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  • A Descriptive Catalogue of The Sanskrit Manuscripts 1931 Vol. VI Vyakarana - Royal Asiatic Society MM Haraprasada Shastri - Part2

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    A Descriptive Catalogue of The Sanskrit Manuscripts 1931 Vol. VI Vyakarana - Royal Asiatic Society MM Haraprasada Shastri - Part2

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    PREFACE. celxvii cular in their marriage in equally respectable families. They lived at Ketu-grima, four miles to the west of Uddharana-pura on the Ganges. The MS. of Gana- martanda is dated 1806 A.D. A: group to which Candi-dasa belonged i, the endogamous is given, and as we stra) that such groups were formed at an assembly in 1482 in which know from Brahmanie heraldry (IKula- Candi-dasa must have been represented, the period of his literary activity should go to the middle of the 5th century or carl So he is not the younger brother of the grandfather of Vi8va-natha as Dr. De says, for Vi8va-natha was an Oriya. Artha-prakagika or Karikartha-prakasika by Raghu- deva (4818) appears to be a very late production, because the author thinks that the are by Bharata and not by Mamm: and he appears to have commented upon the Karikas only. (Bharata nana sambhata-karikartha-prakasika.) Raghu-deva’s Artha- prakiiila. Jayanta Bhatta was perhaps one of the earliest A commentators of the Ka -pra- oe Shatioon’ kage. Tt is calledethe. Kavya prakaga-dipika. The author gives his date as 1294 A.D. He describes himself as Sri- purohita. Sir R. G. Bhandarkar in P. 17 of his Report for 1883-84, says, from the MS. before him.—*‘ Jayanta calls himself the purohita and was the son of Bharad- vaja who was purohita or family priest to the minister of Saranga-deva, sovereign of Gujarata. He finished his work on Sunday on the 3rd of the dark fortnight of Jyaistha in the Samvat year 1350, in the triumph- ant reign of Saranga-deva the Maharajadhiraja while eclxviii PREFACE. his victorious army was encamped near a-palli, Jayanta bestows extravagant praise on his father; and tells us that the King of Gujarata threw himself prostrate at his feet.” Jayanta’s commentary, however, underwent a curious transformation in the hands of Ratna-kantha. ntha, a late commentator, who says,— “ Jayanti-mukhya-tikabhyah saram uddhrtya yatnena | Nirmito Ratna-kanthena Tika-sira-samuccayah > So the recast of Jayanta’s commentary is called Tika- sara-samuccaya. : Kavya-prakasa-nidarsana by Rajinaka Ananda (our se Catal. No. 4820.) is also called Siti- eee Kkantha-vibodhana, because the pais author himself, a Saiva of Kasmira, thinks that Kavya-prakaga has an inner meaning relating to Siti-kantha or Siva. His date is 1665 A.D. Stein says, (Jammu Catal, p. 27) «Ananda who composed his commentary in 1665 AD is still well remembered in the tradition of Kasmirian ‘panditas as a contemporary and friend of Rajanaka Ratna-kantha”’ who flourished about this time, k Kavya-pradipa is by Mahamahopadhyaya Govinda, ; a Pandita of Mithila, son of Kegava pene cee BY, and Sonodevi, younger and affec- tionate brother of Ruci-kara and the elder brother of a Sri-harsa, a poet. Ruci-kara seems to be a step-brother of Govinda, because Govinda says that he himself is the first son of his mother, He is later than Vigva-natha whose definition of kavya he PREFACE. eclxix @iticises, and is earlier than Prabha-kara who quotes him in his Rasa-pradipa written in 1583 A.D. (See our Catal, Nos. 4823-4826.) This commentary has two sub- commentaries ;—one is by Nagoji Bhatta entitled Udyota (Catal. Nos. 482728), and another by Vaidya- natha Tat-sat, son of Rama Bhatta and is entitled Prabha. (See our Catal. Nos. 4729 and 4780.) This Vaidya-nitha is not the same as Vaidya-nitha Payagunde. The Tat-sats were the gurus of the last dynasty of Vidya-nagara, while the Payagundes were one of the six Deccan Brahmin families settled at Benares. Kavya-prakaSa-vistarika by Paramananda Cakravartt is another commentary on Kavya- 8 The latest authority he cites is Visva-natha, the author of Sahitya-darpana who spe: of Ala-ud-din Knhilji as one with whom peace or war was equally ruinous. Therefore, Visva-natha comes after Ala-ud-din, i.¢., in the middle of the 14th century. Paramananda comes before Kamala- kara in the beginning of the 17th century who cites from his work. But this long period of 250 years may be reduced by the fact that Paramananda was a Bengali Naiyayika and the pupil of [sana Nyayacarya who never admitted the truth of his opponents, and that the study of Nyaya was introduced in Bengal by two learned scholars,— Vasu-deva Sarva-bhauma and Raghu-natha ro-mani,— both disciples of Paksa-dhara Misra of Mithila in the beginning of the 16th century. Ravya-prakisa-vistarika by Paramananda. Kamala-kara was the son of Bhatta Ramesvara and grandson of Narayana Bhatta Kavyeprakase-prakise who obtained from Akbar the title by Kamala kara. of Jagad-guru, and great grandson of celxx PREFACE Ramesvara who migrated from Paithana on the Goda-vari to Benares, and who was the last of a long line of panditas in the Maharastra country. Kamalakara flourished in the early 17th century, and he was a voluminous writer on Smrti and Mimamsa. He undertook the writing of a commentary on Kavya-prak because he had something new to say. (See our Catal. No. 4833.) 