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The traditions of the language, attire and activity etc. of the character, according to time and place is called 辫谤补惫峁泃迟颈. Cf. 鈥�

de艣补bh膩峁Ｄ乲riy膩ve峁�alak峁�a峁嚹佱弗 syu岣� prav峁泃taya岣�/
lok膩dev膩vagamyait膩 yathaucitya峁� prayojayet//^[1]

笔谤补产惫峁泃迟颈, like 惫峁泃迟颈, is also a technical word, and like 惫峁泃迟颈 this is also connected to the activities of the actor. With the difference in the tradition of the land, the 狈腻测补办补鈥檚 character also differs in attire, language etc. and this very characteristic of a drama is the 辫谤补惫峁泃迟颈.

The difference between 惫峁泃迟颈 and 辫谤补惫峁泃迟颈 can also be clarified through the example that to make fun with words is an oral activity. It is included within Kai艣ik墨惫峁泃迟颈 whereas the decision as to which character will make fun in which language based on place, time and status will fall under 辫谤补惫峁泃迟颈.

While clarifying the nature of 辫谤补惫峁泃迟颈, Bharatamuni in his 狈腻峁瓂补艣腻蝉迟谤补 has stated鈥�

辫谤补惫峁泃迟颈riti kasm膩t? ucyate, prithivy膩峁� n膩n膩de艣补惫别艣补bh膩峁Ｄ乧膩rav膩rt膩岣� khy膩payat墨ti|^[2]

This means that the activity that reveals the attire, language, agriculture and nature in the various diverse lands of the universe is 辫谤补惫峁泃迟颈. A person from a particularly special country belonging to a particular category (varga) will behave similarly in dressing, speaking etc. with others of that category. In this form 辫谤补惫峁泃迟颈 can be considered as the behaviour of the entire category of that country. A composer acquires the knowledge of various language, attire etc. by coming in contact with the domain and essays his composition in that form.

顿丑补苍补帽箩补测补 has provided a detailed discussion of language related to 辫谤补惫峁泃迟颈. According to it one who is not of a lower status, therefore is a cultured person belonging to either higher or middle class, his language is Sanskrit.

The language of the women with self-control also is Sanskrit. In some cases, the language of queens, daughters of ministers and prostitutes may also be Sanskrit. Cf.鈥�

辫腻峁环测补峁� tu 蝉补峁僺办峁泃补峁� n峁涐箛膩man墨c膩n膩峁� k峁泃膩tman膩m/
濒颈峁単颈苍墨苍腻峁� mah膩devy膩 mantrij膩ve艣yayo岣� kvacit//^[3]

In this definition of 顿丑补苍补帽箩补测补 whether the word 办峁泃腻迟尘腻苍腻峁� has been used as adjective or independently needs consideration. If it is considered as independent then its intent will be that the one who is 办峁泃腻迟尘腻, his language will be Sanskrit. On the other hand if it is accepted as an adjective it can be considered as the adjective of 苍峁沶腻峁� or 濒颈峁単颈苍墨苍腻峁�. The intent of k峁泃膩tman膩峁� 濒颈峁単颈苍墨苍腻峁� is that the language of a lower class person with self-control (办峁泃腻迟尘腻) and is cultured, is Sanskrit. Sanskrit is not the language of one who is mad, ill-starred (grahagrasta) and poverty stricken. It is considered as the adjective of 濒颈峁単颈苍墨苍腻峁� also. Its intent then becomes that the language of those women who are self-controlled or 蝉补苍测腻蝉墨nis is Sanskrit. But women who are a beholder of 肠丑补诲尘补惫别艣补 cannot have their language as Sanskrit.

In addition to Sanskrit, 顿丑补苍补帽箩补测补 has also given a detailed account of which language is to be used among the 笔谤腻办峁泃补 languages in dramas. Cf.鈥�

str墨峁嚹佱箖 tu 笔谤腻办峁泃补 峁� 辫谤腻测补岣� 艣补urasenyadhame峁�u ca/
辫颈艣腻肠腻迟测补苍迟补苍墨肠腻诲补耻 辫补颈艣腻肠补峁� 尘腻驳补诲丑补峁� 迟补迟丑腻//
yadde艣补峁� n墨cap膩tra峁� yattadde艣补峁� tasya 产丑腻峁�i迟补峁�/
k腻谤测补ta艣cottam膩d墨n膩峁� k膩ryo bh膩峁Ｄ乿yatikrama岣�//^[4]

This means that the language of womenfolk is 笔谤腻办峁泃补 whereas those male characters who belong to the lower class their language is 艢补耻谤补蝉别苍墨. Those characters who are either 笔颈艣腻肠补 or those with extremely low personality belong respectively to 笔补颈艣腻肠墨 and 惭腻驳补诲丑墨 笔谤腻办峁泃补. The low characters speak the language of their respective lands. However, only in some cases like due to the nature of his job or duty, the characters of high class speak language which is an exception or deviation from his own.

