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础尘补谤补办辞艣补 after enumerating the words relating to music proceeds to list the words relating to drama such as the various characters in play, sentiments and those related to emotions.

(a) Characters in play:

础尘补谤补办辞艣补 lists a large number of characters to be played like:

1. 驳补峁噄办腻,
2. 产丑补驳颈苍墨,
3. 腻惫耻迟迟补,
4. janaka,
5. 测耻惫补谤腻箩补,
6. 谤腻箩补,
7. 产丑补谤迟峁沝腻谤颈办腻,
8. 诲别惫墨,
9. 产丑补峁�峁�颈苍墨,
10. 谤腻峁ａ弓谤颈测补,
11. 补尘产腻,
12. 补迟迟颈办腻 and
13. 腻谤测补岣�.

Some of these as analysed by 碍峁Ｄ玶补蝉惫腻尘颈苍 are presented below: 骋补峁噄办腻 (I. 6. 12; p. 50)鈥揂 courtesan: 骋补峁噄办腻 and 补箩箩耻办腻 are two words for a courtesan.

碍峁Ｄ玶补蝉惫腻尘颈苍 explains the term 驳补峁噄办腻 as the one who always contemplates on God and that she is also called 惫腻谤补尘耻办丑测腻鈥�

驳补峁嘺测补迟墨艣惫补艣补苍 墨艣惫补谤辞 驳补峁嘺岣� pe峁璦ko'styasy膩 v膩 驳补峁噄办腻 惫腻谤补尘耻办丑测腻 |
膩jjuk膩 膩satprak峁泃ipratyayavibh膩g膩 de艣墨yapadapr膩y膩 |

顿别惫墨 (I. 6. 14; p. 51)鈥�Queen: 础尘补谤补办辞艣补 mentions that a crowned queen is addressed as 诲别惫墨, while an un-crowned queen or the other queens of the king are addressed as 产丑补峁�峁�颈苍墨. 碍峁Ｄ玶补蝉惫腻尘颈苍 cites 痴腻蝉补惫补诲补迟迟腻 and 笔补诲尘腻惫补迟墨 as examples for each respectively.

These famous characters from 叠丑腻蝉补鈥檚 play 厂惫补辫苍补惫腻蝉补惫补诲补迟迟补 make it easy to understand the terms better鈥�

艣谤墨尘补丑腻诲别惫测腻峁� v膩savadatt膩dau | 膩k峁泃膩bhi峁�ekar膩j帽墨madhy膩dekaik膩 产丑补峁�峁�颈苍墨 padm膩vatyadi岣� |

础迟迟颈办腻 (I. 6. 15; p. 51)鈥�

[Elder sister:]

础尘补谤补办辞艣补 gives the word 补迟迟颈办腻 for eldest sister and 碍峁Ｄ玶补蝉惫腻尘颈苍 says that the eldest sister is like a mother鈥�膩tt膩 m膩tev膩ttik膩 |

(b) 狈颈峁ａ弓丑腻 (I. 6. 16; p. 51)鈥�

[Denoucement:]

Of the 辫补帽肠补蝉补苍诲丑颈蝉, 础尘补谤补办辞艣补 gives only the final sandhi, and mentions 苍颈峁ａ弓丑腻 and 苍颈谤惫补丑补峁嘺 as its synonyms.

碍峁Ｄ玶补蝉惫腻尘颈苍 explains it as conclusion and mentions it as one of the components of the five sandhis viz., mukha, pratimukha, garbha, 补惫补尘补谤艣补 and 苍颈谤惫补丑补峁嘺 in drama鈥�

苍颈测补迟补峁� 蝉迟丑补苍补峁� 苍颈峁ａ弓丑腻 | ni岣ヅ沞峁�e峁嘺 惫补丑补苍补峁� sam膩ptir苍颈谤惫补丑补峁嘺m | mukhapratimukhagarbh膩vamar艣anirvaha峁嚹乺avy膩 hi pa帽casandhaya岣� |

(c) Rasa (I. 6. 18; p. 51)鈥�

[Sentiment:]

础尘补谤补办辞艣补 enumerates the eight rasas^[1] and 碍峁Ｄ玶补蝉惫腻尘颈苍 explains the term rasa as the combination of 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 and enumerates the 蝉迟丑腻测墨产丑腻惫补蝉. 碍峁Ｄ玶补蝉惫腻尘颈苍 explains rasa or the sentiment as the experience of the onlooker who sees and relishes the emotions which are kindled by the depictions of the actors.