3 This is another commentary on Kay ‘a-prak: Gada-dhara whose comment, G : on Siromani’s Tattva-cinta-mani-didhiti is one of the standard works tika by ‘4, ‘ on Nyaya in Bengal. Gada-dhara in this commentary jg described as Bhattacarya-cakravarti. He got no academic title from his guru, because an accident prevented his comple- tion of studies, which alone entitled him to such a distine- tion. He was, therefore, known by the ordinary. titles of a pandita, viz., Bhattacarya and Cakravarti, He ae the pupil of Hari-rama Tarkalankara and flourished in the beginning of the 18th century. Hig descendants are still living at Nava-dvipa. (See our Catal, Nos. 4834— 4836.) Gada-dhara after writing many works on the abstruse subject of Nyaya wrote this commentary on alamkara to satisfy the curiosity of his contemporaries, Subuddhi Misra calls himself a Mahe8vara, because perhaps he was a worshipper of Tattva-pariksa by MaheSvara or Siva. He says that in Mahesvara Subuddhi ti ap dae ae Misra: (Catal. No. 4899, Commenting upon °Prakaga, Dipika, . and others are useless. Seeing that even °“Darpana and others do not function, Subuddhi to put a stop to all cavilling criticisms, examines the real truth of all words and their meanings. His work is named Tattva-pariksa, or more fully, Sabdartha-tattya- PREFACE. ceclxxi pariksa. As he is quoted by Ratna-kantha, he seems to be earlier than the middle of the 17th century. Mahe’vara Nydyalankara w. commentary was a standard work in Bengal for more than a century. It is still studied in the tols of Bengal. The commentary is called Kavya-prakasadarsa or Kavya- prakaga-bhavartha-cinta-mani (Catal. No. 4840, 4841). The author complains of the wrong interpretation of the a Bengali and his MaheSvare Nytya lanka. text which he wants to make right and thereby open the bolt of the door of Poetry. He expects that it will give delight to Brahmanas and will be accepted for its clearness, Dr. S. K. De says, “As he is cited by Vaidya- nitha, he should be placed before the middle of the Vith century, and it is probable that he flourished at There were two t: but both agunde was the commencement of that century.” Vaidya-nathas, the Payagunde and the Tat-s of them flourished in the 18th century. Pay the pupil of Nagesa. Tat-sat composed our Catal. No. 4844 in Saka 1740, i.c., 1818 A.D. Mahe8vara, therefore. 18 to come in the 18th century. Our next No. 4842 by 8 na cites Nyayalankira who was his guru. He : thinks that Mammata is the author of the vrtti; because he says, Mam- mata explains the two Mimamsaka opinions but does not cite the Naiyayika opinion. (Mammata-bhattas tu vrtti- karta ityaha. Yuktas caitat, anyatha vivecana-prasaiga- karikayam Maha-bhasya-Mimamsaka-mata-dvayam eva darsitam na tu Naiyayika-matam. Leaf 3A.) ° Though there is not much force in this argument, it is cited here to show that modern Bengalis consider Mammata as the author of the vrttis only. The name of Sri-krsna’s commentary is Rasa-prakasa. Sri-kr: a. cclxxii PREFACE. ' Vaidya-natha Tat-sat’s commentary is called Kavya- prakasa-sodaharana-candrika. It was — Vaidya-natha. Ra. Z composed in “ viyad-veda-muni-ksma- mite abde”, i.e., in Saka 1740. _He was the son of Rama- bhatta and grandson of Vittala-bhatta. Rama-krsna’s Kavi-nandika is another commentary on Kavya-prakasa which dispels the doubts of lovers of poetry, deprives the arguments of the opponents of their force and_ delights the wise people. Rama-krsna. Sri-vatsa-lafichana calls himself a Bhattacarya, His _ father’s name is Visnu Bhattacarya. hi His commentary is called Sara- bodhini. He is cited by Ratna-Kantha in the middle of the 17th century and he cites from Vidya-natha’s — Pratapa-rudriya (our 4847). Besides this commentary Sri-vatsa-lafichana seems to have written an original work on rhetoric entitled Kavya-pariksa in 5 chapters with a commentary of his own (See 1.0. Catal, 1188). In this work he seems to follow Jagan-natha Pandita-raja 3 who says that sabda is the only thing to be considered in the definition of Kavya. The author is perhaps known also by the name of Jada-bharata. eer Sri-vatsa-lafichana. Kavya-prakasa-darsanam, divided into Udyotas is our No. 4448, T and II. It ig written in Kasmiri. It is a long work, but the MS. is fragmentary and the author’s name is not found. An anonymous KASmiri commentary. Kavyamrta-tarangini is our Catal. No. 4849. It is a hostile criticism on Mammata’s Kavya-prakaga. It would have been a very interesting work, but our MS. is fragmentary. Kavyamrta-tareagint. ra PREFACE. eclxniii Besides these commentaries mentioned in our Catal- are to be found in other Catalogues :— In 1.0. 