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[Full title: The entity of 痴峁泃迟颈 and its use in 惭耻诲谤腻谤腻办峁�a蝉补 (4): 叠丑腻谤补迟墨惫峁泃迟颈]

Often in Sanskrit language the oral style adopted by the actors of the play is called the 叠丑腻谤补迟墨-惫峁泃迟颈鈥�

产丑腻谤补迟墨 sa峁僺k峁泃apr膩ya v膩gvy膩p膩ra na峁�膩艣raya|^[1]

It is clear from this definition that oral style of the actresses i.e. women characters are not included in the 叠丑腻谤补迟墨-惫峁泃迟颈 because in the Sanskrit dramas the most of the women characters uses 笔谤腻办峁泃补 language rather than the Sanskrit. The physical and mental styles are also not a part of this 惫峁泃迟颈. This is applicable to cultured male characters only and here oral style is prominent. 痴颈艣惫补苍腻迟丑补 states that the 蝉迟丑腻辫补办补 after having pleased the audience with sweet verses relating to the subject matter of the play should announce the name of the play together with the name, the family name etc. of the dramatist and should describe very often a particular season with the help of the 叠丑腻谤补迟墨-惫峁泃迟颈.^[2]

叠丑腻谤补迟墨-惫峁泃迟颈 is of four types:

1. 笔谤补谤辞肠补苍腻,
2. 痴墨迟丑墨,
3. Prahasana and
4. 膧尘耻办丑补.^[3]

In 惭耻诲谤腻谤腻办峁�a蝉补 the use of 叠丑腻谤补迟墨-惫峁泃迟颈 has been made through the Prarocn膩 and 膧尘耻办丑补.

A 笔谤补谤辞肠补苍腻 is the inviting attention of the audience to the play by way of praising the plot and other connected parts of the play.^[4]

Here, in this play, in this part the 笔谤补谤辞肠补苍腻 补峁単补 of the 叠丑腻谤补迟墨-惫峁泃迟颈 has been presented.鈥�

adya tvay膩 蝉腻尘补苍迟补惫补峁璭艣惫补谤补诲补迟迟补辫补耻迟谤补蝉测补 尘补丑腻谤腻箩补辫补诲补产丑腻办辫峁泃丑补蝉耻苍辞岣� kavervi艣膩kh膩dattasya k峁泃irbhinava峁� 尘耻诲谤腻谤腻办峁�a蝉补峁� 苍腻尘补 苍腻峁璦办补峁� 苍腻峁璦测颈迟补惫测补尘颈迟颈,^[5]

The actor has praised the dramatist as 蝉腻尘补苍迟补惫补峁璭艣惫补谤补诲补迟迟补辫补耻迟谤补蝉测补 and 尘补丑腻谤腻箩补辫补诲补产丑腻办辫峁泃丑补蝉耻苍辞岣� signifying the origin of the dramatist of a high class. Again through the words 办腻惫测补惫颈艣别峁�a惫别诲颈苍测腻峁�^[6] and 蝉补迟办峁�e迟谤辫补迟颈迟腻^[7] the 办腻惫测补 and the audience have been praised. By denigrating own self as 产腻濒颈艣补蝉测腻辫颈, the 苍补峁璦 has demonstrated his humility. Therefore, through this we can say that this part of the drama is a perfect example of 笔谤补谤辞肠补苍腻.

膧尘耻办丑补 or 笔谤补蝉迟腻惫补苍腻 (prologue) is that in which the 苍补峁��� (the main actress consort of the 厂奴迟谤补诲丑腻谤补) or 痴颈诲耻峁�a办补 or an attendant holds a conversation with the 厂奴迟谤补诲丑腻谤补 with interesting words which arise out of their own function and the points to the subjects matter which is to come next.

痴颈艣惫补苍腻迟丑补 in the line of Bharata clearly states that 笔谤补蝉迟腻惫补苍腻 is called 膧尘耻办丑补. Cf.鈥�

苍补峁��� vid奴峁�ako 惫腻辫颈 辫腻谤颈辫腻谤艣惫颈办补 eva v膩/
蝉耻迟谤补诲丑腻谤别峁嘺 蝉补丑颈迟补岣� 蝉补峁僱腻辫补峁� yatra kuryate//
citrairv膩kyai岣� svak膩ryotthai岣� prastut膩k峁�ep墨bhirmitha岣�//
腻尘耻办丑补峁� tattu 惫颈箩帽别测补峁� n膩mn膩 prast膩van膩pi s膩//^[8]

In 惭耻诲谤腻谤腻办峁�a蝉补 at the beginning of the first act 迟补诲测腻惫补诲颈诲腻苍墨峁� 驳峁沨补峁� 驳补迟惫腻 g峁沨in墨m膩h奴ya g峁沨ajanena saha 蝉补峁単颈迟补办补尘补苍耻迟颈峁ａ弓丑腻尘颈 etc. are examples of 膧尘耻办丑补. In this drama the 厂奴迟谤补诲丑腻谤补 while conversing with his actress wife depicts the real subject of the drama.

In this way it is seen that the dramatist has used almost all the 惫峁泃迟颈s in his 惭耻诲谤腻谤腻办峁�a蝉补. This is a V墨ra - rasa dominant drama, therefore, the S膩tvat墨 has found more application whereas the usage of 艢峁涐箙驳腻谤补-rasa and 碍补颈艣颈办墨-惫峁泃迟颈 have been next to nil. Bh膩rat墨 is the function of the speech therefore its application is obvious. Again 膧rbhat墨 has also found its place in the play 惭耻诲谤腻谤腻办峁�a蝉补, as they are connected with Raudra and V墨bhatsa-rasa .

Footnotes and references:

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[1]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI.19 and 顿补艣补谤奴辫补办补, III.5

[2]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI.29

[3]:

Ibid., VI.30

[4]:

a峁単膩nyatronmukh墨k膩ra岣� pra艣a峁僺膩ta岣� prarocan膩/ Ibid

[5]:

惭耻诲谤腻谤腻办峁�a蝉补, p. 10

[6]:

Ibid

[7]:

Ibid., p.11

[8]:

厂腻丑颈迟测补诲补谤辫补峁嘺, VI.31-32