# Dasarupa (Haas 1912)/Book 1

THE DAŚARŪPA
BOOK ONE
1 (P. 1; H. 1).

## namas tasmai Gaṇeśāya yatkaṇṭaḥ puṣkarāyate madābhogaghanadhvāno nīlakaṇṭhasya tāṇḍave.

‘Homage to that Ganeśa whose throat, deeply resonant in his excessive frenzy (mada-ābhoga), serves as a drum in the wild dance of Śiva, just as the sound of the wildly expanding thundercloud at the dance of the peacock!’
Com. ‘According to established usage’ the author begins his work with two stanzas of invocation.—There is here an imperfect pun (khaṇḍaśleṣa).
Notes. As noted by the commentator, there is a play on words in this introductory stanza. The entire second line refers to the dance of Śiva, but can also be understood as referring to that of a peacock. In this way a simile is included in the very words to which it refers. This necessitates a double translation of the words in the second line.
2 (P. 2; H. 2).

## daśarūpānukāreṇa yasya mādyanti bhāvakāḥ namaḥ sarvavide tasmai Viṣṇave Bharatāya ca.

‘Homage to that omniscient Viṣṇu whose senses revel in the semblance of his ten forms [of incarnation], and to Bharata, whose poetic sensibilities revel in the imitation of the ten forms [of drama] (daśarūpa).’
Notes. Here again there is a double meaning, in that the first line applies in one sense to Viṣṇu and in another to Bharata. In order to convey this twofold meaning adequately in English, the words of the first line have been rendered twice.
Introductory Remarks
3 (P. 3; H. 3).

## kasya cid eva kadā cid dayayā viṣayaṃ Sarasvatī viduṣaḥ ghaṭayati kam api tam anyo vrajati jano yena vaidagdhīm.

‘Sarasvatī through her favor furnishes to any intelligent man at any time that subject, whatever it be (kam api), by which somebody else becomes cultured.’
Notes. The sense is: The goddess Sarasvatī freely provides themes for literary works to persons of intelligence, and through these works culture is diffused among others.—Meter: āryā.
4 (P. 4; H. 4).

## uddhṛtyoddhṛtya sāraṃ  yam akhilanigamān nāṭyavedaṃ Viriñciś cakre yasya prayogam  munir api Bharatas tāṇḍavaṃ Nīlakaṇṭhaḥ Śarvāṇī lāsyam asya  pratipadam aparaṃ lakṣma kaḥ kartum īṣṭe nāṭyānāṃ kiṃ tu kiṃ cit  praguṇaracanayā lakṣaṇaṃ saṃkṣipāmi.

‘Who, pray, is able to make a new detailed nomenclature (pratipadaṃ lakṣma) of dramatic science, which Viriñci [i. e. Brahma] created after repeatedly extracting the essence from the entire sacred writ—[that dramatic science] of which Bharata, though a seer, gave an exhibition, Nīlakaṇṭha [i. e. Śiva] performing the wild dance (tāṇḍava) and Śarvāṇī [i. e. Pārvatī] performing the gentle dance (lāsya)? Yet I shall give concisely, in orderly arrangement, some sort of description of dramatic representations.’
Notes. A reference to the legend of the creation of the drama by Brahma and of the codification and application of its rules by Bharata, the reputed author of the Bhāratīya-nātyaśāstra.—Meter: sragdharā.—Cf. Lévi, p. 16.

## vyākirṇe mandabuddhīnaṃ jāyate mativibhramaḥ tasyārthas tatpadais tena saṃkṣipya kriyate ’ñjasā.

‘In a diffuse [treatise] there arises confusion of mind on the part of those of slow wit; therefore the import of it [i. e. of the code of dramatic rules] is given concisely and directly in its [own] words.’
Notes. Cf. Lévi, p. 17.
6 (P. 6; H. 6).

## ānandanisyandiṣu rūpakeṣu vyutpattimātram phalam alpabuddhiḥ yo ’pītihāsādivad āha sādhus tasmai namaḥ svāduparāṅmukhāya.

‘As for any simple man of little intelligence who says that from dramas, which distil joy, the gain is knowledge only, as in the case of history (itihāsa) and the like—homage to him, for he has averted his face from what is delightful!’
Com. Spr. 3122.—The statement is ironical (solluṇṭham).
Notes. Meter: indravajrā.—Cf. Lévi, p. 258.
Fundamental Definitions
7 (P. 7 a$^1$; H. 7 a$^1$).

## avasthānukṛtir nāṭyaṃ.

‘Drama is the imitating of situations.’
Notes. ‖ SD. 274; Pratāpar. 3. 1, p. 100. Cf. Lévi, p. 29.
8 (P. 7 a$^2$; H. 7 a$^2$).

## avasthānukṛtir nāṭyaṃ. rūpaṃ dṛśyatayocyate.

‘It is called a Show (rūpa, lit. form) because of the fact that it is seen.’
Notes. Cf. Lévi, p. 29.

## rūpakaṃ tat samāropād.

‘It [is called] Representation (rūpaka) because of the assumption [of parts by actors].’
Notes. As noted by Lévi, pt. 2, p. 5, the word rūpaka, although merely a variant of the preceding rūpa, is referred by native theorists to the causative form (ropayati) of the root ruh. It is therefore explained here by a compound derivative of the causative, samāropa.
‖ SD. 273. Cf. Lévi, p. 29.
10 (P. 7 b$^2$; H. 7 b$^2$).

## rūpakaṃ tat samāropād. daśadhaiva rasāśrayam.

‘It is tenfold, and is based on the Sentiments.’
Notes. With regard to the employment of the different varieties of Sentiment (rasa) in a drama see DR. 3. 36–38.
‖ Pratāpar. 3. 1, p. 100 (rasāśraya).
11 (P. 8; H. 8).

## nāṭakaṃ saprakaraṇam bhāṇaḥ prahasanaṃ ḍimaḥ vyāyogasamavakārau vīthyaṅkehāmṛgā iti.

‘[The ten chief varieties of drama are]: the Nāṭaka, the Prakaraṇa, the Bhāṇa, the Prahasana, the Ḍima, the Vyāyoga, the Samavakāra, the Vīthī, the Aṅka (=Utsṛṣṭikāṅka), and the Ihāmṛga.’
Com. ḍombī śrīgad° [quotation from some treatise; see Lévi, p. 146 and cf. Hem. Kāvyān. 8, p. 327].
Notes. No mention is here made of the minor forms of drama (cf. Lévi, p. 145); but one of them, the nāṭikā, receives special consideration at DR. 3. 46–52.—This section is quoted at Pratāpar. 3. 2.
‖ Bh. 18. 2, 3 a; SD. 275; AP. 337. 1–4; Hem. Kāvyān. 8, p. 317, 327; Vāgbh. Kāvyān. 1, p. 16; Pratāpar. 3. 2. Cf. Lévi, p. 30.
Pantomime and Dancing as Accessories
12 (P. 9 a$^1$; H. 9 a$^1$).