1139 we find a commentary named Bala- cittanuranjini by Sarasvati-tirtha at Benares who as a householder was known as Nara-hari, son of Malli- Bala-cittinuradjini. (1.0. 1139.) natha and Nagamma. His grandfather was Nara-simha, son of RameSvara. Narahari’s brother was Narayana who was born in Sa-vasu-graha-hastena Brahmana samalankrte Kale, As he lived in the Andhra country where the Vikrama Samvat is current, the date seems to refer to Samvat 1298=1242 A.D. Nara-hari was proficient in Tarka, Vedanta, Mimamsa, Samkhya, Sahitya, and Maha- bhagya. He is said to have written commentaries on Megha-dita and Kumara-sambhava, and a Smrti work named Smrti-darpana, and a Nyaya work entitled Tarka- ratna with its commentary Dipika. As the author was nearer in time to Mammata, his commentary may be tegarded as historically reliable. Kavya-prakisa-tilaka by Jayarama Nyaya-paiicanana is a philosophical treatise on Kavya- prakasa. It was written in the abstruse and difficult language of modern Naiyayikas of Bengal. The author was a prolific Writer of modern Nyaya. He wrote a commentary on Gotama’s siitras entitled Nyaya-siddhanta-mala to estab- lish the fourfold proofs,—perception, inference, analogy. and authority,—in Samvat 1750=1694 A.D. He is to be differentiated from Jaya-rama Tarkalankara, a pupil of Gada-dhara. . He has a set colophon for all his comment- aries and the same colophon is given in his “Tilaka. The colophon in his Vyakhya-sudha is :-— Kavya-prakaga-tilaka. (Lo. 1142.) oclxxiv PREFACE. Dhira-sri-Jaya-Ramena Rameneva mahodadheh ! Nyaya-sindhoh-param param gantum adhyva nivadhyate!! | In the °Tilaka, it is :— Vaddhah Sri-Jaya-ramena Rameneva mahodadheh ! Alankarambudhau setuh saficarantu budha sukham ! See pp. 90, 91 of Nava-dvipa-mahima by Kanti-candra _ Radhi. Kanti was the daughter’s son of the agent of the Raja Krsna-nagara at Nava-dvipa in the 19th century. He says, that from Jaya-rama’s time the Rajas of Kysnae nagava took the panditas of Nava-dvipa under thea patronage and granted lands for the support of their families and students. The lands have now been resumed by the British Government which pays a handsome sum for the subsistence allowance of the Sanskrit students at Nava-dvipa. \ Kavya-prakasa-vyakhya was written by Yajiiesvara, the sacrificer. At the end, the com- Kavya prakate-vyakhy®. mentator says that the ce (Mad. 12321.) could peda che. work; somebody else completed it. But the style of writing is such that none can distinguish between them, Kavya-prakasa-lila is another commentary by M, M. . Bhava-deva, son of Krsna-deva, and Kewga-prekateti pupil of Bhava-deva Thakkura, ‘The commentator says that though there are many other commentaries of the Kavya-prakisa, his commentary has nothing to do with them. Madhu-mati is by Ravi whose father Ratna-pani also wrote a commentary on Kavya- prakasa entitled Kavya-darpana and whose grandfather Acynta wags a@ Madhu-mati and Kavya- darpana. (1.0, 1144.) PREFACE, eclxxv minister of Raja simha of Mithila, the patron of Vidya- pati in the early years of the 15th century. The literary activity of Mithila was at its height throughout that century. If Acynta be a minister of Siva-simha, say about 1410, Ratna-pani would come at the middle and Ravi at the end of that century. Ravi says that his Madhu-mati is only a reflection in the Mirror of Poetry of his father (P. 333 of Peterson’s 3rd Report). Ravi cites Bhaskara, ya-pra He names the commentary as Madhu-mati after the name of his daughter, and at the end prays for the reputation of both. another commentator of the Ka Sampradaya-pradarsini or Vrhat-tika is by Vidya Cakravartin who says that good men neglected the study of Kavya-prakasa and Alankara-sarvasva and so he is wtiting this commentary for reviving the study of both the _ works, Sampradaya-pradarsini (Mad. 12826.) Rohitya Bhatja Gopala wrote a commentary on the Kavya-prakaga entitled Sahitya-cida Sthitya-cidd-mani or s a Kaen ie ™MAni or Kavya-prakasa-vimarsini. vya-prakaéa-vimargini |” : : (Mad. 12828.) The work has been described in the Triennial Catalogue of MSS. in R. 1282, Vol. Il, Part I-A. The writer there says that as the value of gold is judgod by the line it imprints on the test-stone, _ 80 the Kavya is judged here by means of dhvani. ALAMKARA-SARVASVA BY RucaKa, The story of the discovery of Rucaka’s work by etd Regi Bithler in his Kasmira Report in ucala and his disciple ‘ Moikhuke or Maalha, 1878 reads like a romance. There are Samudra-vandha—acom- two theories about the authorship of pea Jayarathe, © the