Vishnudharmottara Purana (Art and Architecture)
by Bhagyashree Sarma | 2021 | 59,457 words
This page relates 鈥楨lements of Drama (h): Sentiment (Rasa)鈥� of the study on the elements of Art and Architecture according to the Vishnudharmottara Purana: an ancient text whose third book deals with various artisan themes such as Architecture, Painting, Dance, Grammar, etc. Many chapters are devoted to Hindu Temple architecture and the iconography of Deities and their installation rites and ceremonies.
Go directly to: Footnotes.
1.3. Elements of Drama (h): Sentiment (Rasa)
Rasa or Sentiment is a very important component in poetry. Through the delineation of different sentiments different way, the connoisseurs can relish the taste of a poetic piece.
Establishes that:
There are two broad divisions of 办腻惫测补 in Sanskrit viz.,
- d峁浥泍a办腻惫测补 and
- 艣ravya办腻惫测补.[2]
Drama belongs to d峁浥泍a办腻惫测补 variety and for this reason it can be said that rasa i.e., sentiment is the soul of Drama too. The famous commentator Abhinavagupta also says that-no meaning comes forward without sentiment.[3] The primary meaning of rasa refers to taste or to savour or to relish, but metaphorically it means the emotional experience of beauty in poetry.[4] The sentiment is that which touches our heart and fills it with a great sensation, after reading or hearing a piece of poetry or viewing a performing art. But the point to be noted here is that only suggestive type of literary piece has the capacity to reflect the sentiment or rasa, as rasa itself is always suggestive.
惭补尘尘补峁璦bha峁弓a, the author of the 碍腻惫测补辫谤补办腻艣补 accepts three kinds of 办腻惫测补 viz.,
- dhvani办腻惫测补,
- gu峁嚹玝h奴tavya峁単a办腻惫测补 and
- citra办腻惫测补.
Among those the dhvani办腻惫测补 is regarded as the best type of poetry, where the suggestive sense stays as the predominant one.[5]
But in the 厂腻丑颈迟测补诲补谤辫补峁嘺, only two varieties of 办腻惫测补 are accepted which are鈥�
- dhvani办腻惫测补 and
- gu峁嚹玝h奴tavya峁単a办腻惫测补.[6]
The third variety i.e., citra办腻惫测补 is not accepted in the 厂腻丑颈迟测补诲补谤辫补峁嘺.
Moreover, there are three kinds of meaning of words which are:
- 惫腻肠测腻谤迟丑补,
- 濒补办峁Ｄ乺迟丑补 and
- 惫测补峁単腻谤迟丑补.[7]
The 惫腻肠测腻谤迟丑补 is known by 补产丑颈诲丑腻, 濒补办峁Ｄ乺迟丑补 is known by 濒补办峁峁嚹� and 惫测补峁単腻谤迟丑补 is recognized by 惫测补帽箩补苍腻.[8] Thus it can be said that 础产丑颈诲丑腻 denotes the primary meaning, where the dictionary meaning of the word is predominant.[9] 尝补办峁峁嚹� denotes the secondary meaning which is established after the failure of the primary sense though it is based on the primary meaning.[10] And 惫测补帽箩补苍腻 denotes the suggestive sense of a word.
The suggestive sense or meaning is the main component of poetry and supporting it, 惭补尘尘补峁璦 蝉补测蝉鈥�
idamiti 办腻惫测补峁� 产耻诲丑补颈谤惫补颈测腻办补谤补峁嘺颈岣� 辫谤补诲丑腻苍补产丑奴迟补蝉辫丑辞峁璦谤奴辫补惫测补峁単测补惫测补帽箩补办补蝉测补 艣abdasya dhvaniriti 惫测补惫补丑腻谤补岣� 办峁泃补岣�.[11]
The suggestive sense is referred to as dhvani in Sanskrit poetics.