## anyad bhāvāśrayaṃ nṛtyaṃ. ​‘Pantomime (nṛtya), which is based on the [emotional] States, is quite another thing.’

Notes. Pantomime and dancing are probably mentioned here chiefly on account of the similarity of name. The words nāṭya, nṛtya, and nṛtta are all derived from the root nṛt or its Prākrit form naṭ and our author seems to have felt the need of differentiating them. But in Pratāpar.—where we find the terms nṛtya and nṛtta curiously interchanged—the insertion of definitions of these terms is justified as follows: nṛttanṛtyayor nāṭakādyaṅgatvād iha svarūpanirūpaṇaṃ kṛtam (3. 2, p. 101).
‖ Pratāpar. 3. 2 a, p. 101. Cf. Lévi, p. 30.
13 (P. 9 a$^2$; H. 9 a$^2$).

## anyad bhāvāśrayaṃ nṛtyaṃ.nṛttaṃ tālalayāśrayam.

‘Dancing (nṛtta), being based on rhythm and time, [is also different].’
Notes. ‖ Pratāpar. 3. 2 a, p. 101. Cf. Lévi, p. 30.
14 (P. 9 b; H. 9 b).

## ādyam padārthābhinayo mārgo deśī tathā param.

‘The former, a representation of an object, [is called] “high style” (mārgo); the latter, “popular style” (deśī).’
Notes. Cf. Lévi, pt. 2, p. 5.
15 (P. 10; H. 10).

## madhuroddhatabhedena tad dvayaṃ dvividham punaḥ lāsyatāṇḍavarūpeṇa nāṭakādyupakārakam.

‘Each of these two is again twofold, through the division into gentle and vehement; and they are auxiliary to the Nāṭaka and the other [varieties of drama] because of the exhibition of the gentle dance (lāsya) and the wild dance (tāṇḍava).’
Notes. Hindu theoreticians recognize ten forms of the lāsya, which are enumerated at DR. 3. 54.—This section is quoted at Pratāpar. 3. 2, p. 101.—Cf. Lévi, p. 119.
Basis of Classification of Dramas
16 (P. 11 a$^1$; H. 11 a$^1$).

## vastu netā rasas teṣām bhedako.

‘Dramas are classified according to Subject-matter, Hero, and Sentiment.’
Notes. ‖ Pratāpar. 3. 3. Cf. Lévi, p. 30.
Subdivisions of the Subject-matter
17 (P 11 a$^2$; H. 11 a$^2$).

## vastu netā rasas teṣām bhedako.vastu ca dvidhā.

‘The Subject-matter (vastu) is twofold.’
Notes. ‖ Bh. 19. 2 a; SD. 296 a. Cf. Lévi, p. 31.
18 (P. 11 b; H. 11 b).

## tatrādhikārikam mukhyam aṅgam prāsaṅgikaṃ viduḥ.

‘The main [theme] is known as the Principal Subject (ādhikārika), the subordinate as the Incidental Subject (prāsaṅgika).’
Notes. ‖ Bh. 19. 2 b; SD. 296 b. Cf. Lévi, p. 31.
19 (P. 12; H. 12).

## adhikāraḥ phalasvāmyam adhikārī ca tatprabhuḥ tannirvartyam abhivyāpi vṛttaṃ syād ādhikārikam.

‘The possession of the desired result [is called] adhikāra, and its possessor [is called] adhikārīn; that which contains an incident connected with him [is called] ādhikārika (Principal Subject).’
Notes. adhivyāpi H., V., P.; ativyāpi Hall p. 38.—This is an etymological explanation of the term ādhikārika. See my notes on 4. 8.
‖ Bh. 19. 3–5 a; SD. 296 c, d. Cf. Lévi, p. 31.
20 (P. 13 a; H. 13 a).

## prāsaṅgikam parārthasya svārtho yasya prasaṅgataḥ. ​‘The Incidental Subject (prāsaṅgika) is a purpose of another person [by means] of which one’s own purpose is incidentally [furthered].’

Notes. The craving for etymological interpretation is here satisfied by the use of the word prasaṅgatas, ‘incidentally.’ See the notes on 4. 8.
‖ Bh. 19. 5 b; SD. 297. Cf. Lévi, p. 31.
21 (P. 13 b; H. 13 b).

## sānubandham patākākhyam prakarī ca pradeśabhāk.

‘When it is continuous it is called Episode (patākā, lit. banner); when of short duration, Episodical Incident (prakarī).’
Notes. ‖ Bh. 19. 23; SD. 320–323; Pratāpar. 3. 7. Cf. Lévi, p. 32.
22 (P. 14; H. 14).

## prastutāgantubhāvasya vastuno ’nyoktisūcakam patākāsthānakaṃ tulyasaṃvidhānaviśeṣaṇam.

‘An indication, by the mention of something extraneous, of a matter that is begun or is about to happen [is called] an Episode-indication (patākāsthānaka), which is characterized by similar situations or attributes.’
Com. Ex.: Ratn. 3. 6, p. 62 [similar situation]; Ratn. 2. 4, p. 32 [similar attributes].
Notes. Bh. and SD. distinguish four kinds of patākāsthānaka; see Lévi, pp. 98–100.
‖ Bh. 19. 29 b, 30 a; SD. 298, 299. Cf. Lévi, p. 98.
23 (P. 15, 16 a; H. 15).

## prakhyātotpādyamiśratvabhedāt tredha ’pi tat tridhā prakhyātam itihāsāder utpādyaṃ kavikalpitam miśraṃ ca saṃkarāt tābhyāṃ divyamartyādibhedataḥ.

‘This [subject-matter] is also threefold, owing to a threefold classification into legendary, invented, and mixed subjects. The legendary [variety of subject-matter is derived] from legends of the past and the like; the invented is devised by the poet; the ​mixed [arises] from a combination of these two in accordance with a classification into gods, mortals, and the like.’
Notes. tābhyāṃ H., V., P.; nānto, tredhā Hall p. 38.—The first line is quoted at Pratāpar. 3. 4, p. 102, but with the formulaic ending tat trividham matam.
‖ AP. 337. 18; Pratāpar. 3. 3, p. 102. Cf. Lévi, p. 31.
Elements of the Plot
24 (P. 16 b; H. 16 a).