work, The Kasmirians say that second eommentator. . both the sitras and the vrtti are by eclxxvi PREFACE. Rucaka himself. But in Southern India, the sttras are attributed to Rucaka and the vritti to his dis Mankhuka or Mankha. The siitras are called the Alamkara-sttra and the commentary, Alamkara-sarvasya, The Trivendrum edition is accompanied with the com, mentary of Samudra-vandha. Samudra-vandha was an ornament of the court of Ravi-varma alias Sam grama. dhira, King of Kolamba (Quilon) in Trivancore, who Wag born in 1265 and conquered the countries as fap as Conjevaram. The Kavya-mali edition is, accompanied with the commentary of Jaya-ratha, son of Srngara, and a protegé of Raja-raja, king of Kasmira, who is sup. posed to be the Raja-deva mentioned by Yona-raja a reigning from 1203 to 1226. Rucaka’s date is regarded to be in the beginning — of the 12th century. Hig pupil Mankhuka or Mankha, wrote a woul named Sri-kantha-carita about 1145 ALD. Rucaka has quoted six verses from his pupil work. Bueaka’s date. Rucaka’s work deals with alamkaras only. At the Rueaka and Kuntala, Commencement of his work, Rucaka — Rueake and Mahime- discusses the various theories of bhatta, Kavya and accepts the prevailing theory of dhvani. As a writer on alamkarag only, he has made a full statement of Kuntala’s theory of “Vale rokti being the characteristic of all figures of speech. Kuntala not admitting vyaiga or dhvani, thinks that “abhidha-prakara-visesih eva alamkarah”. He gives ) the idea of Mahima-bhatta in the following words:— | “Yat tu Vyakti-viveka-kéro vacyasya pratiyamanam prati lingataya vyatijanasyanumanantarbhavam akhyat, tad vacyasya pratiyamanena saha tadatmya tadutpat- PREFA eelxxvii tyabhavad aviciritabhidhanam.” (Triv. Sans. Series, No. XL, P. 11 ff.) The author, though he accepts the theory of Kavya as given by the Dhvani-lkara, accepts also the theory of Kuntala in the matter of fi Tejects many figures and has not included, like Kuntala, the yastu-dhvani, rasa-dhyani, and alamkara-dhvani among figures of speech, ares of speech and therefore JAYA-RATHA, Alamkarodiharanam (4852) gives the illustrations of Alamkara sitras for the benefit of young learners. Jaya-ratha (in the catalogue, the name is written Jayad-ratha) had a grandson who, though very young, was very anxious to learn rhetoric; therefore he undertook to give the child “the decided opinions about all alamkaras. The author Says that his is an exhaustive work on rhetoric. He had a work, named Alamka: ‘a-vimarsini, which was a com- mentary on Rucaka’s Alamkara-sarvasva. About him Bithler says, “This pandita (Jaya-ratha) was a son of Snigara and the author of Tantraloka-viveka, In the concluding verses of that work we are told that Srngara had two sons, Jaya-ratha and Jayad-ratha, the former of whom wrote the °Viveka. The MSS. frequently va- cillate between the two names.” (Kasmira Report, P. 68.) Biihler says that he certainly wrote at the end of the 12th century. Alatikérodiharanam, Hima-canpra. Hema-candra’s time, life, and ancestry have been previously given. He was patron- ized by Siddha-raja Jaya-simha of the Calakya dynasty of Gujarat, and he converted Hema candra’s age. eolxxviii PREFACE. the next king, Kumara-pala, into the Jaina faith, Hi persecuted the Brahmins and destroyed the Vaisnava doctrine. He was a volumnious writer, not only on Jainism but also on many branches of Sanskrit literature. He had a great command of books and his w orks, there- fore, have an encyclopedic character. His work on alamkara is called -Kavyanu-Sasana which has a mentary by himself called Alamkara-ct com- da-mani. Basing his work on Kavya-prakasa he has laid under contribution ‘a very large number of rhetoricians who had preceded him. He has little originality, but his compilation is yeu valuable owing to numerous citations, VAGBHATALAMKARA, Vagbhata is a Jaina author. He opens his work with an invocation to Nabheya-jina and many of his illustrations are from Jaina works (III. 9). His description of Kavya is comprehensive. It embraces Sabda, artha (words and their import), excellences, figures of speech, riti, and rasa. He flourished (IV. 45) in the reign of Jaya- simha, 7#.