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“Daśa-rūpaka-Vicāra"
1813 yasmin dharma-prāpakam ātmahitam bhavati sādhanam bahudhā, vrata-niyama-tapo-yukto jñeyo'sau dharma-origārah. - 73 "arthasyeccha-yogād bahudhā caivā'rthato'rtha-śrngārah, stri-samprayoga-visayeșv arthā'rthā vā ratir yatra." - 74 kanyā-vilobhana-krtam prāptau strī-pūmsayos tu ramyam vā, nibhịtam sāvegam vā yasya bhavet kāma-śộngāraḥ.” - 75 ușnig-gāyatry adyāny anyāni ca . yāni bandha-kuțilāni, vịttāni samavakāre kavibhis tāni prayojyāni. - 76 evam kāryas taj-jñair nānā-rasa-samśrayaḥ samavakāraḥ, · vaksyāmy ataḥ param aham
lakṣaṇam īhāmsgasyā’pi. - 77 Dr. Bhat translates : (p. 135, 137, 139, 141) :
(63) Its theme is made from the conflict of) gods and demons; its hero has to be well-known and exalted; it should have three kinds of deception, three kinds of flight or excitement, and three kinds of love.
[Dr. Bhat has a foot-note : "Abhinava points out that gods are naturally exhaulted as compared to ordinary men. But among the gods too some like Brahma are quiet, some like Nộsimha are bold and terrible. For this type of play, the hero has to be a god well-known from old mythology and not a deified person. The three subjects or contents - kapața, vidrava and śặngāra - are to be used in each of the three acts.]
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