Mallikamakarandanatakam

Author(s): Ramchandra Mahakavi, Punyavijay
Publisher: L D Indology Ahmedabad

Page 43

Mallikāmakaranda
behind the scene'. It is used (i) when a character is represented as speaking. while approaching the stage but before actually entering on the stage and (ii) when the utterance of a character, whose entrance on the stage is not required, is to be made known to the characters who are present on the stage.
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6. Prakasam (Aloud) when the speech is to be heard by all those on the stage, and of course by the audience the actors speak aloud.
7. Svagatam or Atmagatam (Aside, to one self): When the speech is to be heard by the audience alone and not by any actor on the stage, the actor speaks to himself.
8. Janantikam and Apavārya (Apaväritam): Janāntikam (a private conversation) is a mutual conversation in the presence of other actors by shutting out the others in the middle of the story by the hand with three fingers raised, the thumb and ring finger being curved inwards. Apaväritam (or Apavärya aside) is a secret told to another by turning around to him. It is understood to be heard only by the actor addressed to. Both these stage-directions are, however, indifferently or indiscriminately used by the Sanskrit play-wrights. These speeches are of course meant to be heard by the audience as well.
9. Akase (In the air): When one actor alone, without another actor on the stage pretends to see somebody in the distance, and speaks in the air "Do you say so?" or the like, as if hearing something, though it is really not spoken, that is called conversation with imaginary persons. This device of (speech in the air) is employed with a view to carrying forward the action of the drama but at the same time economising characters. This device is frequently used in the Bhana (or Monologue) the actor speaks in the air, repeating answers supposed to be received.
10. Karpe evameva: With a view to avoiding repetition (if what is whispered in the ear is already known to the audience) or if the plot or plans are going to be unfolded later, the concerned actor whispers into the ear of another actor (who is also concerned) "it is like this" or "it is so."
At the instance of Prof. D. D. Malvania, formerly Director, and Dr. N. J. Shah, the present Director, L. D. Institute of Indology, Ahmedabad I gladly undertook the work of writing a Critical Introduction and Critical and Comparative Notes to Mallika-Makaranda, the text of which was already and ably edited by the late lamented Muniri Panyavijayaj Mahārāja. I personally knew this distinguished scholar and saint and held him in great reverence. I therefore readily accepted the suggestion of completing the work