## kāryaṃ trivargas tac chuddham ekānekānubandhi ca.

‘The Dénouement (kārya) [of the action consists of one of] the three objects of human existence (trivarga); it is either simple or connected with one or both [of the other objects].’
Com. The three objects of human existence are virtue, wealth, and pleasure (dharma, artha, kāma)….
Notes. ‖ Bh. 19. 25 b, 26 a; SD. 323 b, c; AP. 337. 7 b. Cf. Lévi, p. 31.
25 (P. 17 a; H. 16 b).

## svalpoddiṣṭas tu taddhetur bījaṃ vistāry anekadhā.

‘The cause of this [Dénouement] is the Germ (bīja), [at first] manifested as very small, but expanding in manifold ways [as the action proceeds].’
Com. Ex.: Ratn. 1, pp. 4–5 [quoted in part also at DR. 1. 29 and 1. 41]; in the Veṇīsaṃhāra, the energy of Yudhiṣṭhira, increased by the wrath of Bhīma and resulting in the binding of the tresses of Draupadī.
Notes. ‖ Bh. 19. 21; SD. 318; AP. 337. 22; Pratāpar. 3. 6. Cf. Lévi, p. 34.
26 (P. 17 b; H. 16 c).

## avāntarārthavicchede bindur acchedakāraṇam.

Com. Ex.: Ratn. 1, p. 20.—‘The bindu [lit. drop] spreads out like a drop of oil in water.’
Notes. ‖ Bh. 19. 22; SD. 319; Pratāpar. 3. 6. Cf. Lévi, p. 34.
27 (P. 18; H. 17).

## bījabindupatākākhyaprakarīkāryalakṣaṇāḥ arthaprakṛtayaḥ pañca tā etāḥ parikīrtitāḥ.

‘[The elements] designated as the Germ (bīja), the Expansion (bindu), the so-called Episode (patākā), the Episodical Incident (prakarī), and the Dénouement (kārya)—these are declared to be the five Elements of the Plot (arthaprakṛti).’
Notes. The insertion of the word ākhya in the enumeration is due merely to the exigencies of the meter.—Contrary to the usual custom, this section comes after the definitions of the elements mentioned in it, instead of introducing them, in order to avoid a repetition of the definitions of the patākā and the prakarī given in another connection in 1. 21.—This section is quoted in the com. on Hemacandra’s Anekārthasaṃgraha 2. 230 (ed. Zachariae, Vienna, 1893, Extracts from the Com., p. 37, foot), and the second line is quoted ibid. 3. 565 (see Extr., p. 142, middle). The first line is quoted at Pratāpar. 3. 3, p. 105. With the first line compare bījam binduḥ patākā ca, given in explanation of the word arthaprakṛti in the com. on Maṅkhakośa 390 (ed. Zachariae, Vienna, 1897, p. 50).
‖ Bh. 19. 20; SD. 317; AP. 337. 19. Cf. Lévi, p. 34.
The Five Stages of the Action
28 (P. 19; H. 18).

## avasthāḥ pañca kāryasya prārabdhasya phalārthibhiḥ ārambhayatnaprāptyāśāniyatāptiphālagamaḥ.

‘There are five Stages of the action which is set on foot by those that strive after a result: Beginning (ārambha), Effort (yatna=prayatna), Prospect of Success (prāptyāśā), Certainty of Success (niyatāpti), and Attainment of the Result (phālagama=phalayoga).’
Notes. The words kāryasya prārabdhasya phalārthibhiḥ are taken directly from Bh. 19. 13.—The second line is quoted at Pratāpar. 3. 3, p. 105.
‖ Bh. 19. 7, 13; SD. 324; AP. 337. 19 b, 20. Cf. Lévi, p. 32.

## autsukyamātram ārambhaḥ phalalābhāya bhūyase.

‘Beginning (ārambha) is mere eagerness for the obtaining of the more important result.’
Com. Ex.: Ratn. 1. 7, p. 5 [also quoted at DR. 1. 25 and 1. 41].
Notes. ‖ Bh. 19. 8; SD. 325; Pratāpar. 3. 4. Cf. Lévi, p. 32.
30 (P. 20 b; H. 19 b).

## prayatnas tu tadaprāptau vyāpāro ’titvarānvitaḥ.

‘Effort (prayatna) is exertion attended with great haste, when this [result] has not been obtained.’
Com. Ex.: Ratn. 2, p. 24 [with variants].
Notes. ‖ Bh. 19. 9; SD. 326; Pratāpar. 3. 4. Cf. Lévi, p. 33.
31 (P. 21 a; H. 20 a).

## upāyāpāyaśaṅkābhyām prāptyāśā prāptisambhavaḥ.

‘Prospect of Success (prāptyāśā) is the possibility of succeeding, with means at hand, [but also] with fear of failure.’
Com. Ex.: Ratn. 3, p. 76 [with variants].
Notes. This is called prāptisambhava in Bh.
‖ Bh. 19. 10; SD. 327; Pratāpar. 3. 5. Cf. Lévi, p. 33.
32 (P. 21 b; H. 20 b).

## apāyābhāvataḥ prāptir niyatāptiḥ suniścitā.

‘Certainty of Success (niyatāpti) is the assurance of succeeding because of the absence of risk.’
Com. Ex.: Ratn. 3, p. 73 [with much variation].
Notes. ‖ Bh. 19. 11; SD. 328; Pratāpar. 3. 5. Cf. Lévi, p. 33.
33 (P. 22 a; H. 20 c).

## samagraphalasampattiḥ phalayogo yathoditaḥ.

Com. As, in the Ratnāvalī, the king’s obtaining universal sovereignty through his marriage with Ratnāvalī.
Notes. This is called phalāgama in section 28 above, and also in the definition given in Pratāpar.
‖ Bh. 19. 12; SD. 329; Pratāpar. 3. 5. Cf. Lévi, p. 33.
The Five Junctures
34 (P. 22 b, 23 a; H. 21).