¢., Siddha-raja Jaya-simha, (1094-1143 A.D.) whose capital was Anahila-pataka (IV. 132), Vagbhata seems to have been a Mahamatya of Jaya-simha; for Simha-deva-gani, Vagbhata’s commentator, says go in his note on IV, 148. Vagbhata like Rudrata treats of guna (excellences), dosa (defects), and Alamkara (figures — of speech) in the first five chapters and then introduces rasa as the salt of poetry (V. 1). He does not, therefore, consider rasa as essential like Bharata, but only as ad- } ding taste and flavour to it. The ritis he treats at the end of the 5th chapter on rasa, as something supplement- ary to and as enhancing the enjoyment of, ‘rasa. ‘Vag-bhata’s age. q PREFACE. cclxxix There is very little of originality in Vagbhata. All ‘important Karikas in his work can be either identified with those in others, or they are slightly variant. In Vagbhata’s opinion, languages are four, viz., San- skrit, Prakrit, Apabhramsa, and Bhita-bhasi. The Apa- bhramgas are many, current in different parts of India. He considers Citra and Vakrokti as verbal figures of _ Speech. In a Prakvit verse given as an example of the figure prasnottara, the writer says that Bahada (Prakrit form of Vag-bhata) _ was the son of Soma like the effulgence issuing from the pearls. The elements of Kavya are dosa, guna, alamkara, Titi, and rasa. The first chapter treats of the training of Poets; the second chapter treats of dosa. The third chapter treats of the gunas, and the fourth and the largest chapter of alamkaras and the fifth treats of rasa, and the sixth, of ritis which are six in number,—Lati, Paficali, Gaudi, Bacchomi, Vaidarbhi, and Magadhi. (Our Catal. Nos. 4791-92). Vag-bhatalamkara, This Jaina work on rhetoric has been annotated by two commentators. The first is Bhatta Ganesa, son of Ananta and disciple of Bhaskara (I.0. 1155). This com- Maentator is a Hindu and commences his commentary _ with an invocation to Rama. I believe as a Hindu he feels a bit constrained to comment upon a Jaina work; for he says—‘ Vag-bhatalankrti-vyakhyam kartum kifcin niyantritah’’?. The other commentary is by Jina- _ vardhana, son of Jina-raja of the Khara-tara-gaccha. He wrote between the years 1404 and 1418 A.D. (1.0. 1156). This is a shorb commentary for the benefit of young learners. eclxxx PREFACE. Vac-BHata IT. Kavyanusasana or Alamkara-tilaka by Vag-bhata, son of Nemi-kumara and Vasundhara is founded on the same plan and travels over the same ground as Kavyalankara by Vag-bhata I. The °Alamkara is written in slokas while the °AnuSadsana is written in terse prose depending on the commentary for the full development of particulars. ‘WKavyanusasana or Al- amkara-tilaka, (1.0. 1157.) This is the first work in which we hear some of the minor kinds of dramas, @. g., saltaka, dombika, bhana, prasthana-bhanika, prera é aka, rama-krida, ete wi-gadita, and rasaka-gosthi. The author speaks of Malas kavyas; Raghu-vamsa in Sanskrit divided into sargas, Setu-vandha in Prakrit divided into as asakas; Abdhi- mathana in Apabhramsa bhasa divided into sanahiiae Bhima-kavya in the Gramya bhasi divided into aves kandhakas. The author was a native of Rahada-pura, famena as the shrine of the god Rahada, where there is an image of Nemi-natha in black stone, Eggeling seems to take the authors of the Kavya- lamkara and KavyanuSisana as one and the same person. NArya-pDARPANA BY RAMA-CANDRA AND Guya-canpRA. Natya-darpana is a work on dramaturgy by Rama- candra and Guna-candra, both dis- ciples of Hema-candra, the famous Jaina writer. Rama-candra seems to have been @ favourite of Hema-candra, as he de- cong Suthoms Rama; | signed him as his successor, But Ajaya-pala, the successor of Kumara- Natya-darpana. se actin aan llitiaiaieaa tatatt <1 PREFACE, eclxxxi A pala made Rama-candra stand on a red-hot sheet of copper and thus put him to death. Rama-candra is said to have written a hundred books of which many were dramas. Eleven of his own dramas are quoted in his Natya-darpana. Nala-vilasa, one of his dramas, has been printed in the Gaekwad Oriental Series. Guna-candra does not seem to have helped him in writing these works ; he helped him in writing serious work like the Natya- darpana. The authors seem to have fully utilised the materials existing at their time. But they pe more ef boldly differed on many points from them. The number of riipakas is given by Bharata, Dhanaiijaya, and others as ten,—with natika a8 an extra one in DaSa-riipaka, and Hema-candra added a twelfth as sattaka. But our authors omit saffaka and put in prakarant there. They declare that the other forms of dramas besides these are negligible, because they do not help in the development of rasa. Tn the matter of rasas early writers like Dandin, Bhamaha, and Vamana do not touch upon them and the Connected subject of dramas. Bharata says they are eight in dramas. Abhinava-gupta adds Santa to it. Mammata omits Santa in the drama but inserts it in the kavya. He says, as there is no action in the Santa it cannot be a dramatic rasa. Our authors believe in the 9 rasas and they also believe that Santa can be developed in a drama. Abhinava-gupta, Mammata, and even, Hema-candra. think that rasas produce pleasure only ;—pleasure in a detached form, as the pleasure of knowing Brahman. eclxxxii PREFACE. But Rama-candra and Guna-candra think that the produce the feelings of both pleasure and pain. Bui why should people go to see a drama which produces a feeling of pain? Rama-candra answers,—‘‘ Owing to the skill of the poet and the