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3TLET-8980
(Tr. I pay homage in three ways to Lord Rşabha, that peerless of matchless friend of the whole world who, after having experienced sufferings in the ocean of wordly existence, attained emancipation-- final beatitude.)
In the course of the developement of the plot he respectfully refers to Lord Rşabha half a dozen times :
(1) p. 25 : TGT: hoe part motoren urt: TUTA! (2) p. 51 : torpet Tai TEIG Roi dat g: Ufo: (3) p. 90: i picantant Renazzangufa 1 (4) p. 91 : raffinata 7: Ferug mit Hith all (5) p. 123 : un Filenamgi da 46014
There is one reference to the very sacred mantra in which (five) parameșthins are paid homage to by the Jains. (The five dignitaries are : 1. Arhat 2 Siddha 3. ācārya 4. upadhyaya and 5 sādhus) :
अपिनाम कोऽप्यपाय: संभवेत्, तदहं परमेष्ठिनाम पवित्रं मन्त्रं स्मरामि ।
"If any calamity is likely to visit or befall, I remember the sacred mantra in which five dignitaries are paid homage to."
At another place the temple of Kātyāyani is described in such a way as to produce disgust (p. 45, v. no. 12), and the Saivite School of Kāpālikas who indulged in the offerings of animals and even human beings is targetted. Probably, the poet here betreys the influence of Bhavabhūti who in his Malati-Madhava mentions how Kapālakundalā carries away Mālati, the heroine of the play from her bed-chamber to be immolated and sacrificed before the goddess Karālā Câmundā by her teacher Aghoraghanta.
Kaumudimitrāṇanda : a Prakaraņa Bharata and after him many writers on Dramatics have defined the various types of Drama (rūpaka) in their works. The Dasarūpaka of Dhanamjaya is very popular with the commentators on Sanskrit dramas. Following their tradition we reproduce below the definition of a Prakarana given by Dhanamjaya :
अथ प्रकरणे वृत्तमुत्पाद्यं लोक संश्रयम् । अमात्यविप्रवणिजामेकं कुर्याच्च नायकम् ॥
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