## arthaprakṛtayaḥ pañca pañcāvasthāsamanvitāḥ yathāsaṃkhyena jāyante mukhādyāḥ pañca saṃdhayaḥ.

‘There are five Elements of the plot (arthaprakṛti), parallel with the five Stages (avasthā) [of the action]; [from these] respectively arise the five Junctures (saṃdhi), beginning with the Opening (mukha).’
Notes. The Junctures are the structural divisions of the drama, which correspond with the elements of the plot and the stages in the hero’s realization of his purpose. They and their subdivisions are defined in the following sections.—This section is quoted at Pratāpar. 3. 3, p. 105.
‖ SD. 330; Pratāpar. 3. 3, p. 104. Cf. Lévi, p. 35.
35 (P. 23 b; H. 22 a).

## antaraikārthasambandhaḥ saṃdhir ekānvaye sati.

‘Juncture (saṃdhi) is the connection of one thing with a different one, when there is a single sequence [of events].’
Notes. ‖ SD. 331; Pratāpar. 3. 3, p. 104. Cf. Lévi, p. 35.
36 (P. 24 a; H. 22 b).

## mukhapratimukhe garbhaḥ sāvamarśopasaṃhṛtiḥ.

‘[The five Junctures are]: the Opening (mukha), the Progression (pratimukha), the Development (garbha), the Pause (avamarśa), and the Conclusion (upasaṃhṛti=nirvahaṇa).’
Notes. These are defined in sections 37, 51, 66, 81, 96.—This section is quoted at Pratāpar. 3. 3, p. 104.
‖ Bh. 19. 35 b, 36 a; SD. 332; AP. 337. 21; Sarasv. 5. 128 (ed. B. 5. 129). Cf. Lévi, p. 35.
The Opening and its Subdivisions
37 (P. 24 b, 25 a; H. 23).

## mukham bījasamutpattir nānārtharasasambhavā aṅgāni dvādaśaitasya bījārambhasamanvayāt.

‘The Opening (mukha) is the origination of the Germ (bīja), giving rise to various purposes and Sentiments; it has twelve subdivisions, because of its connection with the Germ and the Beginning (ārambha).’
Notes. °sambhavā H., V., P.; °saṃsrayā Hall p. 38.—The terms bīja and ārambha are defined at 1. 25, 29.
‖ Bh. 19. 37 b, 38 a; SD. 333; AP. 237. 23 (mistranslated by Dutt); Pratāpar. 3. 8. Cf. Lévi, p. 36.
38 (P. 25 b, 26; H. 24).

## upakṣepaḥ parikaraḥ parinyāso vilobhanam yuktiḥ prāptiḥ samādhānaṃ vidhānam paribhāvanā udbhedabhedakaraṇāny anvarthāny atha lakṣaṇam.

‘[The twelve subdivisions of the Opening are]: Suggestion (upakṣepa), Enlargement (parikara), Establishment (parinyāsa), Allurement (vilobhana), Resolve (yukti), Success (prāpti), Settling (samādhāna), Conflict of Feelings (vidhāna), Surprise (paribhāvanā), Disclosure (udbheda), Incitement (bheda), and Activity (karaṇa). [These terms are] intelligible. Now follow their definitions.’
Notes. ‖ Bh. 19. 57 b, 58; SD. 338; Pratāpar. 3. 9.
39 (P. 27 a$^1$; H. 25 a$^1$).

## bījanyāsa upakṣepas.

‘Suggestion (upakṣepa) is the sowing of the Germ (bīja).’
Com. Ex.: Ratn. 1. 6, p. 4 [quoted also at DR. 3. 3 and 3. 10].
Notes. ‖ Bh. 19. 69 b; SD. 339; Pratāpar. 3. 9. Cf. Lévi, p. 36.

## bījanyāsa upakṣepas. tadbāhulyam parikriyā.

‘Enlargement (parikriyā=parikara) is the increase of this [Germ].’
Com. Ex.: Ratn. 1, pp. 4–5.
Notes. ‖ Bh. 19. 70 a; SD. 340; Pratāpar. 3. 9. Cf. Lévi, p. 36.
41 (P. 27 b$^1$; H. 25 b$^1$).

## tanniṣpattiḥ parinyāso.

‘Establishment (parinyāsa) is its lodgment.’
Com. Ex.: Ratn. 1. 7, p. 5 [quoted also at DR. 1. 25 and 1. 29].
Notes. Bh. defines this as the relating of a matter that is to take place.
‖ Bh. 19. 70 b; SD. 341; Pratāpar. 3. 9. Cf. Lévi, p. 37.
42 (P. 27 b$^2$; H. 25 b$^2$).

## tanniṣpattiḥ parinyāso. guṇākhyānaṃ vilobhanam.

‘Allurement (vilobhana) is the mentioning of good qualities.’
Com. Ex.: Ratn. 1. 23, p. 20 [quoted also at DR. 1. 48]; Veṇī. 1, p. 26–30.
Notes. guṇākhyānaṃ Hall p. 38, P.; guṇākhyānād H., V. The form guṇākhyānaṃ is found also in SD., where this definition is repeated.
‖ Bh. 19. 71 a; SD. 342; Pratāpar. 3. 9. Cf. Lévi, p. 37.
43 (P. 28 a$^1$; H. 26 a$^1$).

## sampradhāraṇam arthānāṃ yuktiḥ.

‘Resolve (yukti) is the determination upon purposes.’
Com. Ex.: Ratn. 1, p. 5.
Notes. ‖ Bh. 19. 71 b; SD. 343; Pratāpar. 3. 9. Cf. Lévi, p. 38.
44 (P. 28 a$^2$; H. 26 a$^2$).

## sampradhāraṇam arthānāṃ yuktiḥ. prāptiḥ sukhāgamaḥ.

‘Success (prāpti) is the attaining of happiness.’
Com. Ex.: Veṇī. 1, pp. 18–19; Ratn. 1, p. 20.
Notes. ‖ Bh. 19. 72 a; SD. 344; Pratāpar. 3. 9. Cf. Lévi, p. 38.

## bījāgamaḥ samādhānaṃ.

‘Settling (samādhāna) is the appearance of the Germ (bīja).’
Com. Ex.: Ratn. 1, pp. 15–16; Veṇī. 1, p. 25 [the stanza is quoted also at DR. 1. 98].
Notes. ‖ Bh. 19. 72 b; SD. 345; Pratāpar. 3. 9. Cf. Lévi, p. 38.
46 (P. 28 b$^2$; H. 26 b$^2$).