actors.” ' The Natya-darpana is written “in the form of karilea to which the authors add a co : mentary which they call SvOpajtia, 7. original. The first chapter describes nataka: the secon chapter describes the other eleven forms of dramas; the third chapter deals with rasa, vrtti, bhava, and abhingam and the fourth, the common characteristics of all the dramas. Arrangement. ma Unlike the majority of books on alamkara, our authors are not satisfied with one sloka only for the elucidation of one techpieal term. They would quote long passages, both in prose and in verse, till the point is explained. They thus avoid the necessity of further elucidation by commentaries, Special feature. This work is in the process of publication in the Gaekwad Oriental Series, and here we acknowledge our thanks to the General Editor, Oriental Institute, Baroda, for the courtesy of sending advance forms of the work. BuAva-PpraKasana BY SARADA-ranayva, Bhava-prakagana is an original work written by Sarada- tanaya who is so named because his father got him by the favour of Sarada _ Bhava-prakégana. Devi. PREFACE, eclxx there is a place called Merittara, (some say Meerut) in which there is a village called Mathara-ptijya in- habited generally by Brahmins. There, in the kaSyape mana who pleased Visnu by thirty a commentary on the Vedas, entitled Veda-bhisana. His son was Krsna who worshipped Maha-deva at Benares and got a son named Bhatta Gopila proficient in the eighteen vidyas of the Brahmins. He propitiated the goddess Saradaé and got a son whom he named Sarada- tanaya, and the boy grew up in his father’s house study- ing the Vedas and the auxiliary sciences. The author and his pedigree. gotra was a Brahmin named Laks- ifices and wrote Once upon a time, he came to worship the goddess _ Sarad& in her spring festival. Her image was brought to the nata-mandira or dancing-hall where the audience eres sitting. With the permission of the audience he sat _ by the side of the goddess and saw the performance of 30 different kinds of dramas, and he asked the goddess to grant him the Natya-veda. The goddess asked the stage manager to teach him that. He taught him the methods of Sada-siva, Vasuki, Vag-devi, Narada, Agastya, Vyasa, and of the disciples of Bharata. Having learnt. this in the presence of the goddess, Sarada-tanaya made an abstract of them all, and wrote this treatise Bhava- prakagana. 8 The author, Sarada-tanaya was trained by a stage manager of great reputation and skill. z His theatre was attached to a great temple, and so the author has a claim to be listened to on the subject of dramas. The first thing that attracts notice in his work is the number of major and minor Ri His training. i EFACE, celxxxiv PREPAC. dramas, which are, according to the Agni- purina 27, according to the Sahitya-darpana, 28, and according to our author, 30 in number. The comparative list attached herewith, will show where they agree and where they differ. ‘ Classification of dramas arranged alphabetically in— a IL Tit x nays SAMITYA-DARFAYA BRAVA-PRAKRSANA EXAMDEES i gure Br, P. GST-PURR: Simrrva ¥ ale 1. Aka Ramanujan ale 1. Anka a 1. Aake Ganga-Bhagiratha, pe ears 2. Thimrga 2. Thamrge — Kusuma-ekhara, i 5] . Ullopyaka Devi. fahidey, nd 3. Ullapya 2 PY 2 a 3. Ullapyala Udatta-Kunjara, a 4 Kalpa-valli Manikya-valites, e 4. Kavya 4 Karna iG. Goethe 5. Kavya Sugriva-kelana, 3. Kavya as 6. Gosthi Yamalarjuna-vadha, 6. Gostht 7. Trotaka 7. Tripura-daha, Vrtro- 7. Dima seat ti ddharana. iki 8. Dombt Kama-dates 8. Durmallika 8. Trotaka * 0. Netake 9. Totaka Menaki-Nahu 8, Mada- 9. Durmallika 9. lekha, Vikramoryastya. fen atee 10. Durmallika . Natika 10. Natale S pee entre Caltravalt, Gann anit ll. Natika 7 s Vikramovast, Rama: bDhyudaya, Sakuntals, ote. 3 2 Ratnévali, Priya-dargi eee 12, Prakarana 1 > Pris 12, Natya-rasaka A Natika under certain cireumstances becomes @ Sattals 7: Natya-ra- Prakarani 13. * 13. Prakarana 13. Pr saka Prasthana 14. Parijate —Ganga-tanagiien oc Prahasana 18. Prakerana Mrechakatilea, Padma: Prahasana vati-parinaya, Mfalati- mfdhava, 7 16, Prenkgana 16. Prasth@na —_Spiigiira-tilaka, bo Bee are iohepa 17. Prahasana inds: (1) pirna, eg. Krtya-, ini vandhu, natakas are of 5 kin ee ee ae ieee ttt atts (8) bhaevara, e.g., Bala-Ramayana, Ri Is rasan es * : r ete Urvasi-vipralambha, (5) samagra, e.g., Maha-natala PREFACE. eclxxxv Wn Ww A-DARPANA BHRVA-PRAR IPLES IN THE Bu. P. Is. Bhanika 18. Preksaka vadha, — Nr-simha- pura-mar- dana 19. Rasake 19, Bhona Ramskrida 20. Vilasilea 20. Bhani . Vylyoga Silpaka, t. Sri-gadita . Sattala Vakula-vithi, Indu-lekha. Samlipata |. Samavakira, Sattata a gadita Ramanarda. |. Halliake Samavakira 27, Sattaka Karpira manjari, Hallisa 28. Samavakiira Nigananda, Amrta-ma- thana. Sallapa Hallisa Keli-raivata, The Agni-purina does not give any descriptions or : illustrations of the