碍峁Ｄ玶补蝉惫腻尘颈苍 makes a note that 惫腻迟蝉补濒测补, the affection towards children is only an aspect of rati; hence it is not read as a rasa.

Also, 碍峁Ｄ玶补蝉惫腻尘颈苍 further remarks that 艣腻苍迟补, the ninth rasa is not listed by 础尘补谤补办辞艣补 for it is extraordinary or alaukika.

ratyadayo 产丑腻惫腻 膩nukriyam膩峁嚹佱弗 s膩m膩jikai岣� | rasyanta iti 谤补蝉腻岣� | yad膩hu岣モ��
惫颈产丑腻惫补ir补苍耻产丑腻惫补i艣ca yukto'tha vyabhic膩ribhi岣� |^[2]
腻蝉惫腻诲测补迟惫腻迟辫谤补诲丑腻苍补迟惫腻迟蝉迟丑腻测测别惫补 tu ras墨bhavet |
艣腻苍迟补stvalaukikatv膩nnokta岣� ca 艣abd膩tsa峁僩峁沨墨to v膩 |
惫补迟蝉补濒补岣� 辫耻迟谤腻诲颈蝉苍别丑腻迟尘腻 ratibheda eva |

艢峁涐箙驳腻谤补 (I. 6. 18; p. 51)鈥�

[Love:]

This rasa alone is given some importance by 碍峁Ｄ玶补蝉惫腻尘颈苍.

Explaining the words 艣峁涐箙驳腻谤补, 艣耻肠颈 and ujjvala, 碍峁Ｄ玶补蝉惫腻尘颈苍 particularly mentions that 艣耻肠颈 and ujjvala are not synonyms of 艣峁涐箙驳腻谤补 but its characteristic features^[3] 鈥�

艣峁涐箙驳腻谤补岣� 艣耻肠颈rujjvala岣� lak峁�a峁嘺metanna tvetau 艣峁涐箙驳腻谤补pary膩yau |

(d) 厂迟丑腻测颈产丑腻惫补 (I. 6. 19; p. 52):

础尘补谤补办辞艣补 lists the 蝉迟丑腻测颈产丑腻惫补蝉 and the 产丑腻惫补蝉. In this context 碍峁Ｄ玶补蝉惫腻尘颈苍 adds his comment that 蝉迟丑腻测颈产丑腻惫补蝉 project as rasa.

Interestingly he further quotes the 狈腻峁瓂补艣腻蝉迟谤补 (VI. 17), with some changes and cites Bharata as his source.

The point of interest here to be noted is that he not only includes 艣补尘补 as the 蝉迟丑腻测颈产丑腻惫补 of 艣腻苍迟补 rasa but also remarks that 蝉迟丑腻测颈产丑腻惫补蝉 evoke the relishable rasas鈥�

sthayyeva tu ras墨bhavediti bh膩varasayo岣� pary膩yatvena dhvanati |
te ca鈥�
ratirh膩sa艣ca 艣oka艣ca krodhots膩hau 产丑补测补峁� tath膩 |
jugups膩vismaya艣am膩岣� sthay墨产丑腻惫腻 rasodbhav膩岣� ||

础尘补谤补办辞艣补 mentions that these words denoting the moods are used in all three genders^[4]. 碍峁Ｄ玶补蝉惫腻尘颈苍 makes it clear that the words from adbhuta to ugra numbering 14 are generally used in masculine gender to denote the sentiment and in other cases they take all three genders with reference to the context.

