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1640
SAHRDAYĀLOKA says Abhinava; otherwise the spectators would lose interest in the play. (The word in the original is 'pratyakşacarita-sambhogah)
The kinds of heroes are - Dhīródātta, Dhira-lalita, Dhīróddhata and Dhīrapraśānta. Abhinava says that 'nāyaka-devī.' etc. are mentioned to indicate the direction of incidental matters helpful to the principal plot. “nāyakā mukhyāḥ patākā”dayaḥ; devyo mahādevi-bhoginiprabhịtayah.” Chief queen and other consorts. “Gurujano mātr-pitr-bhrātrā"cāryā”di, sārthavāho'tra senapatiḥ.” Since the act presents words and actions of all these it is bound to have sentiments : ata eva naikena vicitreņa rasa-viśeșeņa yuktaḥ. tathā hi - deviyoge śrngāraḥ, nāyake vīrah; evam anyad utpreksyam.” Op. cit. p. 418.
This means that the act is expected to present variety in its theme. N.S. XVIII. 19 reads as -
"pañcā'varā daśa-parā hyankāḥ syur nātake prakarane ca, nişkrāmaḥ sarvesām yasminn
ankaḥ sa vijñeyah.” This means that in the Nātaka and Prakarana varieties of rūpaka the number of acts is supposed to be five (in the minimum) to ten (maximum). An act is known to be (that portion of a play) in which all characters (on the stage) are supposed to retire (to the green-room). N.S. XVIII 20-22 read as -
“krodha-prasāda-śokah śāpotsargo'tha vidravódvāhau, adbhuta-sambhava-darśanam
anke pratyaksajāni syuḥ. 20 (A.G. explains 'pratyaksajāni' as 'aksajam jñānam prati garāni pratyaksajāni - i.e. those which are directly observed).
"eka-divasa-pravịttam kāryas tv ankórtha-bījam adhikrtya āvaśyaka-kāryāņām avirodhena prayogeșu.” 21
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