minor dramas. The threo works com isvanatha’s descriptions are rather stiff and he has given us no illustra- tions. But the descriptions of the Bhava-prakasana are full and informing. Sirada-tanaya gives the sort of dance and music appropriate to each class,—in which matter Vi nitha is silent. He also gives an illustration of each kind of minor dramas, as if he was familiar with them and in the preamble of his book he said that all the thirty different kinds of dramas used to be performed before the goddess. pared. The author appears to be a man of the Paficila _ country where 64 is a favourite num- Geenphy of India 2 ber, The Paiicalas divided the Bg- tho Bhava-prakaéa. i veda into 8 Astakas of 8 adhyayas. They divided the act of Sragira into 64 Paficalilt Kalas. So our author also divides the countries of the known world into 64. They are as follow:— celxxxvi PRELFACE, (1) Pandya, (2) Kerala, (3) Cola, (4) Sindhu, (5) Simhala, (6) Pamara, (7) Kalinga, (8) Ya vana, (9) Mleccha, (10) Parasika, (11) Saka, (12) Gauda, (13) Lata, (14) arbha, (15) Kama-rapa, (16) Andhra, (17) Konkana, (18) Karnata, (19) Sumbha, (20) K; mbhoja, (21) Hana, (22) Karuga, Gurjara, (24) Sau- rastra, (25) Maha-ra 26) Himmira, (27) Avanti, (28) Anupaja, ) Anga (30) Van- ga, (31) Vangala, (32) K. (33) Kosala, (84) Maithila, (35) Kirata, (36) Vardhaka. (37) Aratta, (38) Kuru, (39) Panicle, (40) Kekaya, (41) Andhra, (42) Mao, dha, (43) Sauvira, (44) Dasarna, (45) Magadha, (46) Nepala, (47) Jaina, (48) Bahlika, (49) Pale lava, ) Kratha-kaigila, (51) 8 (52) Kajana, (53) Karusa, (54) Yavana, (55) Yadu, (56) Cakra, (57) Kuru, 98) Parva- tiya, (59) Emana, (60) Kasmira, (61) Maru, (62) Kenkana, (63) Nagna, and (64) Man- kana. tira-sena, Meerut, though it is not in the § yet is so near it that we may take it to b. Paficdla, country e in that country. The age of the author lies between Bhoja whom he _ | quotes and Singa Bhipala who quotes © him, 7.¢., between 1050-1330 A.D. But | I think that he belonged to a time prior to the Muham-_ madan conquest for two reasons: — ‘ (1) The geography given by him does not show any trace of such a conquest and the di tribution of languages does not show any sign of it. His date. PREFACE. celxxxvii (2) It would be impossible to have a temple like that of the goddess Sarada- in Aryavarta after the Muhammadan conquest where all the 30 varieties of dramas could be per- formed. The books on alamkara and dramaturgy that we FS os authom have, were written either in WKas- “cited in tho Biisva-pro, mira or in the South, and they were _ Kagana, written by learned men. But here is ; a book written by a professional dra- matist of superior culture in N. India who enters into his _ Work-with earnestness and affection. To him the ancient traditions are not yet lost. Brahma, Vasuki, Vyasa, Hanu- - man are still regarded as originating and improving drama- tury. Bharata to the author appears also to be an ancient Writer who had many recensions of his book. He quotes _ © ancient recension,—more copious than the one com- _tnented upon by Abhinava-gupta. He quotes Kohala Whose name appears at the end of Bharata’s Natya- astra as the regenerator of dramaturgy. He quotes from Subandhu,—not the author of the Vasava-datta,—but an author of dramaturgy. Of the recent authors, he quotes from Kali-dasa, Bhava-bhiti, Sri-harsa, Bhatta Narayana, _ Raja-sekhara and last of all, from Bhoja. In his time the Sakyas and Jainas were still in evidence in N. India. We know more about the distinction of bhava and rasa, and about the dramatic proprieties from this work than from any other, because the author was a professional stage-manager. Here also our thanks are due to the General Editor, Oriental Institute, Baroda, for the courtesy of advance j sheets of the work which is in the course of publication ‘in the Gackwad Sanskrit Series. eclxxxviii PREFACE, JAYA-DEVA’S CANDRALOKA. Jaya-deva’s Candraloka goes over the same ground as Mammata’ Kavya-prakasa ; but it is written in easy language and is very useful to young students. The author, called also Piytsa-varsa, raining nectar from his Moonshine, is to be differentiated from the lyric poet Jaya-deva, author of Gita-govinda, whoee father was Bhoja and whose mother was Bama; while the father of the rhetorician was Maha-deva and mother, Sumitra. The rhetorician seems to be the same person as the dramatist of Prasanna-raghava, whose father and mother bore the Taya-deva’s parentage. same names. He is sometimes pres with Jaya-deva, the Maithil commentator f "i Dato of Jaya-deva. cintamani in Nyaya, fe com ary is also called Aloka, and that makes the confusion worse confounded. But the Naiyayika author of Aloka flourished at the end of the 15th and in the beginni 2 of the 16th century; as his own disciple Vasu-deva Sarva-bhauma was still living at Puri when Caitanya died