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1474
SAHRDAYĀLOKA sa eva samayo dhātrā
vịttir ity eva samjñitah.” (RS. I. 258, pp. 71, ibid). The N. D. and the S.D. also call the vștti-s to be nātya-mātņkāḥ or nātyamātarah as they help the cause of drama. The vrtti-s thus not only help the cause of drama, but also cover the bodily, mental and speech-activities of the hero and other characters. : tad-vyāpārā"tmikā vrtcih, DR. II. 47; Dhanika observes here : "pravsttirūpo netrvyāpāra-svabhāvo vịttiḥ."
Origin of vrtti-s is described in the RS. following the NS. (XXII 1-23) account of the fight betweenVišņu and Madhu Kaitabha. Following the. BP., RS. observes that bhārati is born of the Rgveda, sātrvati from Yajurveda, kaiśiki from the Sāmaveda and ārabhaī from the Atharvaveda : (R. S. I. 260, pp. 71 ibid) :
"rgvedāc ca yajurvędāt sāmavedad atharvanah, bhāratyādyāḥ kramāj jātā
ity anye tu pracakșate.”' Bhāratī is one followed by the Bharata-s : "prayuktatvena bharataiḥ bhāratīti nigadyate.” (RS. I. 261, pp. 71, ibid). RS. observes that as this is practice in prastāvanā, it will be treated there in details. NS. DR. and SD. describe this as predominantly in sanskrit, with speech element as principal -vāk-pradhānā,
ta-mayi, to be used by male characters- purusa-prayojy, and Bharataprayuktā, but not used by females- "strī-varjitā”. The four parts of bhārati are prarocanā, vīthī, prahasana and amukha.
Sātevati is one with sattva-guna as predominant quality. Other qualities are also seen in this. RS. I. 262, pp. 71 observes :
"sātrvikena gunenápi tyāga-sauryā”dinā yutā, harşa-pradhānā, santyaktaśokabhāvā, ca yā bhavet.”. sātrvatī nāma sā vịttiḥ próktā laksana-kovidaiḥ.” (I. 263 A).
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