膧苍补苍诲补惫补谤诲丑补苍补, the founder of Dhvani school of Sanskrit poetics and also the author of 顿丑惫补苍测腻濒辞办补 speaks about two broad divisions of the suggestive meaning in the following way-
测辞鈥檙迟丑补岣� 蝉补丑峁沝补测补艣濒腻驳丑测补岣� 办腻惫测腻迟尘别迟颈 惫测补惫补蝉迟丑颈迟补岣� /
v膩cyaprat墨yam膩n膩khyo tasya bhed膩vubhau sm峁泃au //[12]
It establishes that the meaning that satisfies the soul of the connoisseur is the soul of poetry and it is divided into two varieties viz., 惫腻肠测腻谤迟丑补 and 辫谤补迟墨测补尘腻苍腻谤迟丑补. V膩cy膩rtha is the primary meaning which is explicit in nature and 辫谤补迟墨测补尘腻苍腻谤迟丑补 is the suggestive meaning.
The 辫谤补迟墨测补尘腻苍腻谤迟丑补 is influenced by the 惫腻肠测腻谤迟丑补 and divided into three subvarieties. They are鈥�
- 惫补蝉迟耻尘腻迟谤补,
- 补濒补峁僰腻谤补尘腻迟谤补 and
- 谤补蝉补尘腻迟谤补.[13]
These three varieties of 辫谤补迟墨测补尘腻苍腻谤迟丑补 are accepted as the three varieties of Dhvani i.e., suggestive sense.[14] It is worth notifying that in the Locana commentary on the 顿丑惫补苍测腻濒辞办补 by Abhinavagupta, it is clearly mentioned that the rasadhvani or rasa is mainly the soul of poetry and other two divisions are included in it.[15] So it can be said that 膧苍补苍诲补惫补谤诲丑补苍补 also accepts the suggestive sense i.e., rasadhvani or rasa as the soul of poetry. In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also, rasa is said to be the core of Drama and without it Drama can not produce a theme.[16]
The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 accepts nine rasas or sentiments in Drama. These are鈥�
- 艣峁涐箙驳腻谤补 i.e., erotic,
- 丑腻蝉测补 i.e., humour,
- 办补谤耻峁嘺 i.e., pathos,
- raudra i.e., furious,
- 惫墨谤补 i.e., heroic,
- 产丑补测腻苍补办补 i.e., terrible,
- adbhuta i.e., wonder,
- 产墨产丑补迟蝉补 i.e., odious and
- 艣腻苍迟补 i.e., quietism.[17]
It is important to note that according to Bharata, 艣腻苍迟补rasa was not included in the group of 苍腻峁瓂补谤补蝉补蝉.[18] But the subsequent scholars have included 艣腻苍迟补 in the group of nine sentiments. On the basis of this academic confrontation, the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 marks its existence by accepting the 艣腻苍迟补rasa as an independent sentiment.[19] Moreover, it also says that 艣腻苍迟补rasa is generated from 惫补颈谤腻驳测补[20] i.e., absence of worldly desires or passions. 艢腻苍迟补谤补蝉补 is quite impossible to establish in a Drama and it does not become interesting as Drama is all about movement. But the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 clearly asserts that there are nine sentiments in a Drama including 艣腻苍迟补rasa.[21] 惭补尘尘补峁璦 also gives his view point in the same spirit in his 碍腻惫测补辫谤补办腻艣补 and accepts nine sentiments.[22] Again the 厂腻丑颈迟测补诲补谤辫补峁嘺 also mentions the eight sentiments together and states the existence of the 艣腻苍迟补rasa separately.[23] The reason may be that-Drama is all about acting, performing and expressing. But in the delineation of 艣腻苍迟补rasa it is impossible to express or perform something, because here nirveda is the 蝉迟丑腻测墨产丑腻惫补. The durable psychological state of 艣腻苍迟补rasa happens to be nirveda or 惫补颈谤腻驳测补 which goes against motion, emotion, action etc. It is clearly perceived by 惭补尘尘补峁璦 and he expresses this situation in his work clearly.[24] So, the inclusion of 艣腻苍迟补rasa in Drama by the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 provokes discussion and demands reason of establishment.
There can be a very effective discussion regarding the varieties of rasa found in the 狈腻峁瓂补艣腻蝉迟谤补 and the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.
