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harmonious blending known as sandhis end their various 13 sandhyangas. The sage says that a plot, which is not properly
designed can effect in the world of drama only, what a lame men
can accomplish in the battlefield.
啶呧�權�嵿�椸す啷�啶ㄠ�� 啶ㄠぐ啷� 啶�啶︵�嵿く啷佮う啷嵿ぇ啶距ぐ啶�啷嵿き啷囙そ啶曕�嵿し啶�啷� 啶�啶掂�囙い啷� [a峁単ah墨no naro yadyuddh膩rambhe'k峁�amo bhavet ] !
啶呧�權�嵿�椸す啷�啶ㄠ�� 啶むぅ啶� 啶曕ぞ啶掂�嵿く啶� 啶� 啶�啷嵿ぐ啶�啷嬥�椸�曕�嵿し啶�啶� 啶�啶掂�囙い啷� 啷� [a峁単ah墨na峁� tath膩 k膩vya峁� na prayogak峁�ama峁� bhavet || ] 10
Bharata gives the greatest importance to the sentiment.
He says that there can be no work of art without the delines-
tion of sentiment in it. Abhinavagupta elucidates the point
further and says that the sage undoubtedly meant that rase is
11 the soul of drama though he does not express it verbally.
Bharata lays down that theplaywright must bring the
various incidents of the plot together solely with reference
to the sentiment appropriate to them.
啶�啶ムぞ啶膏え啷嵿ぇ啶� 啶む�� 啶曕ぞ啶班�嵿く啶距ぃ啶� 啶曕ぐ啷嵿い啶掂�嵿く啶距え啷嵿く啷囙い啶距え啷嵿く啶權�嵿�椸ぞ啶ㄠ�� 啶ㄠぞ啶熰�曕��
啶曕さ啶苦き啶苦�� 啶曕ぞ啶掂�嵿く啶曕�佮ざ啶侧�堗�� 啶班じ啶�啶距さ啶�啶掂�囙�曕�嵿し啷嵿�� 啶む�� 啷�
[yath膩sandhi tu k膩ry膩峁噄 kartavy膩nyet膩nya峁単膩ni n膩峁璦ke
kavibhi岣� k膩vyaku艣alai岣� rasabh膩vamavek峁�ya tu ||
] Again, while enumerating the essentials of a play,
he gives the first place to rasa.
啶班じ啶� 啶�啶距さ啶距う啷嵿く啶�啶苦え啶�啶距ぇ啶班�嵿ぎ啷� 啶掂�冟い啷嵿い啶� 啶�啷嵿ぐ啶掂�冟い啷嵿い啶�啶� [ras膩 bh膩v膩dyabhinay膩dharm墨 v峁泃ti prav峁泃taya岣� ] !
啶膏た啶︵�嵿ぇ啶苦�� 啶膏�嵿さ啶班ぞ啶膏�嵿い啶ムぞ啶む�嬥う啷嵿く啶� 啶椸ぞ啶ㄠ�� 啶班�權�嵿�椸�� 啶膏�權�嵿�椸�嵿ぐ啶灌�� 啷�
[siddhi岣� svar膩stath膩todya峁� g膩na峁� ra峁単adha sa峁単raha岣� ||
] 10 S Vol.III, V.53, p.32.
11 Dhvanyaloka locene, uddyota-III, p. 401, Benares, 1940.
12 On.ait. Ch. XIX, V.104, p.61.
13 NS, Vol. I, Ch.VI, V.10, p.263.
12 13