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The Prologue
At the beginning of the act we have the Amukha' (=Prastavana, Sthapana) the Prologue, which commences with the usual benedictory stanza. It is customary with Sanskrit writers to open their works with a salutation or benediction. It is called 'Mangala'. It is credited with the power of removing obstacles and leading to completion of the work undertaken In dramas it takes the form of Nandr The dramatist is a votary of Jainism. Naturally enough he pays homage to Lord Jina.
CRITICAL AND COMPARATIVE NOTES
ACT I
P. 1 V. I: We wait upon (or worship) that Lord Jina who is free from all impediments and has attained the glory which is born of Final Beatitude and which is as bright-white as Mallika (Jasmine flower).
The use of the word Mallika suggests the name of the heroine.
Kind. A vocative particle corresponding to, 'ho' 'hallo'. In dramas it is mostly used as a form of address by characters of the middle class; हंहो म्हण मा कुप्प (अहो ब्राह्मण, मा कुप्य - Mudra. I. 18-19). The Natyaśāstra, however, when setting forth the elaborate etiquette as to, the mode of addressing lays down:
मार्षो भावेति वक्तव्यः किञ्चिदूनस्तु मार्षकः ।
समानोऽथ वयस्येति हंहो हण्डेति वाधमः ॥ ना. शा. १७.७४ Abhinavagupta's comment reads : अधमैर्जनैः समानोऽधम एव, हंहो हण्डे इति वा संभाष्यः ।
It is also interesting to find that the Natyadarpaṇa of our author (with Gunacandra as his collaborator) lays down:
नीचो हंडे तु पामरैः (४.५२ ) and adds in the Vetti :
पामरेनीचैः पुनर्नीचे एव हंडेशब्देनोपलक्षणादरे ! हंहो ! इत्यादिना च वाच्यः । In the present play the Sutradhara addresses the spectators (members of the assembly) as One is tempted to remark 'Ramacandra here nods'.
चक्रवाल:-लम् चक्रवाल:-ड A circle; 'चक्रवालं तु मण्डलम्' इत्यमरः ।
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कन्दलन Sprouting from कन्द we have the denom. कन्दलयति. 'कन्दलन'
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