1. 艢峁涐箛驳腻谤补:
艢峁涐箛驳腻谤补 or the sentiment of love is very important in 办腻惫测补 specially in dramas. Because, Sanskrit poetics advices to portray either 艣峁涐箛驳腻谤补 or 惫墨谤补 as the predominant sentiment in a Sanskrit drama.[25] It is the sentiment of love and desire where the manifestation of the activities of 碍腻尘补诲别惫补 i.e the god of love can be noticed.[26] Rati i.e erotic emotion is the 蝉迟丑腻测墨产丑腻惫补 or permanent feeling of 艣峁涐箛驳腻谤补.[27] 艢测腻尘补 i.e dark blue is the colour of this sentiment[28] . 痴颈峁ａ箛耻 is the God of this sentiment.[29] It is of two kinds viz., 蝉补峁僢丑辞驳补 i.e., love in union and viraha i.e., love in separation.[30] The 狈腻峁瓂补艣腻蝉迟谤补 also admits it in the same spirit.[31] In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 both the terms viraha and vipralambha are used to denote the second variety of 艣峁涐箛驳腻谤补 sentiment. But most of the Rhetoricians of Sanskrit poetics like 惭补尘尘补峁璦[32] and Vi艣van膩thakavir膩ja use the term vipralambha only.[33]
According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, there are ten kinds of vipralambha 艣峁涐箛驳腻谤补 which are based on different 办腻尘腻惫补蝉迟丑腻蝉 i.e., stages of love or desire.[34] But in the 厂腻丑颈迟测补诲补谤辫补峁嘺 four types of vipralambha 艣峁涐箛驳腻谤补 are accepted viz., 辫奴谤惫补谤腻驳补, 尘腻苍补, 辫谤补惫腻蝉补 and 办补谤奴峁嘺.[35] Again in the 碍腻惫测补辫谤补办腻艣补 of 惭补尘尘补峁璦, vipralambha 艣峁涐箛驳腻谤补 is divided into five kinds viz., 补产丑颈濒腻峁, viraha, 墨谤峁Ｄ�, 辫谤补惫腻蝉补 and 艣腻辫补丑别迟耻办补.[36]
2. 贬腻蝉测补:
The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 says that 丑腻蝉测补rasa is generated from some irrelevant or funny conversations or attires[37] which bring humour to the viewers鈥� mind and the viewers start laughing. The 狈腻峁瓂补艣腻蝉迟谤补 speaks that, the comic sentiment is created through the determinants like deformed dress or ornaments, impudence, greediness, quarrel, use of irrelevant and inappropriate words etc.[38] According to the 厂腻丑颈迟测补诲补谤辫补峁嘺, deformed movements of hands and feet are also the cause of laughing.[39] 贬腻蝉补 is the 蝉迟丑腻测颈产丑腻惫补 of this sentiment.[40] Sita i.e., white is the colour[41] and Pramatha is the God of this sentiment.[42] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, it is of two kinds viz., 腻迟尘补蝉迟丑补 i.e., self laugh and parastha i.e other鈥檚 laugh.[43] This books places the grade of laughing in three standards viz., uttama, madhyama and adhama.[44] Uttama is the best form of smile where teeth are not visible; madhyama is the middle form where teeth are visible and adhama type of laughing is associated with tears and noise.[45]
3. 碍补谤耻峁嘺:
碍补谤耻峁嘺 i.e., pathos is the sentiment delineated in the circumstances of sorrow. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 says that it is enacted through frightened limbs, crying in grief, pale and dry face.[46] This sentiment arises at the death of the beloved one or lovable friends or because of loss of wealth.[47] In this context the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is seen to follow the 狈腻峁瓂补艣腻蝉迟谤补.[48] According to the 厂腻丑颈迟测补诲补谤辫补峁嘺, pathos arises in loss of desired things as well as in attainment of unwanted things.[49] 艢辞办补 is the 蝉迟丑腻测颈产丑腻惫补 of 办补谤耻峁嘺rasa.[50] Kapota i.e., the colour of pigeon is the colour of this sentiment.[51] Yama is the God of this sentiment.[52] In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, it is said that to project the 办补谤耻峁嘺rasa, the acting is to be done by frightened limbs, sighs, crying in lamentation, pale face and drying up of mouth.[53]
4. Raudra:
Like the earlier treatises, the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 relates that raudra is the sentiment that arises from anger.[54] Krodha is the 蝉迟丑腻测颈产丑腻惫补 of raudrarasa.[55] Rakta i.e., red is the colour[56] and Rudra is the God of this sentiment.[57] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 anger is of four types. The first one is referred to as ripuja which means anger arising from enemy. The 厂腻丑颈迟测补诲补谤辫补峁嘺 also admits it.[58] The second one is referred to as guruja which means anger arising from elderly persons. The third one is 产丑峁泃测补箩补 which means anger arising from servant and the last one is 辫谤补峁嘺测辞诲产丑补惫补 which means anger arising from love.