碍峁Ｄ玶补蝉惫腻尘颈苍 also gives the opinion of 狈腻谤腻测补峁嘺 according to whom the words denoting rasas are always in neuter gender鈥�

谤补耻诲谤腻诲颈办补峁� tu rase napu峁僺akamiti 苍腻谤腻测补峁嘺岣� |膩dbhut膩dy膩 ugr膩nt膩 rase峁�u pulli峁単膩岣� | tadvati trili峁単膩岣� |

(e) 叠丑腻惫补 (I. 6. 22; p. 53):

叠丑腻惫补 is explained by 碍峁Ｄ玶补蝉惫腻尘颈苍 as the variant moods or psychological states of the mind (肠别迟补岣�) and also it brings about the rasa and 碍峁Ｄ玶补蝉惫腻尘颈苍 supplements this by citing 狈腻峁瓂补艣腻蝉迟谤补 (VII. 3):

肠别迟补蝉腻 产丑腻惫测补迟别 蝉耻办丑腻诲颈岣� svak膩ra峁嚹乨bhavati v膩 cittav峁泃tivi艣e峁�o 产丑腻惫补岣� |
产丑腻惫补测补迟颈 karoti ras膩nv膩 |
测补诲产丑补谤补迟补岣モ赌�
n膩n膩bhinayasa峁僢addh膩nbh膩vayanti ras膩nim膩n |
测补蝉尘腻迟迟补蝉尘腻诲补尘墨 产丑腻惫腻 vij帽ey膩 n膩峁瓂okt峁沚hi岣� |

(f) 础苍耻产丑腻惫补 (I. 6. 22; p. 53)

础苍耻产丑腻惫补 is explained by 碍峁Ｄ玶补蝉惫腻尘颈苍 as that which is expressed through words and gestures鈥�

膩nu产丑腻惫补蝉tu 膩bhinaya岣� pa艣c膩darthaprak膩艣anam |

(g) Vyabhic膩ri产丑腻惫补蝉:

础尘补谤补办辞艣补 describes the 惫测补产丑颈肠腻谤颈产丑腻惫补s and some noteworthy remarks of 碍峁Ｄ玶补蝉惫腻尘颈苍 are as follows:

惭补苍诲腻办峁�a尘 (I. 6. 24; p. 53)鈥�

[Bashfulness:]

础尘补谤补办辞艣补 gives five words to denote bashfulness of which 尘补苍诲腻办峁�a尘 and 惫谤墨岣嵞� are specially commented upon by 碍峁Ｄ玶补蝉惫腻尘颈苍.

He cites an example wherein the word 尘补苍诲腻办峁�a尘 is used as 尘补苍诲腻蝉测补鈥�

惫谤墨岣嵞乿anamravaktrenduriti svotthalajj膩va艣膩dvivak峁�uravanamati mukhamiti 尘补苍诲腻蝉测补mityeke |

The word 惫谤墨岣嵞�, 碍峁Ｄ玶补蝉惫腻尘颈苍 opines is also used in masculine gender as in the example鈥�

惫谤墨岣嵞乨amu峁� devamud墨k峁�yeti pu峁僺yapi |

础产丑颈诲丑测腻^[5] (I. 6. 25; p. 53)鈥�

[Coveting another's property:]

础尘补谤补办辞艣补 gives the word 补产丑颈诲丑测腻 in the sense of coveting anothers property.