## bījāgamaḥ samādhānaṃ. vidhānaṃ sukhaduḥkhakṛt.

‘Conflict of Feelings (vidhāna) is that which causes both joy and sorrow.’
Com. Ex.: Mālatīm. 1. 32, p. 35 [quoted also at DR. 4. 56]; Mālatīm. 1. 22, p. 24; Veṇī. 1, pp. 30–31.
Notes. ‖ Bh. 19. 73 a; SD. 346; Pratāpar. 3. 9. Cf. Lévi, p. 39.
47 (P. 29 a$^1$; H. 27 a$^1$).

## paribhāvo ’dbhutāveśa.

‘Surprise (paribhāva=paribhāvanā) is intentness upon something marvelous.’
Com. Ex.: Ratn. 1, p. 19 [with many variations]; Veṇī. 1, p. 29.
{{smaller block|Notes. It is evident that the shorter form paribhāva is here used for metrical reasons.}]
‖ Bh. 19. 73 b; SD. 347; Pratāpar. 3. 9. Cf. Lévi, p. 39.
48 (P. 29 a$^2$; H. 27 a$^2$).

## paribhāvo ’dbhutāveśa. udbhedo gūḍhabhedanam.

‘Disclosure (udbheda) is the disclosing of something previously hidden.’
Com. Ex.: Ratn. 1. 23, p. 20 [quoted also at DR. 1. 42]; Veṇī. 1, pp. 27–29.
Notes. Bh. and SD. define the udbheda as a new sprouting of the Germ and the latter cites as example Veṇī. 1. pp. 30–31, which is quoted by Dhanika as an illustration of the vidhāna (DR. 1. 46).
‖ Bh. 19. 74 a; SD. 348; Pratāpar. 3. 9. Cf. Lévi, p. 39.

## karaṇam prakṛtārambho.

‘Activity (karaṇa) is the beginning of the matter in question.’
Com. Ex.: Ratn. 1, p. 19; Veṇī. 1, p. 30.
Notes. ‖ Bh. 19. 74 b; SD. 349; Pratāpar. 3. 9. Cf. Lévi, p. 40.
50 (P. 29 b$^2$; H. 27 b$^2$).

## karaṇam prakṛtārambho. bhedaḥ protsāhanā matā.

‘Incitement (bheda) is the term for an urging on.’
Com. Ex.: Veṇī. 1, pp. 31–32.—Of the twelve divisions of the Opening the following six must always be employed: Suggestion, Enlargement, Establishment, Resolve, Disclosure, and Settling [cf. SD. 405, com.; Pratāpar. 3. 9, end].
Notes. Bh. and SD., evidently on etymological grounds, explain bheda as a breach of union. As an example SD. quotes Veṇī. 1, p. 12, where Bhīma breaks his alliance with his brothers. The SD. commentary adds: ke cit tu bhedaḥ protsāhaneti vadanti, ‘some say, however, that the bheda is an urging on’—which is clearly a reference to the definition of DR. (cf. my notes on 1. 55; 2. 70, 71).
‖ Bh. 19. 75 a; SD. 350; Pratāpar. 3. 9. Cf. Lévi, pp. 39, 40.
The Progression and its Subdivisions
51 (P. 30; H. 28).

## lakṣyālakṣyatayodbhedas tasya pratimukham bhavet binduprayatnānugamād aṅgāny asya trayodaśa.

‘The Progression (pratimukha) is the development of that [Germ] in accordance with its quality of being perceptible and not perceptible [by turns]. Its subdivisions, [arising] from the sequence of the Expansion (bindu) and the Effort (prayatna), are thirteen [in number].’
Com. Ex.: Ratn. 2, where the love of the king for Sāgarikā prospers and is impeded in turn; Veṇī. 2. 5, p. 38; Veṇī. 2. 28, p. 60.
Notes. lakṣyālakṣyatayo° Hall p. 38, P.; lakṣyālakṣya ivo° H., V.—The terms bindu and prayatna are defined at 1. 26, 30.
‖ Bh. 19. 38 b, 39 a; SD. 334; Pratāpar. 3. 10. Cf. Lévi, p. 40.

## vilāsaḥ parisarpaś ca vidhūtam śamanarmaṇī narmadyutiḥ pragamanaṃ nirodhaḥ paryupāsanam vajram puṣpam upanyāso varṇasaṃhāra ity api.

‘[The thirteen subdivisions of the Progression are]: Amorousness (vilāsa), Pursuit (parisarpa), Unrequitedness (vidhūta), Alleviation (śama), Joke (narman), Amusement (narmadyuti), Response (pragamana), Frustration (nirodha), Courtesy (paryupāsana). Thunderbolt (vajra), Gallantry (puṣpa), Intimation (upanyāsa), and Combination of the Castes (varṇasaṃhāra).’
Notes. pragamanaṃ Hall p. 38, P.; pragayaṇaṃ H., V. (Bh. has pragaṇam, pragaṇanam; SD., pragamanam; Pratāpar., pragamaḥ).
‖ Bh. 19. 59 b, 60, 61 a; SD. 351; Pratāpar. 3. 11.
53 (P. 32 b$^1$; H. 30 b$^1$).

## ratyarthehā vilāsaḥ syād.

‘Amorousness (vilāsa) is desire for the object of pleasure.’
Com. Ex.: Ratn. 2, pp. 23–24.
Notes. ratyarthehā H., V. (in V. the letter th is defective, looking like y), P.; ratyutthehā Hall p. 38.
‖ Bh. 19. 75 b; SD. 352; Pratāpar. 3. 11. Cf. Lévi, p. 40.
54 (P. 32 b$^2$, 33 a$^1$; H. 30 b$^2$, c$^1$).

## ratyarthehā vilāsaḥ syād. dṛṣṭanaṣṭānusarpaṇam parisarpo.

‘Pursuit (parisarpa) is the pursuing of one seen and then lost.’
Com. Ex.: Veṇī. 2, pp. 34–35; Ratn. 2, p. 47.
Notes. ‖ Bh. 19. 76 a; SD. 353; Pratāpar. 3. 11. Cf. Lévi, p. 41.
55 (P. 33 a$^2$; H. 30 c$^2$).

## parisarpo. vidhūtaṃ syād aratis. ​‘Unrequitedness (vidhūtaṃ) is absence of pleasure [due to unrequited love].’

Com. Ex.: Ratn. 2, p. 28 [with variations]; Veṇī., in the case of Bhanumatī.
Notes. In SD. this is variously called vidḥrta (ed. Roer), vidhūta (tr. Mitra), and vidhuta (ed. Dviveda and Parab). It is there defined as ‘a non-acceptance, at first, of a courtesy,’ but the commentary adds: ke cit tu vidhṛtaṃ syād anitir iti vadanti, ‘some say, however, that the vidhṛta is absence of pleasure’—which is clearly a reference to the definition of DR. (cf. the notes on 1. 50 above).
‖ Bh. 19. 76 b; SD. 354; Pratāpar. 3. 11. Cf. Lévi, p. 41.
56 (P. 33 a$^3$; H. 30 c$^3$).