[59] But anger is not classified in the 狈腻峁瓂补艣腻蝉迟谤补 as well as in the 厂腻丑颈迟测补诲补谤辫补峁嘺. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 again says that the facial expressions of anger viz., redness of eyes, cocked of eyebrows, face full of perspiration etc., should be used to project raudrarasa in performance.[60] In the 狈腻峁瓂补艣腻蝉迟谤补, it is said that raudrarasa is full of conflict of arms. So according to this treatise, when the raudrarasa is displayed in the stage, the movements and deeds of the actors should be terrible and fearful.[61] The 狈腻峁瓂补艣腻蝉迟谤补 relates that this sentiment is projected by fights, striking, cutting, distortion, loud noise of battle etc.[62] According to the 狈腻峁瓂补艣腻蝉迟谤补, the raudrarasa is presented on the stage through some special acts like release of many missiles, beheading, cutting off trunk and arms.[63]
5. 痴墨谤补:
According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 gaura i.e., radish white is the colour of this sentiment.[64] Mahendra is the God of this sentiment.[65] The 狈腻峁瓂补艣腻蝉迟谤补 states that the 惫墨谤补rasa relates to the superior type of persons and has excitement as its basis.[66] 鲍迟蝉腻丑补 is the 蝉迟丑腻测颈产丑腻惫补 of 惫墨谤补rasa.[67] This sentiment is enacted in stage through the consequents like firmness, heroism, sacrifice, diplomacy and the like.[68]
6. 叠丑补测腻苍补办补:
According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 叠丑补测腻苍补办补 is the sentiment of fear which arises from the commitment of a self committing offence.[69] In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 产丑补测腻苍补办补rasa is accepted as the result of 产墨产丑补迟蝉补.[70] In the 狈腻峁瓂补艣腻蝉迟谤补, Bharata gives numerous causes of fear viz., horrible noise, sight of ghosts, sound of jackal and owls, scene of dark forest, sight of death or imprisonment of dear ones etc.[71] Bhaya i.e., fear is the 蝉迟丑腻测颈产丑腻惫补 of 产丑补测腻苍补办补rasa.[72] 碍峁涐梗峁嘺 i.e black is the colour[73] and 碍腻濒补诲别惫补 is the God of this sentiment.[74] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, it is to be enacted on stage by the gestures of trembling hands, pale face, drying up of lips and throat etc.[75]
7. Adbhuta:
According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, Adbhuta is the sentiment that arises from wonder.[76] Vismaya is the 蝉迟丑腻测颈产丑腻惫补 of adbhutarasa.[77] 笔墨迟补 i.e., yellow is the colour[78] and Brahma is the god of this sentiment.[79] The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 states that adbhutarasa arises from 惫墨谤补rasa.[80] According to the 狈腻峁瓂补艣腻蝉迟谤补, this sentiment is projected through some determinates like the sight of heavenly beings, achievement of unexpected things or fulfillment of desires.[81] Moreover, some resultants are used to adopt for conveying this sentiment to the audience. These are-expanded eyes, bristling of hair, horripilation, perspiration and movement of fingers.[82]
8. 叠墨产丑补迟蝉补:
According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, the sentiment of 产墨产丑补迟蝉补 arises from 箩耻驳耻辫蝉腻 i.e., disgusting[83] sight and it is showed by shaking of nose.[84] The 狈腻峁瓂补艣腻蝉迟谤补 agrees on it and accepts 箩耻驳耻辫蝉腻 as the 蝉迟丑腻测颈产丑腻惫补 of 产墨产丑补迟蝉补rasa.[85] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 狈墨濒补 i.e., blue is the colour[86] and 惭补丑腻办腻濒补 is the god of this sentiment.[87]
Bharata says that 产墨产丑补迟蝉补rasa is to be represented through some activities such as stopping the movements of the limbs, narrowing down the mouth, vomiting, spitting, shaking of limbs in disgust etc.[88]
9. 艢腻苍迟补:
艢补尘补 is the 蝉迟丑腻测颈产丑腻惫补 of 艣腻苍迟补rasa.[89] According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, the colour of 艣腻苍迟补rasa is recognized as 蝉惫补产丑腻惫补惫补谤峁嘺 i.e., natural colour.[90] 笔补谤补岣� pur奴峁 is regarded as the god of this sentiment.[91] But according to the 厂腻丑颈迟测补诲补谤辫补峁嘺, 艢谤墨苍腻谤腻测补峁嘺 is the god of this sentiment.[92]
Thus, from the discussion on the various elements of different sentiments as reflected in the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 and the other sources, the following table can be generated.
