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Studies in
(Ratnavali Act II), where the latter styles gāthā as a Vedic hymn in his attempt to hide his ignorance and excites the King's laughter is an example of this sub-division.
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The DR. defines it as the gratification caused by the humorous remark, and illustrates it by citing a passage from the Ratnavall (Act II) where Sagarika outwardly expresses her anger at Susañgata's remark that she does not give up her anger even when the king holds her by the hand.
(7) Pragayana is a series of questions and answers. This is best illustrated by the long passage in the Ratnavali (Act II) where the Viduṣaka and the king (Susangată and Sagarika as well) engage themselves in conversation starting with the Vidusaka's question as to what the verse (II. 7) is like, and ending with the stanza (II. 15) addressed to the garland of lotus-stalks. It considerably helps to advance the bija (here love) of the play.
The DR., the SD., and all later authorities read pragamana for pragayana. Their definitions, are however, essentially identical.
(8) Nirodha (v. 1., virodha) is obstructing the attainment of the desired object (by the hero or heroine). Vidusaka thus obstructs the union of the king and the heroine by his speech (Ratnävall II. 17 etc.) which is misunderstood by others.
(9) Paryupasana is propitiating an angry person. In the Ratnavali (Act II. 18) where the king tries to conciliate Vasavadatta who is offended at the sight of the picture-board (showing Sagarika and the king side by side) we have an illustration of this sub-division. The ND. calls it Santvana.
(10) Puspa is a hyperbolic statement (tending to enhance the bija of the play). The king's statement in the Ratnavali (Act II. 16) that Sagarika is Laksmi herself etc. illustrates this sub-division.
(11) Vajra is a cruel remark made to (Act 11) where Susangată pretends to be like the affair about Sagarika threatens the the queen is an illustration (Abh.). The DR. illustrates it by citing the passage in the Ratnavali (Act II) where the queen sarcastically asks the king whether the picture of Sagarika by the side of the king that was drawn on the board is the work of Vasantaka and adds that the sight of the board has given her head-ache.
one's face. The passage in the Ratnavali a partisan of the queen and hence not to king that she would disclose the affair to
55 This is the reading of the NS. Abhinava remarks: "AR
:
विचि क्लिष्ययत्नशब्देन शता (१) क्विना व्युत्पत्तिं कल्पयन्ति । प्रागयणम् इति अन्ये पठन्ति । प्राकू इति पूर्ववचनं ततोऽयनं प्राप्तिः यस्य उत्तरवचनस्य इति ॥ Abh. III. p. 45.
The ND., which normally follows the Abh., accepts the reading 'pragamana.'
56 The ND., calls it 'rodha', the BP. 'nirodha,' while all other authorities 'virodha'.
57 यथा हि प्रेमविकासि पुष्पं भवत्येवमत्रापि राज्ञ उत्तरोत्तरानुरागविशेषसूचकं वचो विकासमस्यानुरागस्य -Abh. III. 46.