## parisarpo. vidhūtaṃ syād aratis. tacchamaḥ śamaḥ.

‘Alleviation (śama) is the allaying of this [Unrequitedness].’
Com. Ex.: Ratn. 2, p. 43.
Notes. The SD. (355) substitutes for this an element named tāpana, ‘torment,’ which it illustrates by the passage from Ratn. (2, p. 28) quoted by Dhanika as an example of the vidhūta (DR. 1. 55).
‖ Bh. 19. 77 a; Pratāpar. 3. 11. Cf. Lévi, p. 41.
57 (P. 33 b$^1$; H. 31 a$^1$).

## parihāsavaco narma.

‘Joke (narman) is a humorous remark.’
Com. Ex.: Ratn. 2, p. 45; Veṇī. 2, p. 49.
Notes. This narman must not be confused with the term narman, ‘Pleasantry,’ defined at 2. 79.
‖ Bh. 19. 77 b; SD. 356; Pratāpar. 3. 11. Cf. Lévi, p. 41.
58 (P. 33 b$^2$; H. 31 a$^2$).

## parihāsavaco narma. dhṛtis tajjā dyutir matā.

‘Amusement (dyuti=narmadyuti) is considered to be the satisfaction caused by this [Joke].’
Com. Ex.: Ratn. 2, p. 49.
Notes. No definition of the narmadyuti occurs in the text of Bh. 19 given by Hall, although it is mentioned at 19. 60 a, in the preliminary enumeration. Ms. P. of that work defines it directly after narman, and that definition is quoted in the commentary on SD. 357 (cf. Lévi, pt. 2, pp. 8–9).
‖ SD. 357; Pratāpar. 3. 11. Cf. Lévi, p. 42.
59 (P. 34 a$^1$; H. 31 b$^1$).

## uttarā vāk pragamanaṃ.

‘Response (pragamana) is a reply.’
Com. Ex.: Ratn. 2, pp. 39–44.
Notes. pragamanaṃ Hall p. 38, P.; pragayaṇaṃ H. V. (Bh. has pragaṇam, pragaṇanam [Ms. P., pragayaṇa]; SD., pragamanam; Pratāpar., pragamaḥ).
‖ Bh. 19. 78 a; SD. 358; Pratāpar. 3. 11. Cf. Lévi, p. 42.
60 (P. 34 a$^2$; H. 31 b$^2$).

## uttarā vāk pragamanaṃ. hitarodho nirodhanam.

‘Frustration (nirodhana=nirodha) is a beneficial prevention.’
Com. Ex.: Ratn. 2, p. 50.
Notes. Pratāpar. has virodha, as also SD., which defines this subdivision as ‘falling into danger.’
‖ Bh. 19. 78 b; SD. 359; Pratāpar. 3. 11. Cf. Lévi, p. 42.
61 (P. 34 b$^1$; H. 32 a$^1$).

## paryupāstir anunayaḥ.

‘Courtesy (paryupāsti=paryupāsana) is politeness.’
Com. Ex.: Ratn. 2. 18, p. 54.
Notes. ‖ Bh. 19. 79 a; SD. 360; Pratāpar. 3. 11. Cf. Lévi, p. 42.
62 (P. 34 b$^2$; H. 32 a$^2$).

## paryupāstir anunayaḥ. puṣpaṃ vākyaṃ viśeṣavat.

Com. Ex.: Ratn. 2, p. 49.
Notes. ‖ Bh. 19. 79 b; SD. 361; Pratāpar. 3. 11. Cf. Lévi, p. 43.
63 (P. 35 a$^1$; H. 32 b$^1$).

## upanyāsas tu sopāyaṃ.

‘Intimation (upanyāsa) is [a remark] embodying a stratagem.’
Com. Ex.: Ratn. 2, p. 47.
Notes. upanyāsas tu sopāyaṃ H., V., P.; prasādanam upanyāso Hall p. 38 (=SD. 363, but in inverted order). The variant reading given by Hall may be due to some copyist familiar with SD. The SD. commentary quotes from some treatise a definition largely identical with that of Bh.
‖ Bh. 19. 80 b; SD. 363; Pratāpar. 3. 11. Cf. Lévi, p. 43.
64 (P. 35 a$^2$; H. 32 b$^2$).

## upanyāsas tu sopāyaṃ. vajram pratyakṣaniṣṭhuram.

‘Thunderbolt (vajra) is a cruel remark made to one’s face.’
Com. Ex.: Ratn. 2, pp. 53, 54.
Notes. ‖ Bh. 19. 80 a; SD. 362; Pratāpar. 3. 11. Cf. Lévi, p. 43.
65 (P. 35 b; H. 32 c).

## cāturvarṇyopagamanaṃ varṇasaṃhāra iṣyate.

‘Combination of the Castes (varṇasaṃhāra) is regarded as a coming together of the four castes.’
Com. Ex.: Mahāvīra. 3. 5, p. 93.—The most important divisions of the Progression are: Pursuit, Response, Thunderbolt, Intimation, and Gallantry. [The word praśama should evidently be corrected to pragama.—Cf. SD. 405, com.; Pratāpar. 3. 11, end.]
Notes. cāturvaṇyo° Hall p. 38, P.; cāturvarṇo° H., V.—According to the commentary on SD. 364, Abhinavagupta interpreted varṇa as ‘characters’ and saṃhāra as ‘drawing together.’ This close association of characters he illustrated by an incident in the second act of the Ratnāvalī (pp. 47, 49, 50).
‖ Bh. 19. 81 a; SD. 364; Pratāpar. 3. 11. Cf. Lévi, pp. 43, 44.
The Development and its Subdivisions
66 (P. 36; H. 33).

## garbhas tu dṛṣṭanaṣṭasya bījasyānveṣaṇam muhuḥ dvādaśāṅgaḥ patākā syān na vā syāt prāptisambhavaḥ.

‘The Development (garbha) is a searching after the Germ (bīja), which is seen and lost by turns. It has twelve subdivisions. [In it] there should be an Episode (patākā), or [else] there should not be Prospect of Success (prāptisambhava=prāptyāśā).’
Com. Ex.: Ratn. 3, p. 73.
Notes. On the Episode see 1. 21; on the Prospect of Success, 1. 31. Bh. and SD. add a thirteenth subdivision; see DR. 1. 80, notes.
‖ Bh. 19. 39 b, 40 a; SD. 335 ; Pratāpar. 3. 12. Cf. Lévi, pp. 44, 57.
67 (P. 37, 38 a; H. 34, 35 a).