in 1533 ;— while the dramati work Prasanna-raghava is en by Singa Bhapala in 1330 A.D. The date of Jaya-deva is therefore earlier than 1330 A.D., but later than that of Rucaka, many of whose original definitions of alamkara he has appropriated. Rucaka’s date hag en tentatively fixed at the second half of the 12th century. Jaya-deva must, therefore, be coming between 1150 and 1330 A.D. Jaya-deva claims no originality. He is credited with lucidity, clearness, and a complete survey celx: of the work of a rhetorician. His book is called Candraloka, Light of the Moon. His Charactoristies of Con» commentator, Pradyotana Bhatta, eee thought that the moonlight is never so bright as with the advent of au- tumn, and so he named his commentary ‘Saradagama’. The bright light of the moon in the clear sky of autumn delights the water-lilies at night. So Appaya Diksita wrote a work, drawn principally from the Candraloka, called Kuvalayananda. It treats only of the figures of speech based upon the meaning of words. In this chapter Jaya-deva had 100 figures of speech. Appaya in his Kuvalayananda added 34 more,—making a total of 134, the largest number of arthalankaras met in any Sanskrit work on rhetoric. Appaye’s Kuvalaya- nanda. Pradyotana Bhatta wrote his Saradagama in the year 1583. He wrote under the patronage of Vira-bhadra, or Vira- simha, who at the instigation of Prince Selim murdered Abul Fazal in 1595. Viva-bhadra was well known not only as a literary man, for he wrote a commentary on Vatsayana’s Kama-stitra in 1577, but his name has been made ever-memorable by his Court Pundit Mitra Misra’s encyclopedic work, the Viramitrodaya, in which both the names of the patron and the author have been immortalised. Date of Saradagama. There is another commentary on Candraloka by i __ Vi8vesvara Bhatta, nicknamed Gaga- Ste Gres Dhatta, a man of ripe and extensive a scholarship, who made Sivaji a ksa- ecxe - PREFACE. triya and directed his coronation in’ 1674. The com. mentary is called Rakagama, the Advent of the Fu Moon. A third commentary is by Vaidya-natha Payagunde), mentary, $0}t Bhatta. Like his preceptor, Nagoji, Vaidya- hatha wrote commentaries on a varieties of stras, but generally on the 2nd or 3rd remove. He is to bas dis- tinguished from Vaidyanatha Tat-sat, The Tat-sat- family hailed from Vidya-nagara after the fall of that empire. The Payagundes are one of the six Maratha Brahmin families who settled at Benares 500 years ago A go. ExAvati or VIDYA-puara, The Mubammadan invasion of Northern India at the end of the 12th and in the iti f Sanslcrit inni Fi paiamtesmeme Peginning of the 13th century quail madan conquest. away Sanskrit culture from Aryavarta. the home of Sanskrit learning, For two centuries, the 13th and the 14th, the history of litera: ture (Sanskrit or Bengali) was a blank in Bengal, J hava not seen many Sanskrit and Bengali Mss, even ‘copied during these two centuries. But, it flourished for a century more in the Deccan, and for many centuries in Southern India. The Yadavas of Deva-giri and the Kakateyas of Odangala kept up the flame of Sanskrit dearning burning in the Deccan. The Yadavas patronised grammar, smrti, vaidyaka, and jyotisa, while the Kaka- teyas patronised dramas and poetry. The secluded position of Orissa, guarded by the sea on one side and an impenetrable jungle on the other, and open to invasion only through Bengal in the north,—kept PREP cexci up the study of several branches of Sanskrit literature ‘and Hindu culture generally till the end of the 16th century. One of the earliest fruits of their literary activity is the Ekavali by Vidyadhara. The work Ekavali which has been edited with great care by Prof. K, P. Trivedi, generally Eka li—writter in . >, , fvali—written 1 follows in the wake of Mammata’s @ wake of Kiivya ats aah’ prakéga, Kavya-prakasa. That has 10 Ullasas and this 10 Unmesas. But it is ‘Written in a simpler language and Prof. Trivedi thinks that “it may be read with advantage by the students who wish to master the harder work of Mammata” Like Kavya-praka it has its vrttis, and Udaharanas. The udaharanas are, however, all composed by the author himself in praise of Nara-simha, king of ' Utkala or Kalinga. Vidya-dhaxa wrote another work, called Keli-rahasya, a& copy of which is in the library of the Asiatic Society of Bengal. It is a work on love, and an Soa of a larger work called Rati-rahasya. Vidy@-dhara’s — Keli- rahasya. Ekavali takes a good deal of space in dealing with the utility of mangalacarana. Then, it deals with the advantages derived from writing poetry. In this por- tion, Vidya-dhara follows in the wake of Kavya-prakasa. Then it paraphrases and explains the opening verses of the Dhvani-kara, and ends the first unmesa like that master-work with the following words :—

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