In 惭耻诲谤腻谤腻办峁�a蝉补 the language that has been used are Sanskrit and 惭补丑腻谤腻峁ａ弓谤墨 along with 艢补耻谤补蝉别苍墨. In the drama the language of the characters belonging to the higher class like 搁腻办峁�a蝉补, 颁腻峁嘺办测补, Candragupta, Malayaketu, 厂奴迟谤补诲丑腻谤补 etc is Sanskrit. In 惭耻诲谤腻谤腻办峁�a蝉补 examples of changes in language can also be found due to attire (惫别艣补 惫颈苍测腻蝉补). 搁腻办峁�a蝉补鈥檚 spy Vir膩dhagupta in order to get the news of Kusumpura put on the attire of Ahitu峁囜笉ika. He has, in his soliloquy and when communicating with his master 搁腻办峁�a蝉补, used Sanskrit as his language. But while communicating with general public (loka) he used 笔谤腻办峁泃补 language. The other characters of the drama also use 笔谤腻办峁泃补 language only. Even Nipunaka, the spy of 颁腻峁嘺办测补, who disguises as the exhibitor of the Yampa峁璦 to acquire information has to converse in 笔谤腻办峁泃补. He however maintains his 笔谤腻办峁泃补 with his master too. This is perhaps to constantly maintain his disguised form much in contrast to the spy of 搁腻办峁�a蝉补 who rather prefers to express his origin by speaking Sanskrit. Therefore, 惭耻诲谤腻谤腻办峁�a蝉补 seems to be a deviation or an exception from the general principles of dramaturgy in the usage of language. Chandasnad膩sa is a 办峁泃腻迟尘腻, a person of highest quality. But against the principles of dramaturgy Chandasnad膩sa did not use Sanskrit as his language rather he used 笔谤腻办峁泃补. Again in this drama the womenfolk and the other lower class characters use either 惭补丑腻谤腻峁ａ弓谤墨 or 艢补耻谤补蝉别苍墨 笔谤腻办峁泃补. However, the dramatist has used 惭补丑腻谤腻峁ａ弓谤墨 in the poems whereas in the prose he used 艢补耻谤补蝉别苍墨 笔谤腻办峁泃补. 颁丑补峁囜笉腻濒补 is an extremely low-class character and in his speeches one finds 惭腻驳补诲丑墨 笔谤腻办峁泃补.

The following verses of 惭耻诲谤腻谤腻办峁�a蝉补 are the examples of the application of the 惭补丑腻谤腻峁ａ弓谤墨 笔谤腻办峁泃补 in the drama. Cf.鈥�

pa峁嘺maha jamassa cala峁噀 ki峁� kajja峁� devaehi a峁囜箛ehi峁� /
eso khu a峁囜箛abhatt膩峁嘺峁� harai j墨a峁� ca岣峚pha岣峚nta峁� // I.17
kamal膩峁嘺峁� ma峁嘺har膩峁嘺峁� vi r奴膩hi峁僼o visambadai 蝉墨濒补峁� /
sampu峁囜箛ama峁囜笉alammi vi j膩i峁� cande viruddh膩i峁� // I.19

Similarly, we can cite the following example from the first act as the application of the 艢补耻谤补蝉别苍墨 笔谤腻办峁泃补 in the drama鈥搒u峁嚹乨u ajja/
辫补岣峢补尘补峁� 诲腻惫补 ajjassa ripupakkhe baddhapakkhav膩do khavan膩oi.^[5]

The dramatist has given an exemplary evidence of the combined use of 艢补耻谤补蝉别苍墨 and 惭补丑腻谤腻峁ａ弓谤墨 笔谤腻办峁泃补 in the following verse鈥�

Cf.鈥�

purisassa j墨vidavva峁� visam膩do hoi bhattigahi膩do/
m膩rei sabbaloa峁� jo te峁嘺 jame峁嘺 j墨膩mo//^[6]

We can find the evidence of 艢补耻谤补蝉别苍墨 as well as 惭补丑腻谤腻峁ａ弓谤墨 in this verse through the use of 鈥榙a鈥� in lieu of 鈥榯a鈥� as this is found only in case of 艢补耻谤补蝉别苍墨. In j墨vidavva峁� visam膩do etc. instead of using 鈥榯a鈥� the 鈥榙a鈥� has been used.

