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惭腻驳丑补 is well versed in 狈腻峁瓂补艣腻蝉迟谤补. In Sanskrit literature 苍腻峁瓂补 is the mimicry of actions of gods, sages, kings and house holders.

This is called 尝辞办补惫峁泃迟补. In this context Macdonel said鈥�

鈥淭he words for actor (nata) and play (苍腻迟补办补) are derived from the verb nat, the prakrit or vernacular form of the Sanskrit n峁泃鈥�, 鈥渢o dance鈥�. The name is familiar to English ears in the form of nautch. The Indian dancing the present day. The latter indeed probably represent the beginnings of the Indian drama鈥�.^[1]

It is said in the first chapter of 狈腻迟测补艣腻蝉迟谤补 about the origin of drama鈥�

鈥渏agr膩ha p膩峁瓂am峁沢ved膩t s膩mabhyog墨tameva ca |
yajurved膩dabhinay膩n rasam膩tharva峁嚹乨api鈥� || 1.17 ||^[2]

In the V膩jasaney墨 sa峁僪it膩 and the 罢补颈迟迟颈谤墨测补 产谤腻丑尘补峁嘺 艣补颈濒奴峁�a is used as a technical term in the 狈腻迟测补艣腻蝉迟谤补. In the 础峁ａ弓腻诲丑测腻测墨 of P膩nini 艣颈濒腻濒颈 and 办峁浥浤伵泇补 are mentioned (笔补峁噄苍颈, 4/3/110-111) Following dramaturgy (狈腻迟测补艣腻蝉迟谤补) poet 惭腻驳丑补 composed his epic.

He described the five sandhis of drama in the fortyforth verse of twentieth canto.

鈥渄aghatastanim膩nam膩nup奴rcy膩 vabhurak峁�i艣ravasomukhe 惫颈艣腻濒腻岣� |
bharataj帽膩kavipra峁嚹玹a k膩vyagrathit膩峁卥膩 iva n膩峁璦kaprapa帽c膩岣� ||鈥� 20.44 ||^[3]

In the 顿补艣补谤奴辫补办补 (3/30) it is said about the characteristics of 补峁卥补.

鈥减谤补迟测补办峁�a峁噀迟峁沜补谤颈迟辞 vindu 惫测腻辫迟颈 purask峁泃a岣� |
a峁卥o nam膩n膩prak膩r膩rtha s膩峁僾idh膩naras膩艣raya岣� ||鈥� 3.30-31 ||^[4]

In this book (1/24) characteristics of sandhis are related:

尘耻办丑补峁� pratimukhe 驳补谤产丑补岣� s膩vamar艣opasa峁僪峁泃i岣� | 1.23 |^[5]

In the above mentioned verse of the 艢颈艣耻辫腻濒补惫补诲丑补 (20/44)

Mukhasandhi and other sandhis are discussed.

In the context of comparison between drama and sacrificial ceremony, the poet discussed about various aspects of the 狈腻迟测补艣腻蝉迟谤补 in his epic. (14.50).

鈥渟v膩dayan rasamanekasa峁僺k峁泃a pr膩k峁泃airak峁泃apatras补峁卥补rai岣� |
bhava艣uddhi sahitairmuda峁� jano n膩峁璦kairiva vabh膩ra bhojanai岣� ||鈥�

To discuss various aspects of drama, poet 惭腻驳丑补 said that Sanskrit and 笔谤腻办峁泃 language would be used by actors and actress.

Use of four types of language are seen in 狈腻迟测补艣腻蝉迟谤补; (狈腻迟测补艣腻蝉迟谤补, 17/25-26).

1. 础迟颈产丑腻峁Ｄ�,
2. 膧谤测补产丑腻峁Ｄ�,
3. 闯腻迟颈产丑腻峁Ｄ�,
4. 闯腻迟测补苍迟补谤墨产丑腻峁Ｄ�.

By the word 产丑腻惫补 (mood) 惭补濒濒颈苍腻迟丑补 meant permanent 产丑腻惫补 (mood). He quoted a verse about its characteristics.

鈥渟aj膩t墨yairvij膩t墨yairatirask峁泃am奴rtim膩n |
测腻惫补诲谤补蝉补峁� 惫补谤迟补尘腻苍补岣� sthay墨产丑腻惫补 耻诲腻丑峁泃补岣� ||鈥� (commemtary of the 艢颈艣耻辫腻濒补惫补诲丑补 14/50)^[6]

惭腻驳丑补 has used the word 辫耻谤惫补谤补峁単补鈥�

鈥渂havadgir膩mavasaraprad膩n膩ya vac膩峁僺i na岣� |
辫奴谤惫补谤补峁単补prasa峁単膩ya n膩峁璦k墨yasya vastuna岣モ�� || 2.8 ||^[7]

笔奴谤惫补谤补峁単补 is called 辫谤补蝉迟腻惫补苍腻. It is said about 辫奴谤惫补谤补峁単补 in the 厂腻丑颈迟测补诲补谤辫补峁嘺 (s膩hityadarpa峁嘺) |

鈥渢补迟谤补 辫奴谤惫补峁� 辫奴谤惫补谤补峁単补岣� 蝉补产丑腻辫耻箩腻 迟补迟补岣� param |
办补迟丑补苍补峁� kavisa峁僯帽膩dern膩峁璦kasy膩pyath膩mukham ||鈥� 6.21 ||^[8]

Poet 惭腻驳丑补 mentioned the actor and actress of drama as 艣补颈濒奴峁�a.

This is found in the sixtyninth verse of the first canto.

鈥渁thopapatti峁� chalan膩paro'par膩mav膩pya 艣补颈濒奴峁�a ivai峁�a bh奴mik膩ma |
tirohitak膩tm膩 艣i艣up膩lasa峁僯hay膩 prat墨yate samprati 蝉辞'辫测补蝉补岣� 辫补谤补颈岣� ||鈥� 1.69 ||^[9]

Footnotes and references:

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[1]:

A. A, Macdonel: A History of Sanskrit literature, p. 292.

[2]:

Suresh Chandra Bandyopadhaya: 狈腻迟测补艣腻蝉迟谤补, p. 3.

[3]:

Haridasa Siddhantavagisha: Op.cit., p. 853.

[4]:

Sitanath Acharya & Debkumar Das: 顿补艣补谤奴辫补办补, p. 282.

[5]:

ibid., p.37.

[6]:

Haridasa Siddhantavagisha: Op.cit., p. 575.

[7]:

ibid., p.49.

[8]:

Bimalakanta Mukhopadhaya: Op.cit., p. 336.

[9]:

Haridasa Siddhantavagisha: Op.cit., p.40.