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INTRODUCTION
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about it, he adds that it is defined by Kohala and others. Hemacandra quotes perhaps an earlier verse which specifies that Sattaka is written in one language (eka-bhāṣayā) which is a-Prākrta-Saṁskrtā. It is a knotty term to explain; but I think, it implies that in a Sattaka both Sanskrit and Prākrit are not used as in a Nātikā. Rāmacandra-Guņacandra quote the same; they spell it Sātaka, and attribute its definition to Kohala. Kohala is an ancient celebrity connected with dramatic theory. Mārkandeya mentions him along with Śākalya, Bharata, Vararuci, Bhāmaha, Vasantarāja etc. in the opening verses of his Prākrit grammar: thus his name is associated with Prākrits as well. It is but natural, therefore, that he is credited to have recognised and defined Sattaka, which was entirely in Prākrit.
According to the Bhāvaprakāśana, Sattaka is a variety of Nātikā based on nrtya. It possesses Kaišiki and Bhārati Vịtti, i. e., Gay and Eloquent styles, and has no raudra, furious sentiment. There are no saṁdhis; and corresponding to the division of Ankas, there are Yavanikāntaras. There are no chādana, skhalana, bhrānti and nihnava. It uses Sauraseni and Māhārāştri languages: elsewhere he describes it as prakrsta-Prākrtamayt. Some opine that the king should not speak in Prākrit, while others hold that he might speak Māgadhi or Sauraseni. According to some authors, Saţtaka is a variety of Rūpaka, similar to Nātikā, but its language is Prākrit.
Sāgaranandin states that Sattaka avoids the vira heroic, Thayānaka terrible, bibhatsa odious sentiments, besides the raudra furious. It has Sauraseni, Prācyā and Mahārāștrī. The king, like women, is to speak Prākrit. Though Bādarāyaṇa and others prescribe for the king usually Sanskrit and occasionally Prākrit, still the king is to speak Prākrit. The Sāhitya-darpaņa states that the Sattaka is to be entirely in Prākrit ( Prākrtasesa-pāthyam) and to possess plenty of adbhuta, marvellous sentiment. Rudradāsa makes it clear that it is in Prākrit and it is to be danced. Ghanaśyāma remarks that the whole of it is in Prākrit, and therefore it is called Sattaka. Whenever an illustration is noted in the above sources, it is that of Karpūra-mañjari.
1 It may be noted here that Vasudeva notes sandhyangas like kärana,
avamaría, vidhāna in his commentary on the Karpūramañjarī, pp. 27, 55, Nirnayasagar ed., Bombay 1900.
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