## abhūtāharaṇam mārgo rūpodāharaṇe kramaḥ saṃgrahaś cānumānaṃ ca toṭakādhibale tathā udvegasambhramākṣepā lakṣaṇaṃ ca praṇīyate.

‘[The twelve subdivisions of the Development are]: Mis-statement (abhūtāharaṇa), Indication (mārga), Supposition (rūpa), Exaggeration (udāharaṇa), Progress (krama), Propitiation (saṃgraha), Deduction (ānumāna), Quarrel (toṭaka), Outwitting (adhibala), Dismay (udvega), Consternation (sambhrama), and Revelation (ākṣepa). Their definitions are given [in the following sections].’
Notes. Bh. and SD. add a thirteenth subdivision called prārthanā; see DR. 1. 80, notes.
‖ Bh. 19. 62 b–64 a; SD. 365 a–c; Pratāpar. 3. 13.
68 (P. 38 b$^1$; H. 35 b$^1$).

## abhūtāharaṇaṃ chadma.

‘Mis-statement (abhūtāharaṇa) is deception.’
Com. Ex.: Ratn. 3, p. 56.
Notes. ‖ Bh. 19. 82 a; SD. 365 d; Pratāpar. 3. 13. Cf. Lévi, p. 44.

## abhūtāharaṇaṃ chadma. mārgas tattvārthakīrtanam.

‘Indication (mārga) is a pointing out of one’s real purpose.’
Com. Ex.: Ratn. 3, p. 61 [with variations].
Notes. ‖ Bh. 19. 82 b; SD. 366; Pratāpar. 3. 13. Cf. Lévi, p. 44.
70 (P. 39 a$^1$; H. 36 a$^1$).

## rūpaṃ vitarkavad vākyaṃ.

‘Supposition (rūpa) is a remark which embodies a hypothesis.’
Com. Ex.: Ratn. 3, p. 65.
Notes. ‖ Bh. 19. 83 a; SD. 367; Pratāpar. 3. 13. Cf. Lévi, p. 45.
71 (P. 39 a$^2$; H. 36 a$^2$).

## rūpaṃ vitarkavad vākyaṃ. sotkarṣaṃ syād udāhṛtiḥ.

‘Exaggeration (udāhṛti=udāharaṇa) is [a remark] that contains an over-statement.’
Com. Ex.: Ratn. 3, p. 60.
Notes. Lévi observes (p. 45): ‘D’après Bharata et Viçvanātha, udāharaṇa désigne l’extraordinaire, le surnaturel.’ I cannot find any warrant for this statement. Bh. and SD. are substantially in accord with DR. on this point, and the example given in the SD. commentary is appropriate. The illustration from the Śakuntalā given by Lévi was selected by him in accordance with the statements of the native commentaries (see Lévi, p. 5).
‖ Bh. 19. 83 b; SD. 368; Pratāpar. 3. 13. Cf. Lévi, p. 45.
72 (P. 39 b$^1$; H. 36 b$^1$).

## kramaḥ saṃcintyamānāptir.

‘Progress (krama) is attainment of what one is thinking earnestly about.’
Com. Ex.: Ratn. 3, p. 67.
Notes. For parallel passages see the notes on the following section. Cf. Lévi, p. 45.
73 (P. 39 b$^2$; H. 36 b$^2$).

## kramaḥ saṃcintyamānāptir. bhāvajñānam athāpare.

‘Others [say it is] a knowledge of the feelings [of another].’
Com. Ex.: Ratn. 3, 11–13, pp. 68–70.
Notes. This is the interpretation of the term krama in Bh. and SD. Lévi mentions still another, ‘knowledge of the future,’ occurring in a line attributed to Bharata in Jagaddhara’s com. on Mālatīm.
‖ Bh. 19. 84 a; SD. 369; Pratāpar. 3. 13. Cf. Lévi, p. 46.
74 (P. 40 a $^1$; H. 37 a$^1$).

## saṃgrahaḥ sāmadānoktir.

‘Propitiation (saṃgraha) is a speech in making a conciliatory present.’
Com. Ex.: Ratn. 3, p. 61.
Notes. ‖ Bh. 19. 84 b; SD. 370; Pratāpar. 3. 13. Cf. Lévi, p. 46.
75 (P. 40 a$^2$; H. 37 a$^2$).

## saṃgrahaḥ sāmadānoktir. abhyūho liṅgato ’numā.

‘Deduction (anumā=anumāna) is an inference from some characteristic sign.’
Com. Ex.: Ratn. 3, pp. 72–73.
Notes. ‖ Bh. 19. 85 a; SD. 371; Pratāpar. 3. 13. Cf. Lévi, p. 46.
76 (P. 40 b$^1$; H. 37 b$^1$).

## adhibalam abhisaṃdhiḥ.

‘Outwitting (adhibala) is a [clever] deception.’
Com. Ex.: Ratn. 3, p. 66.
Notes. For another definition see the com. on the following section.—This adhibala must not be confused with the adhibala defined at 3. 20.—The word abhibala in Roer’s text of SD. 375 is clearly a misprint. The correct form adhibala occurs in the preliminary enumeration, SD. 365 c.
‖ Bh. 19. 87 a; SD. 375; Pratāpar. 3. 13. Cf. Lévi, p. 47.

## adhibalam abhisaṃdhiḥ. saṃrabdhaṃ toṭakaṃ vacaḥ.

‘Quarrel (toṭaka) is an angry speech.’
Com. Ex.: Ratn. 3, pp. 78–79; Veṇī. 3. 34–46, pp. 87–93. Quotation from some other treatise:
[P. 41 a] toṭakasyānyathābhāvam bruvate ’dhibalam budhāḥ.
‘The learned say that the adhibala is another form of toṭaka.’ Ex.: Ratn. 3, p. 71. [Continuation of the quotation:]
[P. 41 b] saṃrabdhavacanaṃ yat tu toṭakaṃ tad udāhṛtam.
‘Quarrel (toṭaka) is declared to be the speech of angry persons.’ [Or ‘an angry speech.’] Ex.: Ratn. 3, p. 70; Veṇī. 4, pp. 106–107 [with variations].
Notes. I follow Hall in regarding these interpolated definitions as part of the commentary, rather than of the text. The first seems to connect (or confuse) this adhibala with the adhibala defined at 3. 20; the second is a mere repetition of the definition of the toṭaka given by DR. Parab prints them in the same type as the text, with the number 41.—In SD. the subdivision defined in this section is called troṭaka.
‖ Bh. 19. 86 b; SD. 374; Pratāpar. 3. 13. Cf. Lévi, pp. 46, 47.
78 (P. 42 a$^1$; H. 38 a$^1$).

