History of Sanskrit Poetics c6.28.6

c6.28.6

D.) was composed at a time when some theory of poetics had already been in vogue. Each canto has at the end a verse or verses in a different metre. The author is very much after alliteration (I. 14, 15; V. 26), employs such a frightful jingle as हरितुरगतुरङ्गः (V.87) and is very fond of यथासंख्य (V. 42 and IX. 16). The बुद्धचरित III. 51 employs the word रसान्तरम्. Similar remarks apply to Aśvaghoṣa's another Mahākāvya, the Saundarananda. In X. 2 there is अनुप्रास and in X. 11 there is यमक 'चलत्कदम्बे हिमवन्नितम्बे तरौ प्रलम्बे चमरौ ललम्बे ।'. Compare नाट्यशास्त्र 17. 84 (इली बलो लली &.); the same verse is K. M. ed. 16.85 and GOS. vol. II chap. 16. 84 p. 330. Prof. H. Lüders published in 1911 fragments of a drama of Aśvaghoṣa called सारिपुत्रप्रकरण which had nine Acts. That shows that ancient dramas on which the rules of the नाट्यशास्त्र were most probably based were lost or forgotten when later dramas like those of भास and कालिदास took the field. Sabhāparva 11. 36 speaks of नाटकऽ 'नाटका विविधा काव्याः कथाख्यायिका रिकाः'. अश्वघोष uses the technical words हाव and भाव ('भावज्ञानेन हावेन चातुर्योपसम्पदा । बुद्ध० IV. 12). Vide नाट्य० 24. 8-10 for भाव and हाव. नाट्यशास्त्र (GOS. ed. vol. III.) chap. 22. 6-8 are: देहात्मकं भवेत्सत्त्वं सत्त्वाद्भावः समुत्थितः । भावात्समुत्थितो हावो हावाद्धेला समुत्थिता ।। वागङ्गमुखरागैश्च सत्त्वेनाभिनयेन च । कवेरन्तर्गतं भावं भावयन्भाव उच्यते ।।. It was shown above (p. 47) that the नाट्यशास्त्र must have been composed not later than 300 A. D.