| Sentiments | 厂迟丑腻测墨产丑腻惫补蝉 | Gods | Colours |
| 艢峁涐箛驳腻谤补 | Rati | 痴颈峁ａ箛耻 | 艢测腻尘补 i.e., Dark blue |
| 贬腻蝉测补 | 贬腻蝉补 | Pramatha | Sita i.e., White |
| 碍补谤耻峁嘺 | 艢辞办补 | Yamadeva | Kapota i.e., The colour of pigeon |
| Raudra | Krodha | Rudra | Rakta i.e., Red |
| 痴墨谤补 | 鲍迟蝉腻丑补 | Mahendra | Gaura i.e., Reddish white |
| 叠丑补测腻苍补办补 | Bhaya | 碍腻濒补诲别惫补 | 碍峁涐梗峁嘺 i.e., Black |
| Bibhatsa | 闯耻驳耻辫蝉腻 | 惭补丑腻办腻濒补 | 狈墨濒补 i.e., Blue |
| Adbhuta | Vismaya | Brahmadeva | 笔墨迟补 i.e., Yellow |
| 艢腻苍迟补 | Nirveda | 笔补谤补岣uru峁 | 厂惫补产丑腻惫补惫补谤峁嘺 i.e., Natural colour |
Footnotes and references:
[1]:
厂腻丑颈迟测补诲补谤辫补峁嘺, 1.p.24
[3]:
na hi ras膩d峁泃e kva艣cidapyartha岣� pravartate/ 础产丑颈苍补惫补产丑腻谤补迟墨, p.227
[8]:
v膩cyo'rtho鈥檅hidhay膩 bodhyo lak峁o lak峁峁嘺y膩 尘补迟补岣�/ vya峁単yo 惫测补帽箩补苍腻y膩 t膩岣� syustisra岣� 艣abdasya 艣aktaya岣�/ Ibid., 2.3
[9]:
sa mukhyo鈥檙thastatra mukhyo vy膩p膩ro鈥檚y膩bhidhocyate/ 碍腻惫测补辫谤补办腻艣补, 2.8
[10]:
mukhy膩rthb膩dhe tadyoge ru岣峢ito鈥檛ha prayojan膩t/ anyo鈥檙tho lak峁te yats膩 濒补办峁峁嚹乺opit膩 办谤颈测腻// Ibid.,2.9
[11]:
Ibid., p.6
[12]:
顿丑惫补苍测腻濒辞办补, 1.2
[13]:
[...] Ibid., 1, p.37
[14]:
eva峁� 鈥榩rat墨ya尘腻苍补峁� punaranyadeva鈥� it墨yat膩 dvanisvar奴pa峁� 惫测腻办丑测腻迟补峁�/鈥︹赌�.