In the 7^th act of the play 惭耻诲谤腻谤腻办峁�a蝉补, through the speeches of the extremely low-class character 颁丑补峁囜笉腻濒补 one finds the use of 惭腻驳补诲丑墨 as follows鈥�

ajja chandas峁嘺d膩sa 峁噄kh膩de 艣耻濒别 t膩 sajjo hohi//^[7]

Here in this example, in 艣耻濒别 the use of 迟腻濒补惫测补 艣补 is found. Moreover, for 辫谤补迟丑补尘腻 eka vacana the dramatist has not used the 鈥渙鈥� but 鈥渆鈥� instead.

Therefore, in 惭耻诲谤腻谤腻办峁�a蝉补 based on the class of the characters, the dramatist has made use of language variations.

In the purview of 辫谤补惫峁泃迟颈, one also finds the importance of the mode of address based on the class of the character.

The mode of address for one character to another character is clearly stated by 顿丑补苍补帽箩补测补 in his Da艣补r奴paka鈥�

cf. bhagavanto varairv膩cy膩 vidvaddevar峁�ili峁単ina岣�/
vipr膩m膩ty膩graj膩艣c膩ry膩 苍补峁�墨s奴trabh峁泃au mitha岣�//
谤补迟丑墨 s奴tena c膩yu峁�m膩n p奴jyai岣� 艣i峁�y膩tmaj膩nuj膩岣�/
vatseti 迟腻迟补岣� p奴jyo鈥檖i sug峁沨墨t膩bhidhastu tai岣�//
bh膩vo鈥檔ugena s奴tr墨 ca m膩r峁�etyetena so鈥檖i ca/
诲别惫补岣� sv膩m墨ti n峁沺atirbh峁泃yairbha峁�峁璭ti c膩dhamai岣�//^[8]

It means top-class character 惫颈诲惫腻苍补 (erudite), deva (god), 峁涐梗颈 (sage), 蝉补苍测腻蝉墨 (wandering mandicent) etc. are addressed as bhagavan, whereas br膩hmana, 补尘腻迟测补 (minister) and elder brother as 腻谤测补. Similarly, the 苍补峁��� and 蝉奴迟谤补诲丑腻谤补 mutually address each other as 腻谤测补. Other examples of such befitting honorary addresses are the one like 腻测耻峁�m补苍 used by the charioteer for its master whereas addresses signifying love like vatsa are used by teachers or elders for his pupils, sons and younger brothers. While the Youngers addresse the elders or respected ones as 迟腻迟补 or 蝉耻驳峁沨颈迟补苍腻尘补, the 辫腻谤颈辫腻谤艣惫颈办补 addresses 蝉奴迟谤补诲丑腻谤补 as 产丑腻惫补, 蝉奴迟谤补诲丑腻谤补 addresses the 辫腻谤颈辫腻谤艣惫颈办补 back as 尘腻谤峁�a. Similarly, sevaka (attendents) refers their master i.e. the kings as deva or 蝉飞腻尘墨, while characters lower in class are addressed as 产丑补峁�峁�补.

In the drama, different addresses apt with their respective characters of different class have been included beautifully by the dramatist.

In 惭耻诲谤腻谤腻办峁�a蝉补, Candragupta, Cara, 厂颈诲诲丑腻谤迟丑补办补, 笔谤补迟墨丑腻谤墨 etc. for 颁腻峁嘺办测补, Malayaketu etc. for 搁腻办峁�a蝉补, 苍补峁��� (actors) for 厂奴迟谤补诲丑腻谤补 and 厂奴迟谤补诲丑腻谤补 for 苍补峁���, 搁腻办峁�a蝉补 for 碍补帽肠耻办墨, Priyamvadaka for Ahitu峁囜笉ika, 碍耻峁璾尘产颈苍墨 for Candanad膩sa and Candanad膩sa for 碍耻峁璾尘产颈苍墨 uses the address 腻谤测补. In the same fashion, 颁腻峁嘺办测补 addresses his disciple as vatsa, and son of Candand膩sa uses to address Candand膩sa as 迟腻迟补. The dramatist has been very adept in judiciously choosing the correct addresses befitting the relationship between the characters and their classes. A very interesting address used here is 惫峁涐梗补濒补, denoting love and affection, used by 颁腻峁嘺办测补 for Candragupta as latter was a favourite disciple of the former.

In this way depending upon the character the dramatist has been successful in incorporating all the appropriate character-specific languages and addresses according to the natures of a 苍腻峁璦办补 (n膩峁瓂a辫谤补惫峁泃迟颈).

Footnotes and references:

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[1]:

Da艣补r奴paka, II.63

[2]:

狈腻峁瓂补艣腻蝉迟谤补, XIII.38 (prose)

[3]:

Da艣补r奴paka, II.64

[4]:

Ibid., II.65-66

[5]:

惭耻诲谤腻谤腻办峁�a蝉补, p.52

[6]:

惭耻诲谤腻谤腻办峁�a蝉补, I.18

[7]:

Ibid., VII.p. 453

[8]:

Da艣补r奴paka, II. 67-69