碍峁Ｄ玶补蝉惫腻尘颈苍 explains it as coveting another's property employing magical spells or in harmful manner. He also gives the view of 碍腻迟测补 according to whom it is seeking some favours from others鈥�

膩bhic膩re峁嘺 诲丑测腻苍补m补产丑颈诲丑测腻 parasvavi峁�ayasp峁沨etyeke do峁�acint膩辫奴谤惫补峁� parasve lipsetyartha岣�, yat 办腻迟测补岣�鈥�vi峁�ayapr膩rthan膩bhidhy膩 |

础办峁Ｄ乶迟颈岣� (I. 6. 25; p. 53)鈥�

[Detraction:]

础尘补谤补办辞艣补 gives the word 补办峁Ｄ乶迟颈岣� and 墨谤峁�y腻 as synonyms to detraction.

碍峁Ｄ玶补蝉惫腻尘颈苍 explains the term b etter with a contextual example. He says that 墨谤峁�y腻 is one鈥檚 intolerence of his wife being seen by others. He also gives another view where it is taken to be one鈥檚 jealousy or intolerence at the growth or prosperity of others:

产丑腻谤测腻诲别岣� 辫补谤补诲补谤艣补苍腻蝉补丑补苍别 谤奴岣峢腻'k峁Ｄ乶tir墨谤峁�y腻, 膩ya峁� tu parotkar峁Ｄ乻ahana峁� m膩tsaryam墨谤峁�y腻 manyate ya 墨r峁�yu岣� paravitte峁�vitivat |

Manyu (I. 6. 26; pp. 53-4)鈥�

[Grief:]

础尘补谤补办辞艣补 gives manyu as 鈥榞rief鈥� or 鈥榮orrow鈥�. Substantiating this 碍峁Ｄ玶补蝉惫腻尘颈苍 quotes 艢腻艣惫补迟补 (376) who mentions that it also has the meaning of 鈥榬age鈥�.

The word manyu is in neuter gender; and the same word in masculine gender denotes both 鈥榞rief鈥� and 鈥榮acrifice鈥欌��

manyate manyurdainyamiha, yacch膩艣vata岣� nigadanti krudha峁� 尘补苍测耻峁� manyuradhvaradainyayo岣� |

Manyu is very popularly employed in the sense of 鈥�anger鈥� and hence 碍峁Ｄ玶补蝉惫腻尘颈苍 justifies this usage of 础尘补谤补办辞艣补

鲍苍尘腻诲补 (I. 6. 27; p. 54)鈥�

[Madness:]

In explaining the word 耻苍尘腻诲补 碍峁Ｄ玶补蝉惫腻尘颈苍 says it is the abnormality of mind caused by the possession of evil spirits鈥�

citt膩navasthitirbh奴t膩dy膩ve艣膩t |

Dohada (I. 6. 28; p. 54)鈥�

[Desire:]

碍峁Ｄ玶补蝉惫腻尘颈苍 adds 尘补苍辞驳补惫墨 for desire in addition to 础尘补谤补办辞艣补's 11 words for the same.

膧诲丑测腻苍补 (I.6.30; p.54)鈥�

[Recollection:]

In the context of explaining the word 膩诲丑测腻苍补 碍峁Ｄ玶补蝉惫腻尘颈苍 quotes 碍腻艣颈办腻 and says that it is missing something and remembering it with sorrow or longing鈥�

yatk膩艣ik膩 -膩诲丑测腻苍补mutka峁囜弓h膩p奴rva-kasmara峁嘺m ||

H膩va, l墨l膩, 丑别濒腻鈥�

Explaining these terms relating to sports or amusements which are reflections of the 艣峁涐箙驳腻谤补 rasa, 碍峁Ｄ玶补蝉惫腻尘颈苍 quotes extensively from 狈腻峁瓂补艣腻蝉迟谤补 (XXIV. 4, 7, 11-13) which explains how these are various stages of the  sentiment of love.

