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36
TAPASVI NANDI
SAMBODHÍ
SUVU
trinālih prathamonkośyām vīța-krīdāmayo bhavet pañca-nālir dvitīyonkah vidūsaka-vilāsavān. - VI/304 snnālikas trtiyah tu pithamarda-vilasavān caturtho daşanālih syad
ankah krīdita-nāgarah." Here also, a maid messenger talking about the secret love of someone and
to exploit the situation and getting money for it etc., the vulgarity going with this narration etc. — all these features are missing. As for the duration of acts, there is some difference in all these accounts. But that it was a spectacle in four acts is almost common. The S.D. suggests that the hero is a lowly-born"nyūna-nayaka", and other male characters are urbane, 'Bindumati' is cited as an illustration and this could be from the NLRK. Thus, the description of this artform differs not only in name but also features. But that it is more of drama, and of course also of song and music, is proved by its having four acts and its having the predominance of bhārati vịtti.
References
(along with abbreviations) (1) Bhoja's Śmigăraprakasa - V. Raghavan Edn. '63, Madras. (2) Laws and Practice of Sanskrit-drama – Edn. '61, Surendranath Shastri-Varanasi. (3) Types of Drama - D. R. Mankad. (4) Śmigāra Prakāśa (=śp.Pra)-Bhoja; Edn Josyer; Mysore; Vol. I. IV '55, '63 etc. (5) Näryaśāsastra of Bharata (NS.)
with Abhinavabhārati (A.bh.)- Vol. I. II. G.O.S. Vadodara Vol. I. Edn. '92 K. Krishnamoortty Vol. II. '34, Kavi; G.O.S.;
Vol. II. 2001 Kulkarni & Nandi (second Edn.) (6) Kävyānuśāsana (kā.śa). Hemacandra
Edn. Parikh & Kulkarni. Bombay. '64 & Edn. Nandi, L. D. Indology. Ahd. 2000
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