश्यावापि द्वयं क्वचित् ॥ कुलजाभ्यन्तरा बाह्या वेश्या नातिक्रमोऽनयोः आभिः प्रकरणं त्रेधा संकीर्णं धूर्तसंकुलम् ॥
Now, in a prakarana the subject matter should be invented, and should be drawn from worldly life (lokasaṁśrayam); the playwright should make a minister, a Brāhmaṇa or a merchant the hero; he should be of the type called 'dhirapraśānta' (selfcontrolled and calm) undergoing some misfortune (Sāpāya) and striving after (tatpara) dharma (virtue) kāma (pleasure) and artha (wealth). The remaining features or characteristics-such as Sandhi (junctures) or praveśaka (introductory scenes) or rasas (sentiments) are as in the naṭaka). The heroine (nāyikā) is of two kinds, the high-born wife of the hero or a courtezan. In some plays there is only the high-born lady, in some the courtezan, and in some plays, both; the high-born lady is (always) indoors (abhyantarā), the courtezan out of doors or without (bāhyā) and the two never meet (nätikramo' nayoḥ). Owing to these three kinds (of the heroine) the prakarana is of three kinds or varieties. The mixed variety abounds in dhürtas (rogues).
Thus the Kaumudimitrāṇanda is a Śuddha (Unmixed, not contaminates by another woman's contact) prakarana where the heroine is Kaumudi, the daughter of Kulapati-the head of a monastery. Incidentally, Māltimādhava, where there is the heroine, Malati, the high-born maiden. Tarangadatta (now lost) where a courtezan alone is the only heroine is equally a Suddha prakaraṇa The Mṛcchakatika, however, is a Samkirna (mixed) prakaraṇawhere we have both types of heroine, Dhūtā, Cărudatta's wife is a high-born nāyikā; Vasantasenā, a courtezan is another and most noteworthy heroine. And further, this play is full of dhurtas (rogues) as well.
In the play under our study, Kaumudi, the most-beautiful woman, daughter of Kulapati is the heroine; Mitrāṇanda the son of a
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