[15]:
[16]:
[17]:
Ibid., 3.30.1
[18]:
艣峁涐箙驳腻谤补丑腻蝉测补karu峁嚹� raudra惫墨谤补bhay膩nak膩岣�/ b墨bhats膩dbhutasa峁僯帽au cetya峁ａ弓au n膩峁瓂e 谤补蝉腻岣� 蝉尘峁泃腻岣�// 狈腻峁瓂补艣腻蝉迟谤补, 6.15
[19]:
艣膩nto 谤补蝉补岣� 蝉惫补迟补苍迟谤补岣�鈥︹赌�./ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.2
[20]:
艣腻苍迟补sya tu samutpattirn峁沺a 惫补颈谤腻驳测补ta岣� sm峁泃膩/ Ibid., 3.30.9
[22]:
[...] 碍腻惫测补辫谤补办腻艣补, 1.1
[23]:
[...] 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.182
[24]:
[...] 碍腻惫测补辫谤补办腻艣补, 4.44
[25]:
[...] 厂腻丑颈迟测补诲补谤辫补峁嘺, 6.10
[26]:
[...] Ibid.,3.183
[27]:
[...] 狈腻峁瓂补艣腻蝉迟谤补, p.246
[28]:
[...] 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.4
[29]:
[...] Ibid., 3.30.6
[30]:
[...] Ibid., 3.30.16
[31]:
[...] 狈腻峁瓂补艣腻蝉迟谤补, 6. p.246
[32]:
[...] 狈腻驳别艣惫补谤墨峁玨腻, 碍腻惫测补辫谤补办腻艣补, p.41
[33]:
[...] 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.16
[35]:
sa ca 辫奴谤惫补谤腻驳补尘腻苍补辫谤补惫腻蝉补kar奴峁嚹乼maka艣caturdh膩 sy膩t/ 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.187
[36]:
[...] 狈腻驳别艣惫补谤墨峁玨腻, p.42
[37]:
asambandh膩ttath膩 ve艣膩dbhavat墨ti 惫颈苍颈艣肠补测补岣�/ 痴颈峁ａ箛耻dharmotstarapur膩峁嘺, 3.30.12
[38]:
[...] 狈腻峁瓂补艣腻蝉迟谤补, p.254
[39]:
[...] 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.214
[42]:
[...] Ibid.,3.30.6
[43]:
[...] Ibid., 3.30.12-13
[44]:
[...] Ibid., 3.30.13-15
[45]:
alak峁tadvija峁� caiva uttam膩n膩峁� 蝉尘颈迟补峁� bhavet// tath膩 dar艣itadantantu madhyam膩n膩峁� prakirt墨ta峁�/ s膩tra峁� tadadham膩n膩峁� sy膩tsasvana峁� ca mah墨bhuj膩m// Ibid., 3.30.14-15
[46]:
trastag膩tr膩dvini岣� 艣v膩saparidevitarodanai岣�/ mukhavaivar峁噛a 艣o峁i艣ca tasyeh膩bhinayo bhavet// Ibid., 3.30.23
[47]:
[48]:
办补谤耻峁嘺stu 艣膩pakle艣avinipatane峁ａ弓janavi峁yogavivhavan膩艣avadhabandhanasamutthonirapek峁bh膩va/ 狈腻峁瓂补艣腻蝉迟谤补, p.246
[49]:
i峁ａ弓an膩艣膩dani峁ａ弓膩pte岣� karu峁嚹乲hyo raso bhavet/ 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.222
[50]:
[...] 狈腻峁瓂补艣腻蝉迟谤补, p.258
[52]:
karu峁噊 yamadaivata岣�/ Ibid., 3.30.7
[53]:
迟谤补蝉迟补驳腻迟谤腻诲惫颈苍颈岣ヅ泇腻蝉补辫补谤颈诲别惫颈迟补谤辞诲补苍补颈岣�/
mukhavaivar峁噛a 艣o峁i艣ca tasyeh膩bhinayo bhavet// Ibid., 3.30.23
[54]:
krodh膩dbhavati raudrasya rasasya tu 蝉补尘耻诲产丑补惫补岣�/ Ibid., 3.30.24
[55]:
raudro 苍腻尘补 krodhasth膩yibh膩v膩tmaka岣�/ 狈腻峁瓂补艣腻蝉迟谤补, p.259
[56]:
rakto 谤补耻诲谤补岣� 辫谤补办墨谤迟颈迟补岣�/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 3.30.4
[57]:
raudro raudr膩dhideva艣ca鈥�../ Ibid., 3.30.7
[58]:
谤补耻诲谤补岣モ��..膩lambanamaristatra/ 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.227
[59]:
ripujo gur奴ja艣caiva 产丑峁泃测补箩补岣� 辫谤补峁嘺测辞诲产丑补惫补岣�/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.31.5
