Rākṣasa's Ring 4.2_32

4.2_32

‘arthataḥ śabdato vāpi manākkāvyārthasūcanam
yatrāṣṭabhirdvādaśabhiraṣṭādaśabhireva vā .
dvāviṃśatyā padairvāpi sā nāndī parikīrtitā ..'
nāṭakādirūpakāṇāmādau vihitaṃ padyaṃ nāndītyucyate . kaiścinnāndyāṃ
padaniyamo nābhyupamanyate . ato'tra nāṭake padaniyamo nādṛtaḥ .
yadvā---padaśabdaḥ pādavacanaḥ . tathā ca padyadvayenāṣṭapadā nāndī kṛteti
jñeyam . atra nāṭake vīro rasaḥ. atigahanakauṭilyanītirūpo'dbhutarasaḥ
pradhānamaṅgam . anye śṛṅgārakaruṇādayo yathāyathaṃ draṣṭavyāḥ . dhīrodātto
nāyakaḥ. prakhyātamitivṛttam . ‘itihāsanibandhanaṃ prakhyātam’ iti
lakṣaṇāt . cāṇakyakṛtasya nandavaṃśoddharaṇasya candraguptābhiṣekasya ca
viṣṇupurāṇa-bṛhatkathā–kāmandakādiṣu saṃkṣepeṇoktatvāt .

“Where there is a slight indication of the plot of the drama, either by meaning or by word,
consisting of eight, twelve, or indeed eighteen,
or even twenty-two words, that is celebrated as the benediction.”
The verse recited at the beginning of dramatic compositions such as the play is called the benediction. By some, a restriction on the number of words is not accepted in the benediction. Hence in this play, the restriction of words is not observed.
Or rather, the word *pada* means a quarter-verse. And thus it is to be understood that the benediction of eight quarter-verses is formed by two verses. In this play, the heroic is the dominant sentiment. The marvelous sentiment, in the form of the exceedingly profound statecraft of Kauṭilya, is the primary subsidiary element. Others such as the erotic and the pathetic are to be seen appropriately. The hero is noble and resolute. The plot is well known, from the definition: “A well-known [plot] is based on legendary history”; because the extirpation of the Nanda dynasty and the coronation of Candragupta performed by Cāṇakya have been told in brief in the Viṣṇupurāṇa, the Bṛhatkathā, Kāmandaka, and elsewhere.