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1796
SAHRDAYĀLOKA
contain elements of prosperity-riddhi and enjoyment - vilāsa. Abhinavagupta explains 'riddhi' as acquisition of kingdom, conquest over foes, etc., and pleasure includes all sensual enjoyments and pursuit of fine arts.
The determination of the object of hero's pursuit leads to the central point viz. the rasa that should be principal. With 'artha' and 'kāma' in centre, the sentiment will be 'vīra' or 'srngāra' as principal. Other sentiments can be subsidiary to these. Bharata holds that a nāțaka is full of a number of activities and displays diverse sentiments and feelings. Nāțaka is rich in different behaviour-patterns or vịtti-s with reference to the various sentiments and emotions presented.
The nāțaka should have its theme or plot divided into five to ten acts (ankas) with various sandhi-s and sandhyanga-s properly displayed.
The definitions of 'nātaka' as read in some of the major sources are as follows:
NS. of Bharata - (The śļ. Pra. & Hemacandra accept the NS. verbetim) : • (Ch. XVIII. 10-12) :
"prakhyāta-vastu-visayam prakhyātódātta-nāyakam caiva, rājarși-vamśya-caritam tathaiva divyā”śrayópetam. nānā-vibhūtibhiryutam rddhi-vilāsā”dibhir guṇaiścaiva, anka-praveśakā”dhyam bhavati hi tan nāțakam nāma. nļpatīnām yac caritam nānā-rasa-bhāva-cestitam bahudhā, sukha-duḥkhótpatti-kstam
bhavati hi tan nāțakam nāma." Dr. Bhat (p. 115, Bharata-nātya-mañjarī) observes in foot-note 4, : “The expectation about a well-known plot and exalted type of hero is natural. Aristotle's prescription of tragic drama is similar. Heroes like Rāma, Krsna, Udayana, Dusyanta fulfil the peculiar requirement. The divine characters are used in the nātaka form only in smaller episodes (patākā or prakarī) as, for example, the divine Bhagavati Ambā in the Nāgānanda. The reason, Abhinava explains, is that devacarita' is not very suitable for dramatic representation intended for human
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