[60]:
raktatvanetrabhruku峁璱krodh膩mar峁i岣� sas膩hasai岣�/ Ibid.,3.30.24
[61]:
艣astraprah膩rabh奴yi峁ａ弓a ugrakarma办谤颈测腻tmaka/ 狈腻峁瓂补艣腻蝉迟谤补, 6.66
[62]:
yudhaprah膩ragh膩tanavik峁泃acchedanavid膩ra峁嘺i艣caiva/ sa峁僩r膩masa峁僢hram膩dyairebhi岣� sa峁僯膩yate 谤补耻诲谤补岣�// Ibid., 6.64
[63]:
n膩n膩prahara峁嘺mok峁i岣� 艣ira岣abandhabhujakartanai艣caiva/ Ibid., 6.65
[64]:
gauro 惫墨谤补stu 惫颈箩帽别测补岣�/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.5
[65]:
v墨ro mahendradeva岣� sy膩t/ Ibid., 3.30.8
[66]:
v墨ro 苍腻尘补鈥ts膩h膩tmaka岣�/ 狈腻峁瓂补艣腻蝉迟谤补, p.262
[67]:
惫墨谤补 uts膩hasth膩ibh膩vaka岣�/ 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.232
[68]:
sthairya艣auryadhairyaty膩gavai艣膩rady膩dibhiranubh膩vairabhinaya岣� prayoktavya岣�/ 狈腻峁瓂补艣腻蝉迟谤补, p.262
[70]:
utpattirb墨bhats膩cca 产丑补测腻苍补办补/ Ibid., 3.30.3
[71]:
sa ca bik峁泃aravasatvadar艣ana艣ivol奴katr膩sodvega艣奴ny膩g膩r膩ra峁噛a prave艣asmara峁嘺svajanabadhabandhadar艣ana艣rutikath膩dibhirvibh膩vairutpadyate/ 狈腻峁瓂补艣腻蝉迟谤补, p.264
[72]:
bhay膩nako 苍腻尘补 bhayasth膩yibh膩v膩tmaka岣�/ Ibid., p.264
[73]:
办峁涐梗峁嘺艣肠补颈惫补 产丑补测腻苍补办补岣�/ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.5
[74]:
k膩ladevo 产丑补测腻苍补办补岣�/ Ibid., 3.30.7
[75]:
trastag膩tr膩dvini岣� 艣v膩saparidevitarodanai岣�/
mukhavaivar峁噛a 艣o峁i艣a tasyeh膩bhinayo bhavet// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺., 3.30.23
[76]:
膩艣carye峁嘺 samutpattiradbhuta峁� tatprak墨rtita峁�/ Ibid., 3.30.25
[77]:
adbhuto 苍腻尘补 vismayasth膩yibh膩v膩tmaka岣�/ 狈腻峁瓂补艣腻蝉迟谤补, p.266
[78]:
[...] 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.5
[79]:
adbhuto brahmadaivata/ Ibid., 3.30.8
[80]:
惫墨谤腻肠肠补颈惫腻诲产丑耻迟辞迟辫补迟迟颈/ Ibid., 3.30.3
[81]:
adbhuto 苍腻尘补 vismayasth膩yibh膩v膩tmaka岣�/ sa ca divyadar艣anepsitamanorath膩v膩鈥�./ 狈腻峁瓂补艣腻蝉迟谤补, p.266
[82]:
prasphurit膩k峁rom膩帽caira峁単ul墨bhrama峁嚹乨ibhi岣�/ svedena c膩bhineya岣� sy膩dadbhuta岣tu tath膩 谤补蝉补岣�// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.27
[83]:
V.S Apte, The Student鈥檚 Sanskrit English Dictionary, p.222
[84]:
jugupsay膩 ca bhavati 产墨产丑补迟蝉补sya 蝉补尘耻诲产丑补惫补岣�/
n膩s膩vigh奴r峁嘺n膩ttarasya codvegena tathaiva ca// 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.25-26
[85]:
b墨bhatso 苍腻尘补 箩耻驳耻辫蝉腻sth膩yibh膩v膩tmaka岣�/ 狈腻峁瓂补艣腻蝉迟谤补, p.266
[86]:
鈥�.n墨lo 产墨产丑补迟蝉补meva ca鈥�./ 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.6
[87]:
鈥�.. 产墨产丑补迟蝉补sya 尘补丑腻办腻濒补岣�鈥�./ Ibid.,3.30.7
[88]:
[...] 狈腻峁瓂补艣腻蝉迟谤补, p.266
[89]:
[...] 厂腻丑颈迟测补诲补谤辫补峁嘺, 3.245
[90]:
[...] 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 3.30.4
[91]:
[...] Ibid., 3.30.8