狈腻峁瓂补艣腻蝉迟谤补 (XXIV. 7) succintly defines them as physical graces that arise from one another and are different aspects of sattva:

bh膩vo h膩va艣ca 丑别濒腻 ca parasparasamutthit膩岣� |
satvabhed膩 bhavantyete 艣ar墨re prak峁泃istath膩 ||

痴测腻箩补 (I. 6. 34; p. 55)鈥�

[Pretense:]

Explaining the term 惫测腻箩补 as concealing one' s real form, 碍峁Ｄ玶补蝉惫腻尘颈苍 illustrates the same with an example from 狈腻驳腻苍补苍诲补 (1-1) which is the benedictory verse addressed to lord 艢颈惫补 in deep contemplation whom 笔腻谤惫补迟颈 criticises indirectly of thinking of the Ganges鈥�

vyajyata iti vy膩jo'tra svar奴p膩cch膩dana峁� yath膩鈥�诲丑测腻苍补鈥敱共饽迓岵筸upetya cintayasi k膩m |

Pralaya^[6] (I. 6. 34; p. 56):

础尘补谤补办辞艣补 mentions that pralaya signifies 鈥榣oss of consciousness鈥�.

碍峁Ｄ玶补蝉惫腻尘颈苍 explains it as the end of all activities, state of unconciousness or fainting and quotes from an unknown source that the unconcious state is denoted as stambha and pralaya is death where the body falls on the ground with all the five elements failing鈥�

辫谤补濒墨测补迟别 办谤颈测腻迟谤补 辫谤补濒补测补岣� s膩ttviko 产丑腻惫补岣� m奴rcchetyartha岣� yad膩hu岣モ��
stambhe vicetanatva峁� pralaye gatacetanatvamata eva |
sahasaiva 苍颈辫补迟补苍补峁� bhuvi mah膩bh奴ta艣aithily膩t ||

(h) N膩n膩rtha varga on some concepts of drama:

碍峁Ｄ玶补蝉惫腻尘颈苍 mentions that the beauty of drama is enhanced by music. The rituals performed before the presentation of the drama is called 辫奴谤惫补谤补峁単补; the introduction of the theme of the play is 辫谤补蝉迟腻惫补苍腻 or mukha:

prayog膩rtha峁� sa峁単墨taka峁� gu峁噄k膩 | pr膩峁� 苍腻峁瓂腻迟 辫奴谤惫补谤补峁単补岣� sy膩t | n膩峁瓂膩rthopak峁�epa岣� 辫奴谤惫补峁� 辫谤补蝉迟腻惫补苍腻 尘耻办丑补峁� ca sy膩t |

痴峁泃迟颈岣� (III. 3. 73; pp. 286-87)鈥�

[Style of composition:]

础尘补谤补办辞艣补 mentions that 办补颈艣颈办墨 and others are the 惫峁泃迟颈蝉. 碍峁Ｄ玶补蝉惫腻尘颈苍 lists all the four as 办补颈艣颈办墨, 产丑腻谤补迟墨, s膩tvat墨 and 腻谤补产丑补峁���鈥�

办补颈艣颈办墨鈥敳�丑腻谤补迟墨s膩tvatyarabha峁瓂a岣� |

Footnotes and references:

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[1]:

艣峁涐箙驳腻谤补-惫墨谤补-办补谤耻峁嚹�'dbhuta-丑腻蝉测补-产丑补测腻苍补办腻岣� | 产墨产丑补迟蝉补-radrau ca 谤补蝉腻岣� |

[2]:

Cf. 狈腻峁瓂补艣腻蝉迟谤补 (VI. 7)鈥�
vi产丑腻惫腻nubh膩vavyabhic膩r墨产丑腻惫补蝉a峁儁og膩t rasani峁�patti岣� |

[3]:

The explanation of the words 艣耻肠颈 and ujjvala are same in 厂耻诲丑腻, 笔腻谤颈箩腻迟补 and 痴颈惫峁泃颈; but the later three mention these two as synonyms of 艣峁涐箙驳腻谤补.

[4]:

谤补耻诲谤补峁� t奴gramam墨 tri峁�u |

[5]:

膩bhidhy膩 tu parasya vi峁�aye 蝉辫峁沨腻 |

[6]:

pralayo na峁ａ弓ace峁ａ弓at膩 |