## udvego ’rikṛtā bhītiḥ.

‘Dismay (udvega) is fear caused by an enemy.’
Com. Ex.: Ratn. 3, p. 79 [with variants]; Veṇī. 4, p. 97.
Notes. ‖ Bh. 19. 87 b; SD. 376; Pratāpar. 3. 13. Cf. Lévi, p. 47.
79 (P. 42 a$^2$; H. 38 a$^2$).

## udvego ’rikṛtā bhītiḥ. śaṅkātrāsau ca sambhramaḥ.

‘Consternation (sambhrama) is fear and trembling.’
Com. Ex.: Ratn. 3, p. 75 [with variants]; Veṇī. 3, p. 94; Veṇī. 3, p. 73.
Notes. This subdivision of the Development is called vidrava in Bh. and SD. See DR. 1. 85 and the notes on that section.
‖ Bh. 19. 88 a; SD. 377; Pratāpar. 3. 13. Cf. Lévi, p. 47.
80 (P. 42 b; H. 38 b).

## garbhabījasamudbhedād ākṣepaḥ parikīrtitaḥ. ​‘Revelation (ākṣepa) is declared [to result] from the unfolding of the Germ (bīja) in the Development (garbha).’

Com. Ex.: Ratn. 3, pp. 73, 78, 80; Veṇī. 4, p. 105.—The most important of these subdivisions of the Development are: Mis-statement, Indication, Quarrel, Outwitting, and Revelation. The others are employed when possible. [Cf. SD. 405, com.; Pratāpar. 3. 13, end.]
Notes. Bh. gives a definition similar to the above, but employs the designation upakṣipta (as one must emend, following Lévi, p. 47.) In the preliminary summary (Bh. 19. 63 a) it is called ākṣipta. with the change of prefix frequently necessitated by the meter in technical treatises of this kind. The text of Bh. given by Hall, which unfortunately shows evidences of hasty preparation, has prārthanā kṣipram (for prārthanākṣiptam=prārthanā+ākṣiptam) in 19. 63 a, and upasthitam (for upakṣiptam) in 19. 86 a. The Ms. P. of Bh. reads kṣipti (Lévi, p. 47).—SD., under the designation kṣipti, gives a somewhat different definition and an obscure example.—Pratāpar. has the following definition: iṣṭārthopāyānusaraṇam ākṣepaḥ.
Bh. 19. 85 b and SD. 372 mention and define a thirteenth division of the Development, the prārthanā, ‘Invitation,’ a summons to enjoyment or festivity. This is inserted so that those who exclude the Benediction (praśasti) from the number of divisions of the Conclusion (nirvahaṇa) may still have the full complement of 64 subdivisions (SD. 372, com).
‖ Bh. 19. 86 a; SD. 373; Pratāpar. 3. 13. Cf. Lévi, pp. 47–48.
The Pause and its Subdivisions
81 (P. 43; H. 39).

## krodhenāvamṛśed yatra vyasanād va vilobhanāt garbhanirbhinnabījārthaḥ so ’vamarśo ’ṅgasaṃgrahaḥ.

‘The Pause (avamarśa, lit. deliberation) is that group of subdivisions [of the Junctures] in which one stops to reflect (avamṛśed) because of anger or passion or temptation, and which has as its subject the Germ (bīja) that has been unfolded in the Development (garbha).’
Com. Ex.: Ratn. 4, as far as the excitement caused by the fire; Veṇī. 6. 1, p. 158.
Notes. so ’vamarśo ’ṅgasaṃgrahaḥ V., P.; °saṅg[r]ahaḥ H.; so ’vamarśa iti smṛtaḥ Hall p. 38 (apparently a reminiscence of Bh. 19. 41 a).—SD. calls this Juncture vimarṣa; Bh. (and sometimes DR.), vimarśa.—On the use of avamṛśed to explain avamarśa see the notes on DR. 1. 19.
‖ Bh. 19. 40 b, 41 a; SD. 336; Pratāpar. 3. 14. Cf. Lévi, p. 48.

## tatrāpavādasampheṭau vidravadravaśaktayaḥ dyutiḥ prasaṅgaś chalanaṃ vyavasāyo virodhanam prarocanā vicalanam ādānaṃ ca trayodaśa.

‘The thirteen [subdivisions] of it [i. e., of the Pause] are: Censure (apavāda), Altercation (sampheṭa), Tumult (vidrava), Contempt (drava), Placation (śakti), Rebuke (dyuti), Reverence (prasaṅga), Humiliation (chalana), Assertion (vyavasāya), Opposition (virodhana), Foresight (prarocanā), Boastfulness (vicalana), and Summary (ādāna).’
Notes. ‖ Bh. 19. 64. 65, 66 a; SD. 378 a, b, c; Pratāpar. 3. 15.
83 (P. 45 b$^1$; H. 41 a$^1$).

## doṣaprakhyā ’pavādaḥ syāt.

‘Censure (apavāda) is the proclaiming of a fault [of another].’
Com. Ex.: Ratn. 4, pp. 82–83, 87; Veṇī. 6, pp. 160–161.
Notes. ‖ Bh. 19. 89 a; SD. 378 d; Pratāpar. 3. 15. Cf. Lévi, p. 48.
84 (P. 45 b$^2$; H. 41 a$^2$).

## doṣaprakhyā ’pavādaḥ syāt. sampheṭo roṣabhāṣaṇam.

‘Altercation (sampheṭa) is speaking in anger.’
Com. Ex.: Veni. 6, pp. 168–169.
Notes. ‖ Bh. 19. 89 b; SD. 379; Pratāpar. 3. 15. Cf. Lévi, p. 49.
85 (P. 45 c$^1$; H. 41 b$^1$).

## vidravo vadhabandhādir.

‘Tumult (vidrava) is slaying, taking prisoner, and the like.’
Com. Ex.: yenāvṛtya mukh°, stanza from the Chalitarāma [an unpublished drama]; Ratn. 4. 14, p. 99; Ratn. 4, p. 99 [with many variations].